For The Love of Improv
For The Love of Improv
Chris Thigpen | Community & Impact
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In this episode, we go deep talking about our community and the value of having a strong one. We talk about why loving the people you play with is so important, even if they are not your favorite folks to begin with. We talk about the place of competition in improv, how you can support your fellow players, and how that affects us all on-stage. We will get into a bit of history, introducing you to Viola Spolin, the fore-mother of improv in the US. We will talk about beats and how to recognize them as well as what it means to be a good player off-stage.
Our guest, Chris Thigpen, is an amazing improviser who plays on two house teams at the Reno Improv, Ghost Team and All Things Reconsidered. As a natural creative, Chris uses improv as a place to express his talents as an actor and writer. As a businessman, Chris owns his own successful marketing agency, Ace Studios. He is also a filmmaker, photographer, and screenwriter.
Visit ForTheLoveOfImprov.com for more!
Really, really like a problem, you guys.
SPEAKER_01:Yes, really.
unknown:Oh my god.
SPEAKER_04:Every time I hear that intro, I'm like, we are such dorks, but I love it.
SPEAKER_00:We are dorks, and that is one of the great things about improv is we can all be dorks together. Yeah. Hello and welcome to the first ever episode of For the Love of Improv, a podcast where we talk about how much we love improv.
SPEAKER_04:Yeah. What are we doing here, Katie? Yeah, why are we doing this? Well, I don't know. I'm doing it because I love improv and I love to talk about it and why I'm doing it, why it's like therapeutic, and I like to talk to other people about how to do it better. And I just, yeah, I want to roll in it like a pig in a tag pen.
SPEAKER_00:Yes, I want more improv in my life. More improv in my life as well as oh my gosh, I am learning so much. And this Reno improv community where Katie and I got our start is so awesome. And I just want to soak up every little bit of knowledge. And when we decided to do a podcast, we're like, we want our podcast to be something where other people can soak up that knowledge as well as a beginner, intermediate, even advanced people.
SPEAKER_04:Yeah, and that brings up a good point too, is that you know, we don't pretend to be experts, we are gonna be learning and talking and knowing more about improv right along with you guys. So we'll be inviting guests in to talk about it, people who have taught improv. Hopefully, we'll get some maybe even bigger names from out of town. So it's gonna be awesome. What else, what else can our list listeners expect from our Yeah?
SPEAKER_00:Well, we have a couple segments that we're gonna do regularly just to make sure that there's some value there. Uh, and also kind of the stuff I want to learn as well. Um, we're gonna learn history. We're gonna take it boring. No, not we're gonna we're gonna talk more about what people are saying, like what people have said in the past, how it applies today. It's it's gonna be it's gonna be a really interesting history segment, as well as um a word of the day. Yeah. So we all know the lingo. Yeah, you know, so we're all talking the same language.
SPEAKER_04:Absolutely. And then we're actually gonna also do some games just to lighten things up and uh you know, invite our guests to warm up with us. So that should be fun too.
SPEAKER_00:Right. And as we do this podcast and grow it, we're really hoping that our community can be involved. So we've created a website, it's called for the loveofimprov.com where you can go and see what upcoming guests are coming. You can help decide what the next topic is gonna be.
SPEAKER_04:Oh, yeah, and then they can ask questions too, and and we can we can take questions from our listeners and ask our guests about them. So we want to know what you guys want what you guys want to know about because we're all in this together.
SPEAKER_00:Yes. You know what I just realized, Katie? Well, they have no idea who we are. We're just a couple of things.
SPEAKER_04:Oh my god, we just totally, we totally just introduced ourselves. Right. Well, that's because we are living, breathing, improv, and so we are nameless. No, I don't know. That's just I just totally made that up because I'm an improviser. No, actually, my name is Katie Welsh. What's your name?
SPEAKER_00:The Katie Welsh. Katie Welsh is a uh humble comedian that never says her name. That never says her name. Um and you were the famous. I am the famous Jesse Wicks, the one and only.
SPEAKER_04:Or the infamous, perhaps. Ooh, we don't know yet.
SPEAKER_00:Yes, I am Jesse Wicks.
SPEAKER_04:You'll have to listen to find out.
SPEAKER_00:Yes, and as we go along, you'll learn a little bit more about who we are and you'll grow to love us.
SPEAKER_04:Yeah, and I feel like we said we were gonna keep this brief and we didn't really, but maybe this is a good time. Do we have anything else to tell us about? Let's get started with our first guest. All right.
SPEAKER_00:Uh today our first guest will be Chris Thigton. He's a local improviser, actor, filmmaker, comedian, etc., etc., uh, in Reno, Nevada.
SPEAKER_04:Uh he owns his own creative agency, Ace Studios. Uh, he is a regular comedian at Reno Tahoe Comedy at the Pioneer Underground. Uh, and by the way, he just won second place at the There Goes the Neighborhood comedy contest. So congratulations, Chris, there. And uh he also improvises with me uh on our local team, and it's called All Things Reconsidered, and we perform at Reno Improv uh uh regularly.
SPEAKER_01:Welcome, Chris. Ah, thank you for having me. It's such a pleasure. Golf club.
SPEAKER_05:All right, okay.
SPEAKER_00:So uh, you know, this is our very first uh improv podcast, and you guys don't know who the heck we are yet. So we're going to include our introductions, everyone today in our introductions, and I'll go ahead and start. What we're gonna do is we're gonna say our name, our favorite jelly bean color or flavor, um, and also why did you show up at your first improv class and why did you stay there? So we're gonna get deep today. So let's let's start with Katie because I don't feel like going first. Okay.
SPEAKER_04:Let's just start shove that ball right up in my face. Thank you, Jessie. Um well, my name is Katie, and um I hate to confess, but my favorite jelly bean flavor that most people hate is the butter popcorn flavor.
SPEAKER_06:Oh my god.
SPEAKER_04:I know, see? Wow. So but I am a proud uh eater of that jelly bean. Well, well, I I judge you. I I judge you harshly. Thank you. Thank you.
SPEAKER_02:But in a good way.
SPEAKER_04:Thank you. Yeah.
