I remember a few aspects of the class that really stuck with me. The basic aspects of what he taught was something along the lines of, "We all are working too hard on stage"
He called up various people to do scenes and began to say stuff like, "That would be a great mixer scene", but Ed seemed to want truly organic scenes. Rather than inventing bricks and foundations to scenes and building them up, he wants us to just sink into the scene, notice what we have already.
This is a very Magnet notion. I've always thought that Magnet tries to make everyone feel that no matter what they do on stage, they'll be fine and right and good. It creates slower improvisers that are more fearless with silence or more character based improvisers that commit very hard.
In my first scene, my scene partner was stressed and I was calming him down, we didn't specify the who the what or the where, we kind of held it back. It was consistent with previous Magnet workshops because those should be discovered not invented. As he calmed, then I stressed and then I called out that it was just a rollercoaster. Scene ended. Ed had given the note to us that instead of just staying in the dynamic of one person affecting the other, the moment I called out what it was, this was the moment where I let fear force an invention.
Later in the class, he spoke about scenework as someone walking to the edge and then inventing something to help the fear, when at that point they need to just slow down, take stock of what they have and hold on to it.
Ed spoke about how improvisers see that first piece of game and they jump on it so hard they give up the scene itself. He said that piece is a trap. Going after that is the obvious, to stay in the scene and discover it is to organically create a scene with a partner.
I know this seems crazy, but here's an example of my second scene.
My scene partner seemed angry at me.
I say, "I wish you would just be honest with me."
She says, "I don't like you."
In my mind, oddly enough, I think I saw a pattern. My improviser brain would probably name it as, Mom, I'm sorry I ditched school, or I'm sorry I came onto your friend, son. WHatever. Just yes anding the situation and giving the who and why. However I just stuck with what I had.
I say, "Would it kill you just to tell me how you feel."
She says, "I despise you and wish you were dead."
(Notice the pattern, it is heightening and basically nothing has happened. I will just redo my line of not understanding but in an honest way, not a dumb way)
I say, "I don't know why you can't just tell it to me straight."
She says, "I want to cut your throat, drink your blood and fuck the holes of your dead body.
(At this point, Ed says after hitting a pattern for a bit, one person will try to make the other person laugh. It has to be somewhat consistent but it is a curveball. According to Ed, it should be instantly powerful. It could be a WHo, a Where, a Why or just a non sequiter)
I say (Joke), And that will make you cum? (the why) OR And then you'll stop making movies Mr. Bay? (who) OR Well, I've gotta go play Barney, talk to me later (kind of where)
It's oddly genius. Think about it.
Happy Birthday-I Hate you - I Got you A Present - YOu are such a dick - You ready to blow out your candles? - You insensitive fuck - (joke) I'm sorry I raped u. or All your family is here- (joke) Fuck you Spiderman
What about a transaction scene?
I'll take a pack of cigs. - That'll be 5 dollars - I'll take a pack of those - Thatll be 20 quarters - I'll take about 12 cigarettes comparmentalized in that pack over yonder - That'll be 500 pennies. - (J) Ya know what, I'll just go someplace else) or I'll take that pack there - (J) Sometimes while I sleep, I dream about being a fart.
The concept of repeating words is not foreign to improv teachings. I've heard it many times before. But, with Ed it's seems to not just be about the words. It's about the how. How you say it, how you feel as you say it. Sometimes it doesn't even need words, it could be just the how. You could be mad, frustrated, happy, whatever. As your partner repeats, you repeat and heighten the emotion.
How does this work into scenes? Simple, repeat what you say, heighten how you say it. At the very least you will understand your game.
According to Ed, improv isn't someone coming into another person's scene and playing a part. It is something you all grow together. The scenes seem better that way and oddly simpler. Throughout Camp Magnet, I felt this kind of theme. Organically making scenes with very little thinking, just recognizing.
Ed Herbstman is an amazing teacher. I hope to put his teachings into effect, asap.
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