SPEAKER_02:There's such a thing. Totally.
SPEAKER_04:Um, so now okay, so why did I show up to my first improv class? Uh well, I have a start in stand-up comedy, so I originally wanted to try out improv because I like to stick to a script when it comes to stand-up comedy. And uh, so I wanted to work on what's called my crowd work and sort of my more spontaneity spontaneous comic side, which is sort of uh more terrifying to me. So I thought improv would be a good way to loosen me up to that. And I I have to say that it really has, it's been a freeing experience, so I guess that's why I stayed. What do you like better now, improv or comedy? Ooh, that's tough. They're such two different animals, and I feel like that could be a whole uh podcast episode in of in a of itself, but we might get into some of that with Chris because he also does stand up.
SPEAKER_00:So oh, um, I'm getting the uh like nope, it's your turn. I'm getting the ball thrown in my face the way I threw it in Katie's. Uh goes around, comes around. Um, so uh my name is Jessie, Jesse Wicks, and you know what? I'm a pretty traditional girl. My favorite is the watermelon color, not because of the flavor, but because I like to bite half of it off and look at the colors because it's they're different colors. It's red inside, and it's just true to form. It's just you like to get deep with the with the jelly bean. Right. Everything's deep for me. I I think too much. Uh anyway. Um you know what is also deep is my why I went to my first improv class, you know. I am a mother of two. And you know, it sometimes it sucks. Um I love my baby.
SPEAKER_02:That's not the response I I I was expecting. But it's real. But it's real. That's awesome. I love that it's wrong.
SPEAKER_00:It's true. Well, when I had my when I had my second kid, I became incredibly isolated, and I'm an extremely extroverted person. And what I was finding out was that that I couldn't talk to people any longer. And I was so isolated and I was depressed, and I was like, you know what? I need to get out and then do something that's gonna force me out of my comfort zone. And so I came across the Reno improv and I was like, okay, this is something I'm gonna force myself to do. I'm probably gonna hate it and just go once. But as soon as I went, I met Chris Thigpen among some other people. And the very next day there was a workshop hosted by Mike Brown. He works at the pit in New York City. So amazing, amazing uh workshop, and it kind of made me fall in love, kind of like the next one.
SPEAKER_04:Well, and that's where me we met, by the way. You and I. Oh, we're you yeah, we were all there. This is this is where it all began. Thank you, my friends. We were born improv babies together.
SPEAKER_00:Yes, so there that's me in a nutshell.
SPEAKER_02:Hi, uh, so I uh my name is Chris Lee Penn. Um uh you've done you you already nailed everything. Uh it's like nothing else to say. Um my favorite uh jelly bean is um I don't actually like jelly beans, but uh if it is uh if I had to choose if I was forced, um there was a gun to my head. Um I think I like lemon. Um that was the last one I remember. It was something a cleansing. Um I got a lot of vitamin C out of it. Uh I'm not sure if this general thing has to be. I probably just a lot of cogaries just sugar. I got 36 grams out of it of sugar. Um the reason why I um I joined uh level one of Areno Improv is um I saw something uh called Meetup. Um and I was like, oh cool. I wanna get back into um so let me backtrack a little bit. Uh when I got married, I feel like uh I wanted to kind of just give up on all those dreams.
SPEAKER_05:Um to the best of us, I understand.
SPEAKER_02:It's true, um, to be honest with you. Um I was like, I don't wanna maybe maybe acting is not for me. Maybe all this other stuff is not for me. So I was like, oh, let's unexpected. Uh best thing is uh let me just open up a marketing agency sure. Um which has been quite uh successful, but um I felt like I was losing a piece of myself. Um so when I saw Meetup and I was like, oh, there's like-minded people, maybe that'll spark something. Um in the beginning it didn't. I'm gonna be honest. Um all it did was scare me. Um what scared you about it? Uh I think being judged. You also you felt judged. Yeah, um and I think I was just all in my head. Uh-huh. Yeah, because you know I'm a psychopath. Um just for your information. Uh but I I went back the second time and it was during uh playground. Um and I got this wonderful feedback and I felt supported.
SPEAKER_04:So before you move on, can you kind of just give a brief description of what playground is? I know you you're a good one to ask because you actually teach playground.
SPEAKER_02:So that's for those who may not know. Uh it's at Reno Improv every Saturday at um 6 30. Um just throwing that out there because you know if you want to shout out. Um but it's a really great uh place to just try out improv. Just to in it's not even just you know learning improv, it's also about boosting your confidence and really just hanging out with like-minded people who won't judge you, who will support you. And I force people to clap. So um and I'm always like why aren't you going? Why aren't you clapping? Um I'm that kind of teacher. Um I will force you to support everyone. Um and it it really it it really is a loving space. Um, and if people are hateful or snide, um they they'll show up once, I notice, and then they just naturally go away. And it's one of those environments where like you feel love and that negative energy just does not belong there. Yeah, nope, it does not. Um, and that's what's so wonderful about Reno Improv. And I don't know how to think um Benjamin Craig, Aurora Bowles, uh, even Robert McGrath, uh Vince Allator. Um, those guys have just done so much for me as far as and those are basically all the basically all the founding members, I think we can call them, right?
SPEAKER_04:Of Reno Improv. And that's where we all got our start. So we have much love for them. Oh my gosh, so much love.
SPEAKER_00:And creating a space too that we can all feel comfortable to play and and and really uh have that community environment that it's hard to find. Yeah.
SPEAKER_02:Oh my gosh, and grow. Um, if it wasn't for Reno Improv, the reason why I kept coming back was I felt that support. And if it wasn't for Reno Improv, I wouldn't I wouldn't be acting right now. I've I've literally booked so many auditions, which is amazing because uh because of the confidence they've given me. Um I I literally started comedy there, my comedy career there. Um they gave me a spot, they started doing open mic um, and I don't know how to thank them because they gave me so much strength to be able to just not perform at their in like on their stage, they gave me confidence to perform in other places. Um I don't know why I'm getting emotional at this time. Yeah, no, it is I I really don't know how to thank them because it like the the strength they've given me and the just that confidence. Um it's I don't know how to repay them. So I volunteer there so much. They're probably getting tired of me. I'm like, oh my god, Chris is back.
SPEAKER_04:Um no, no, you've definitely become one of the main contributors there. So we all appreciate that too. And I mean, you know, you talk about you know the stand-up comedy and how you got your start there, and um they did start what I love about their once a month uh open mic, and it's still happening. So if you ever want to try out stand-up comedy, it's a good place to start because it's it they extend that accepting, yes, loving, supportive community, which you know, I'm I I doesn't I'm just gonna say doesn't always exist in every open mic. You know, the comedy stand-up comedy world can be you know, it's competitive, which so there's some natural, you know, not not as nice and touchy-feely rainbows and unicorns.
SPEAKER_02:Yeah, but they're they support you.
SPEAKER_04:Yeah, so it's just it's a good place, like you said, you described with your story where to to gain confidence in it and then go out and try it and know that yeah. So that's awesome.
SPEAKER_00:Woohoo. Yeah, for sure. If yeah, I I feel like it's done the same for me. I know what you're saying when you when you get emotional about it, because when you have that revelation where it's you kind of learn that who you are and what you put out there when is okay, and when you go up some you're able to go up somewhere with vulnerability and then be accepted in that vulnerability, which is what improv does. Somebody goes up and they says, you know, I'm holding a potato, but until somebody else comes up and validates that that's a potato, yeah, you're just a crazy person holding your hand up in the air, pretending it's a potato.
SPEAKER_02:You feel that support, you really do.
SPEAKER_00:And that yeah, and that it trickles into your real life. Oh yeah.
SPEAKER_02:Um I've become more kind.
SPEAKER_00:Just saying that.
SPEAKER_02:I'm I'm not I'm not even gonna lie, I I used to be a cold-hearted bitch. Um and then I've I I you know I feel like Reno Improv has really showed me like real kindness, what what human beings can really be and the potential to be.
SPEAKER_00:There's so much to delve into in improv of like the underlying benefits of improv is just so amazing. It's so beautiful.
SPEAKER_04:Yeah, and I definitely I mean, I agree too. I mean, um, I don't know if I would go as far as a cold-hearted bitch, but just maybe like a maybe like a lukewarm, maybe like a lukewarm. And now I'm just a f ah! It's like tepid water. No, but I mean just the the that that idea of um, you know, it taught me to to be. I always thought I was a tolerant person, and then I went to Reno Improv and I was like, no, this is pushing me to be even more tolerant and tolerant not just of other people, but of myself, too. You know, absolutely. Um, so that has been uh an awesome sort of self-journey, if you will.
SPEAKER_02:I feel like we all went through this. Yeah, no, and I'll be your journey. Totally.
SPEAKER_04:I mean, I know it's like a cult at this point.
SPEAKER_02:We're all like, yes, we will follow the radio and road. You just have to pour your blood in.
SPEAKER_04:Yeah, we'll get to the rituals later. No, just kidding.
SPEAKER_02:Here's a contract though.
SPEAKER_04:All right. Well, uh, shall we shall we make it? Should we transition to something slightly lighter? Talking about our bleeding hearts and souls.
SPEAKER_00:This uh this podcast is gonna get deep, you guys. So just be prepared. Um, all right. Well, let's start with the game. Okay.
SPEAKER_04:Um this works on a podcast because it's like, I don't know, it might be super, but let's not be judgy, right? This is what improv is about. I'm already like judging it before it's happening. So shut Katie.
SPEAKER_00:I don't know if it's named something else somewhere else. Forgive me. Um, what we're gonna do is we're gonna point to random objects, and since you can't see us, we're gonna call out the actual name of that object, and then quickly we're going to try and name it something completely unrelated to it. And the whole point is to go fast and to be able to come up with something totally unassociated with what you're looking at quickly. Um, so it probably might start out slow and then once we get in the rhythm of it, pick it up. All right, so this paper is a German flag.
SPEAKER_02:Um my hair is uh my black hair is uh aerial mermaid hair.
SPEAKER_04:This soda can is a time when I played on the playground when I was five.
SPEAKER_00:Holy crap. Um this carpet wallpaper that really exists in the studio is a uh homeless guy trying to cross the street.
SPEAKER_02:Uh my green uh orange juice is uh a guitar that I neglect now.
SPEAKER_04:This pen is black licorice.
SPEAKER_00:Actually, I like black licorice actually in interesting. Um your glasses are a ferret. A ferret a single one.
SPEAKER_02:Uh your cell phone is a it's a uh used hand on this microphone is a mustache.
SPEAKER_00:This computer is a single carrot on the floor.
SPEAKER_02:Um the frozen lunch box that I see right now is uh a fallen eyelash on a lever.
SPEAKER_05:Oh my god.
SPEAKER_00:Um to be clear that is uh frozen uh themed, not actually the lunchbox itself is not um is not very cold. Yes. Oh right.
SPEAKER_04:Like from the movie. From the movie, yes. Yes, yeah. Um okay, this improv nation is Britney Spears Crisis. Yes.
SPEAKER_00:Um this lamp is a monster named Ted.
SPEAKER_02:Uh this carpeting is lava.
SPEAKER_04:Um this clean the Kleenex box over there is um my ex-husband.
SPEAKER_00:Oh, okay. So I do a lot of deep. Yeah, that was fine. That was actually.
SPEAKER_04:Real quick brief debrief. Just to be over analytical. Cool.
SPEAKER_01:All right.
SPEAKER_04:So what and you can maybe talk about this not to put you on the spot, but what what is the purpose of that game? Do you guys think? Like in terms of like improv, what is it helping us do? What is it? Is there any point to it?
SPEAKER_02:I think there is. Um, especially when you're on stage and you have to immediately think about what's in your hand. Because someone can put their hand out and you know, and then your partner not realizing they actually haven't named what's in their hand. That's yeah, and then all of a sudden it's up to you, and you're like, oh crap, it's a apple. Like, you know, right, right. Um, it's one of those wonderful things because it could be they could be holding like what looks like a shotgun, but in your head, they did they they haven't named it, but then in your head you're like, it's a broom. Right, right, right, right.
SPEAKER_04:Yeah, totally. Okay, so helping you to think fast. Yeah, on your day.
SPEAKER_00:Well, and also to be get to be able to give gifts to people uh on stage to be able, you know, to if I'm standing on stage and I'm like, crap, I don't know what's going on, but somebody says, um, hi Bra Barbara, why are you holding that candlestick? Right. Well, I guess you shouldn't ask questions, but lovely candlestick you're holding.
SPEAKER_02:Now it's a murder mystery.
SPEAKER_00:Yeah, exactly. Like it gives it context, right? And so now you have somewhere to go in the scene, yeah. Exactly. You know, and to to give those random details to people, really help people come up with words and things to say. And it's kind of like when you're writing and you have a blank page and you can't come up with anything. Yeah. If you've just got to be aware of it.
SPEAKER_02:Sometimes I just write descriptions of things. Like, I'm not like this red lamp is shiny, red. I'm not like, wait, that has nothing to do with my scene, but I beautifully described a lamp.
SPEAKER_04:Totally. And I think too, um, it possibly could help us because I know you and I have been talking, Jess, about this about you know, not fall not slipping into sort of the uh the predictable choice, you know, and trying to think inside the box and making it more creative and fun and like the fall like a lover. Yeah, totally, yeah, exactly. So so yeah, okay, cool.
SPEAKER_00:Uh just one more thing because I'm just there. Yeah, please. I used it right before my audition the other night because I just auditioned to the end of truth. I don't know. Just to put that out in the universe. But um, I was trying to get out of my head. I my problem is I'm in my head a lot, and this helped me when I'm focusing on trying to name this soda can to you know, something that's totally not in the room and unrelated. It it forces me out of my head to be able to do a task. And that's part of you know becoming present for the stage. Yeah, absolutely. Cool.
SPEAKER_02:I agree. I agree.
SPEAKER_00:Yeah, that was my soda, right?
SPEAKER_02:I just took a sip out of it.
SPEAKER_00:Yes, yeah, but it's your picked it up to the.
SPEAKER_02:I know, because I saw you hold it, and then Katie was like, Oh, why did you drink out of her?
SPEAKER_00:Jump touched my can.
SPEAKER_02:We share here.
SPEAKER_00:Yeah. Yeah, just slap my hand. Um, so today's topic is oh gosh, and I feel like we've already talked about it a little bit, but the role of improv, uh the role of the improv community, kind of like a secondary topic of how improv affects your life off the stage. And I feel like we've already sort of gotten into it. Yeah.
SPEAKER_05:Yeah.
SPEAKER_00:So just before I ask any questions, kind of in mind, when you think of the improv community, what first pops into your head?
SPEAKER_02:Um, what do I think about the improv community?
SPEAKER_00:Like what is the role, like the role of the improv community?
SPEAKER_02:Um, I think it's honestly too it's and like I said, it's not just about like teaching people what improv is. It's also about boosting someone's confidence. It's about giving them um helping them rise from wherever they are to build that self-esteem to be on stage. Um and not just to be on stage, but also in their personal lives. Because I think it really works out um in the business world, um, even when you're with your lover. So totally, totally, yeah.
SPEAKER_04:I mean, I think um I don't know, the community or the connection that I you know feel with Reno Improv is that you know you it's not just the support that you're gonna get on stage, but it's the support that that everybody is giving to uh have Reno Improv continue. So whether it's you know volunteering to help with the cash box or something on show nights, or if you're teaching the playground, I'm I think you guys get a little bit of money for that, but not a lot. Not a lot. So it's kind of I know you love it and you're you know, you're doing it because you love it and you want to continue to build that community. And it's all that, all those efforts to put into one, it makes it such a strong community and something that you want to continue to contribute to and to be a part of.
SPEAKER_00:So yeah, I also what comes to mind for me too is is that stuff happens on stage and then it's just gone. And if you don't have those moments to share with people who like have been there and seen you do other shows, those moments only live within you and live within one person. But when you have a community that's constantly showing up for each other to each other's shows, and and then then you have this shared experience that that where you can really make deeper connections so that you do feel comfortable going and doing acting or doing comedy and or something you would never you know have the nerve to do again because you you feel like you have a community that supports you. Um that's the first thing that pops in my head. But yeah. Before we get too deep, um, we're gonna we're you know, just as an introduction there to our topic, but let's have a little history. Oh, okay. A little history lesson. Yeah, we're gonna we're gonna have some segments in this podcast, you guys. Um, we're gonna talk about history and we're uh so you learn something every time. And we're also gonna talk, give you a word of the day, something that helps you um to understand uh the inner workings of improv a little better. Yeah, but Katie's gonna do history. Okay, well, hello class.
SPEAKER_04:Thank you for coming to the history class of improv. No, just kidding. Um I was a teacher before, so I have a teacher voice. Um, but uh so I have been reading this book. I'm not done with it, so but I've already gained so much knowledge just from the first, like I haven't even gotten to the first hundred pages. I think I'm on page like 80 something. Um, but improv Nation, it's by Sam Wasson. Uh, and somebody told me it was on sale on Amazon recently, so I don't know if that's still happening. But yeah, um, how we made a great American art. Um, and so this author actually claims, and maybe not everybody uh is is in agreement with this, but he basically boldly states that improv started in the United States, um, and just kind of like jazz, right? That's another art form that started in the United States. So um, and he basically uh says that Viola Spolin was sort of the mother, if you will, that gave birth to improv. And basically where that came from is she uh started, she studied under a sociologist who I'm forgetting his name right now, um, that believed through play um, you know, you could make connections. And she basically worked with immigrant children. And a lot of the, you know, the immigrant children who are new to the United States who did not necessarily speak English, they all spoke different languages. So she had to figure out a way for them to connect with one another, even though there was a like language barrier. And so she came up with these games, much like some of the improv games, like the one we just played, um, and basically said to the children, okay, just play, you know, and who's the best at playing but children? Oh, yeah, right? They're the best, they have no judgments. And um, so anyway, so that's kind of how it started. And then her son, Paul, um, oh god, God help me. Paul Phils, sorry. Um, he ended up, he's the one who eventually ended up founding Second City. And so I'm not gonna go into that right now, but that's sort of the connection there. Um, and it all started with his mom and these games that she played with these kids. And I I put I I uh pulled out some of the quotes um from the book talking about Viola Spolin. Um, and here's just a couple that are real basic, but I thought that they were very um true to even what improv is today and true to what my experience with improv has been so far. So I'm gonna say these quotes and I I kind of want to open it up and see what you guys think if you can relate to them, or if you're like that's just a bunch of bullshit. Um that's fine for you to speak your mind. So one of the quotes is um the games, you know, referring to Viola Sbolin's games that she she used with these immigrant children, the games really are a form of breaking the ego, which I think is a really powerful concept. Um, and then sort of to tag on to that, I think this is the author saying, the game feed freed, sorry, the game-freed truthful behavior. So I'm just wondering if you guys can relate to that in doing improv, you know, when you're doing games or just doing improv because you're always finding trying to find the game even in long-form improv.
SPEAKER_02:Uh absolutely. Um, but the one that resonates a lot uh with me is the games really are a form of breaking the ego. Oh my gosh. Um I and like I said earlier, um, I was I was afraid when I first went to my for uh to my first meetup for playground. Um and it's because it humbled me and it made me realize like that you're not that great. Like you need to let other people talk, you know? Yeah um and uh and then when I came back the second time, I realized, oh, I need to show support.
SPEAKER_04:Yeah.
SPEAKER_02:Um that's what it was.
SPEAKER_04:And that was that breaking of that ego.
SPEAKER_02:Oh my gosh, it broke me. Um in a good way. No, not tears, but um, but it it really made me, oh, I'm so sorry. Um it made me realize that uh I'm not just by myself on a stage.
SPEAKER_05:Right.
SPEAKER_02:Yeah, it's not the it's like not classical theater. Um there's it's a shared space. It's a shared stage.
SPEAKER_00:Yeah, and learning to share again as an adult is a big deal. We get it.
SPEAKER_01:You have to share your crowns.
SPEAKER_00:And um, oh gosh, that makes me think of coming from well, you said you got into comedy because of improv. You got into improv because of comedy. Uh I I see a lot of comedians have a hard time giving giving that up. Um not because they intend to, but because they're so when they're on stage, they're used to being the center of attention. Yeah, they have that ego. A lot of them do. That's why warming up is so important. Oh my gosh, yeah. Like playing these games, they sound stupid, like zip zip, zip, you know, like like great, we can we can go in order, wonderful. But I mean what it is is is doing exactly that. It's it's not it's giving up that that ego.
SPEAKER_04:Yeah, it's focusing on other, right? You're passing it to somebody else, literally, right?
SPEAKER_02:Beautifully said, yeah.
SPEAKER_04:But yeah, and I I I would say too, you know, I think the concept of the ego, and I I talked a lot about this with my comedy teacher, Kat Simmons, by the way, who's an amazing comedy teacher if you ever wanted to get into stand-up comedy. Um, she's a great person, she's here local, uh, she lives in Gardnerville. Um, but um she always would talk about the ego, and she talked it more about it in the sense of fear. So you mentioned fear, Chris. Oh yeah. And um, in that that is the ego as well, trying to protect us and tell us, hey, you gotta stay away from this shit because it's gonna destroy you. And so I'm here to protect you. And but what ends up happening, especially you know, as a performer, is that can inhibit you, right? It's like we talked about getting in our heads, and it's like, what are what does that mean? It's talking, it's listening to that voice in our head that's saying, Oh, you better sit back, you better, you better stand back, you better not do this, because this is scary. And I think I think that that has helped me, uh improv has helped me too, to sort of be like, Okay, thanks, ego, but I got this and and and I'm just gonna do what I do and see what happens. I'm just gonna let go. So um, that's that's been a powerful experience for me.
SPEAKER_00:Yeah, that makes me think of a little meme that I put on my Facebook page. Oh, you did. Um yeah, it said, it said in order to be good at something, you have to first be willing to be bad at it.
SPEAKER_05:Oh yeah.
SPEAKER_00:Yeah, oh and and I think that that's exactly what they're talking about when they say ego is the ego is trying to, like you said, protect you and and you don't want that feeling of embarrassment. But when you get up on in a supported environment, you have the freedom to fail. Yeah.
SPEAKER_02:So that you can't wonderful feeling when you when you realize you can succeed with that fif with that failure. Yeah. Because um I I protected my ego um in a way where I was just starting to close people off because I was like, uh, I need to protect myself, protect myself. Because I've I've had rejection from Hollywood. Um you know, being um, you know, someone who's an immigrant and Asian. You know, I've been told things that, you know, I feel like should never be told to anybody.
SPEAKER_05:Yeah.
SPEAKER_02:Um and so when I first got to Reno Improv, I you know, feeling that humility um was was probably like a really great thing for me.
SPEAKER_05:Yeah.
SPEAKER_02:Um because then I didn't act like a little what was it from Lord of the Rings um smeagle? Prior. You know, like I I would like I I treated my ego like it was like some diamond ring.
SPEAKER_04:Right. Yeah, and I think we all do that to some to some extent, right?
SPEAKER_00:Yeah, for sure. But I'm curious based on what you just said, what how do you feel about the words like freed truthful behavior? Do you feel like you can be truthful on stage?
SPEAKER_02:Oh my gosh, yes, now I can. Um and it's so freeing just to not have to really think anymore. Um I'm not I'm not sure if you guys want to share your experiences, but um now when and this has happened um and it happens beautifully now, where I'll go on stage and I have no idea what the hell I'm I'm saying until like I hear the words come from someone else's mouth, and I was like, oh my god, I said that. Like it just comes out organically and I'm not even thinking anymore. Right. And then like I I pretty much I validate what I said because they said it, and then now I'm saying it too. I'm not sure if that makes sense.
SPEAKER_04:Yeah, no, yeah, no, I think that's absolutely. I think it's that that freedom, I think it's that freedom to fail that then you can just do whatever, and then it just comes out and it's you shock yourself when you're like, oh crap, I just said that. And it was, I mean, not to be like, oh, it's brilliant, but it's working. We've all been in that place too where we get in a stuck scene and you're like, what am I, what is coming out of my what crap is coming out of my mouth?
SPEAKER_02:I feel like the other person realizes you're like, you just said right people of your eye. And I was like, I said it in a really weird way.
SPEAKER_04:I think I I I was in a scene with you, uh Jesse, and I I said that in a really weird way, and then you were like, Yeah, and I mean it's not, it doesn't mean that, oh yeah, now we're freed from the shackles of all mistakes, but uh, you know, we're still gonna have maybe bad moments or stuck scenes, but but the the the beauty of it is is that you don't have to exist there forever. That it you can really and Jesse and I have talked about this is that you can truly, you know, people always talk about living in the moment, and it's like, well, what the fuck does that mean? You know, and and I think that improv has ri that has given me a tangible example of really feeling what that actually means. Because to me, it means letting go. That's all it means. Living in the moment just means letting go. And so you fuck up or you don't have a great scene, or you say something weird, you go left and talk about dead puppies or something, and then and then it's gone and it's okay. Then that doesn't mean that the next thing you do is another scene. Exactly, exactly, just like life.
SPEAKER_01:Yeah, there's another life. There's another wait.
SPEAKER_02:No, hold on.
SPEAKER_00:I feel like this kind of segues back into our topic for the day. Yes. Um, really well. There was one question I had. Um in improv, there's supposed to be no bad ideas. So whatever you say becomes reality. Um, can you think of any like practical tools that people can use or or experiences that you've had um to support ideas that you don't really feel are that great? Or to pivot um, you know, away from controversial ground, or if there's there's a place like how do you support someone even when you don't necessarily personally support what just came out of their mouths?
SPEAKER_04:I mean, I, you know, I think that it can be difficult, but um I think for me, what works is going, and this is coming from uh because and all of us took this. Oh no, you didn't, sorry. But we've talked a lot about it. Sorry, Jesse, that sounded horrible. I know, and I'm I'm I'm so David Rosowski.
SPEAKER_02:Rosowski came in for listening.
SPEAKER_00:Yes, Rosowski came to uh the Reno Improv and did a workshop that I hear was amazing. Yeah, and I'm kicking myself for not getting a lot of things.
SPEAKER_04:It was a three day back. Yeah, it was a three-day workshop and it was very intensive. It was all day for three days. And um he he's an intense fellow. I mean, he would just look at you and be like, shut the fuck up! Shut the fuck.
SPEAKER_02:But like in a beautiful way.
SPEAKER_04:But in a beautiful way.
SPEAKER_02:Which made you listen.
SPEAKER_04:Yes, yeah. And uh anyway, so I I use because that was pretty recently, and that's what's really helped me recently with my improv, I think the most, um uh, to use some of what he teaches, which one of the main things for me was point of view. So don't lose your point of view. So if the other person says something left or whatever, then just keep with your point of view. Um double down, double down, double down, don't just let go of it. I mean, unless it's gonna deny what's you know, obviously there's gonna be exceptions, but um, and there's something else that I can't remember.
SPEAKER_02:Um well, uh one thing, so if somebody were to bring, for example, like, let's beat on dead puppies, it's not really about beating on dead puppies, it's about that relationship. Yeah, so then all of a sudden there's um, I believe it's uh a MacGuffin. Um, and then it's no longer about beating dead puppies, thank god. Um and then it becomes that relationship, like I don't like it when you beat them like what happened, what's going on?
SPEAKER_01:What's not also I don't want to be married to you no more, like you know if it was that kind of relationship totally, yeah.
SPEAKER_04:You focus it back on the relationship. Yeah, it's always about the relationship, right? Yay yels. What do you have?
SPEAKER_00:Do you have uh um, you know, I wrote that question without an answer to it myself.
SPEAKER_01:Well, maybe because you were seeking answers.
SPEAKER_00:Maybe I'm seeking answers, but uh that's called being a great reporter.
SPEAKER_04:Yeah, that's right.
SPEAKER_00:Ask the questions that you have.
SPEAKER_04:Right, yeah. Other people, other inquiring minds want to know.
SPEAKER_00:I do, and I've I've been other people are curious. I've been on that place on stage too where I've um If people don't follow the rules, so there the first rule is there are no rules, right? So sometimes people don't follow the rules. Yeah and you get upset and then that gets upset.
SPEAKER_04:Do are there rules in improv?
SPEAKER_02:Um to an extent, I believe. Um if you so for example, if you were to go on stage and someone and so for example, if you said something like, Oh, this living room is amazing, and then somebody just comes out and says, like, we're not in a living room, right? This is an airport, and then now you have to like your brain is starting to jump on, like, oh now I sound crazy. Like now I have to play a crazy part.
SPEAKER_00:Well, this is my living room because I live in the airport.
SPEAKER_02:Yeah, or those are like I have to justify it, yeah. Like you have to justify it now. Um, and then sometimes in those scenes So that would be denial, probably, is what we would call that.
SPEAKER_00:That's denial, but even if people deny you whatever people say, that is the new reality. That is the new deny them back, right?
SPEAKER_04:Um and then that's that's the rule of sorry, I'm just trying to name these rules and then you can go ahead. But um, that's the rule, the classic rule of yes and, right? The yes, and then you add to it.
SPEAKER_02:So yeah, so it's it's one of those things where your your scene partner comes completely left field on you, and you're like, oh my gosh, now I have to be able to to say something that justifies that, but also I don't want to start fabricating random things. Right. Because then you you're just then it's not truthful, then it's not truthful anymore. Right.
SPEAKER_00:Well, and uh that kind of brings me back to the role of the improv community. In the improv community, there's going to be people who are new, there's gonna be people who are intermediate, and there's gonna be people who are really good at it. And if the people who are really good at it only want to play with other people who are really good at it, then the younger people will never grow. Yeah, I really enjoy playing with the two of you because you're more experienced than I am. Um you're great too. I oh, well, I'm not saying I'm not great, I'm pretty awesome. But I've only been doing it six months where you guys have been doing it longer. Um, so naturally not that much longer.
SPEAKER_02:Like I think it was like a I uh for me it's about it's been a year and maybe six months. How about it's the same for you, right?
SPEAKER_04:I don't yeah. Uh 'cause we were We were very close in the way. I think you guys were right after we graduated third level and then you guys were right.
SPEAKER_02:Yeah, because then you joined ATR right after. So it was probably like you're probably like a year and four months, and like I'm only two months older than her.
SPEAKER_04:Oh, I thought you were be were you before me? I don't know.
SPEAKER_02:No, I'm after you. Okay. I think I was after you, right?
SPEAKER_03:I don't know.
SPEAKER_00:We're all in this together now. Yes. Um, but I guess my point is is something that I'm learning is to not get so frustrated with people that don't do it right. Your job, no matter whether they do it right or wrong, is to support whatever it is that they are doing. And that's not gonna take me a minute. I'm gonna be honest. It took me a minute to not um kind of get upset when they're not doing what I think they should do with what I'm saying.
SPEAKER_02:It's and it's one of those things you just have to seriously brush it off. Right. Yeah, brush it off because like like what we were saying, like there's gonna be another scene and that's gonna be a better scene.
SPEAKER_00:Right. Well and learning how to do that helps you in life too. There's a lot of stuff I'm letting go in life that I normally would hang on to and ruminate over, and you know, that helps my anxiety, it really does. To be like, you know what, that happened and it's okay. Yeah, just let it let it go or you know, support it or take a higher road.
SPEAKER_02:I know sometimes when I spill shit on like on my floor, I'm all like, I'm not gonna clean that up. I know my cousin is all like, what the hell? Why'd you leave this on the floor? I don't know, I let it go.
SPEAKER_04:Just let it go. Um yeah, and uh yeah, I mean I I I agree. And uh, you know, I think too, like admittedly, I can be and you know, I want to control the situation, you know. Yeah, and that's ego too. That's your and that's totally improv, totally is like nope. If you try to do that, you actually end up being the asshole and the one that ruins the scene. So not you, sorry. You not you but um yeah, but uh I wanted to really quick mention because there is a a part in this book where um let's see, Flicker and May, one of the originators too of Improv, um, one of the original improvisers, um, and and this again is from Improv Nation. Flicker and Flicker and Mayor. Flicker and May are their last names. Um and they sit down at one point and they call these kitchen table rules. They sit down and they they actually wrote three rules. So, of course, the first one was don't deny, which we already just talked about, right? So, and it says if seven is if somebody says he has a bunny in his hands, he has a bunny in his hands. Right, yes, right?
SPEAKER_00:Freaking bunny, okay.
SPEAKER_04:Yeah. Um, and then number two is whenever possible, make a strong choice. Oh my gosh, that's good. Yeah, the less obvious, the better, which we talked a little bit about too at the beginning of this podcast. And then number three is you, which I think is interesting, and I'm not sure because I feel like Rasowski kind of um uh parts ways with this one a little bit. You are you. What you think of of as your character, this is in quotes, character in quotes, is really just a magnified piece of you. Therefore, on stage, be you. I feel like there's two beliefs of the thing.
SPEAKER_00:I uh, you know, I think that that can be interpreted a lot of different ways, but I think I think all that's saying is of course you're not playing yourself, yeah, but you can't separate yourself from your mind and what comes into your mind first. So if I look at something like in our game and say, you know, soda can, I think that's a metal grate. Um, you know, like that is coming from from somewhere inside of me. Like those are my visions and my memories that I'm able to turn that soda can into a metal grate. I don't even know where that freaking came from.
SPEAKER_04:Yeah, and I think sorry. Oh go ahead. No, I was just gonna just kind of tag on to that to say I think when it comes to emotions too, I've noticed that sometimes if I feel in some sort of way, like I can use that in my scene and choose that emotion. Um, so I feel like that too is also can be me. But and I want to talk about Rosalski too, but I want to hear about what you have to say.
SPEAKER_02:Oh, um no, I absolutely agree with both of your um both of your statements, and it's one of those really wonderful things, like so if you are feeling a little mad, like yeah, you don't don't be scared to be mad on stage because that's a real emotion, and then uh all of a sudden you have like a weird British accent. So now you're a mad British person.
SPEAKER_04:Um well and it's going back to like true, then it's true. It's truer because it's it's it's that's your emotion, right? Yeah, I guess you don't want you gotta be careful though, because if you're really mad, you might just like go left.
SPEAKER_00:Maybe maybe it could help you too. Like if if the situation that you're in, maybe your character comes to sort some kind of understanding about about why he's mad, maybe that could help turn your you know, turn your anger into something else.
SPEAKER_02:I'm so sorry. Um I just have a really great example. So um what was that Saturday? Um I was feeling very political during our yeah, and that's the reason why This is America. This is America, and all of a sudden that became the theme of our show.
SPEAKER_04:The whole night. Yeah. That was something that was already brewing inside you.
SPEAKER_02:Yeah, that was already brewing inside me because I was, you know, I was on Twitter too long. Um I was like, oh no, America's coming down. All of a sudden it just started coming out on stage, and I was like, I'm like, all of a sudden, and I was like, oh no, but it became like an actual wonderful thing.
SPEAKER_04:Yeah, and it was true to your character too. It was true to my character. It was a little oh no though, because it did teeter on because it like racism was brought up, and so there were some sensitive topics that kind of got brought up, and it was like it became a MacGuffin.
SPEAKER_02:It did, yeah, it became a wonderful MacGuffin because I was I was in a um very sad political. That was a um yeah, that's something we learned from him.
SPEAKER_00:Yeah.
SPEAKER_02:Um, but a McGuffin is also um so it could be so the the scene can start as a a start out as one thing, like I said, like with um it could be about um it could be a b you guys are initiating a scene as like cleaning the kitchen, but it's not really about cleaning the kitchen. It's the MacGuffin is where something um something else appears and you're like this is what it's really about. The juicy stuff.
SPEAKER_04:Right, okay. No, go ahead. I was just gonna mention because there is an opposing Rosowski does kind of present a an opposing view to this be you on stage because he separates the actor from the individual. Which is and so yeah, and he talks a lot about what the actor would want. So, in other words, like if you're having a scene, say, with maybe somebody you don't love, let's say, and so your natural reaction is to want to deny them, well then you don't have any business being on stage.
SPEAKER_05:Right.
SPEAKER_04:And he would and he says that he's like, you don't have any fucking business bringing your crap and your baggage and your bullshit on stage. Um, you are an actor, and so you need to think about what the actor wants. So if you're having a scene as the actor, how do you want your partner to react to you instead of sort of getting letting your personal feelings get in the way? So I I I tend to agree with that too, and kind of picking that statement. No, and I really do like that.
SPEAKER_02:Yeah, um, it's it's beautifully said, and I really do like that how Rusowski um stated that we are actors. I mean, there's some improvisers who are just like now coming in and they they don't realize that they're actors on stage. Like, and you are, you are an actor, you're you're no longer a lawyer, like you are an actor on stage who is improvising with a group of other actors.
SPEAKER_00:Yeah, absolutely. Sure. Cool. Good stuff. Let's move move right along. Um should we do should we do you want another question or do you want another lesson?
SPEAKER_04:Let's uh let's uh let's take a break and do uh the the improv word of the day. Yes. Okay.
SPEAKER_00:So there were conflicting um stuff online, I guess. Oh um uh so tell me what you okay. So the word of the day is beat. So what is a beat in so you know when I first looked it up, it was like any kind of major moment that you can remember in a show. But uh this one website says that a beat is a moment in which the player has the impression that the running scene ends, must end, or will be ending. Um, and I, you know, okay, so this might be if the scene has reached a climax. There was a gag that kind of caused a big laughter. Um in the regular flow of a scene when one asks himself a question, uh the question can be explained through insertion in particular by spelling out. I don't know what that means. Do you know what that means? No. Okay. Um let's move on. Basic question is that basic question. So what I think they're saying is that there's within one scene there can be kind of several different moments, and kind of like that moment ended, and we're on to it's I don't think it means like that the scene itself will be ending, but like that moment in the scene has has had its place and we're moving on, you know, to elevate the scene, you kind of have to move to a different place, is kind of how I take it.
SPEAKER_02:Uh yeah, it's the bubble uh popping. Um, but also works another Rosalski energy. We love you. I know but uh it's it also really works very well in narrative. Works so well in narrative because there are those beats in a narrative, but it also can come in a smaller scale of a single scene um because you are waiting for that bubble to burst and there is that beat. Um and you you will feel it because you'll have an emotion to it, and you're like, hmm, that made me not so great, but also I'm gonna react to that. Right.
SPEAKER_05:Yeah.
SPEAKER_02:So that's um I do understand where it says like a gag.
SPEAKER_04:Yeah. Well, like, and I think of that just to use a stand-up comedy concept as the punchline and the moment that maybe you edit to that scene if there's editing going on, depending on what format you're doing. Or perhaps there's a cutaway or another acting, or another exactly, or a tag or something.
SPEAKER_02:Something else needs to be introduced to like you just I I don't know what it is, but you just feel it. Yeah, yeah. You just feel it, and you're like, oh, someone said something and I feel something towards it.
SPEAKER_00:If the immediate interruption after a beat is missing, it may occur that the tension curve of the scene drastically goes down, becoming uninteresting or boring. So if you don't recognize that like that's kind of the end of that moment and and introduce something new, it is, it can drag on.
SPEAKER_02:Then it's very good.
SPEAKER_00:It's like, okay, you're dragging this beat out, it was over.
SPEAKER_02:Like something neat. Something else. Then needed to be edited like two minutes ago. Right. We've all been there. Right.
SPEAKER_04:Hello, people. Where's my team? Yeah. Hello.
SPEAKER_00:Um beginners often do not recognize the beat yet, or they don't dare interrupt the scene, even if they feel the impulse.
SPEAKER_04:Yeah. Yeah. And I I definitely I think I think there's a key word here too, which is tension.
SPEAKER_05:Yes.
SPEAKER_04:I think tension um in any comedy is super important. Um, and uh, you know, I I think and that can be built by heightening. Oh yeah. I mean, it can be built by silence, who I think Casey, by the way, one of our team members at Reno Improv, Casey. He does an amazing job with that. He doesn't think he does, of course, but he really does an amazing job with silence. I mean, you know, he just lets it. I mean, a lot of us I don't know about you guys, but I always want to fill in the silence.
SPEAKER_02:He does, um, he does a really great job of um Mr. Rasowski. I mean um sitting in it. Yes, yes.
SPEAKER_00:Another question, another one it down. Oh, yeah, for sure.
SPEAKER_02:It doesn't always have to be so fast paced.
SPEAKER_00:No. Okay. Um yeah, why I was gonna say something that that idea is.
SPEAKER_04:That was kind of like a hard one. It's a kind of an abstract one. Yeah, it is. So that was good.
SPEAKER_02:That's a really good word of the day, though.
SPEAKER_00:Yeah, yeah. I think we have time for about one more question on the topic of the day, and then and then we'll um we'll let you go, Chris. Um, let's do this one. Uh, what is the role of competition among improvisers? Um and how can competition be used constructively?
SPEAKER_04:Um, I mean, that is a tough one because I feel like I feel like it's one of those things where it's like, oh, you know, we're in this loving community and we support each other and we do, but then um, you know, we're also all performers. And we whether we like to admit it or not, you know, why are we doing this? I mean, we all like to be on stage and we get something out of, you know, the audience applauding or laughing, feel that black, dark hole inside our souls. Um, so you know, as much as I do feel a community camaraderie, a support, um, you know, I mean, I think it's only being real and honest to say, yeah, I mean, sometimes I'm like, oh, how come I'm not as good as that person? Um, or you know, whatever. There is a competitive thing that rises up. It's usually again, usually in the form of my ego.
SPEAKER_02:So I don't know. What do you think, Chris? Yeah, for me it's uh it's most oh man, I hate to say it is mostly my ego, but uh it it is, it's mostly my ego. Um where for me when I leave a scene, it's mostly all internal competition. And myself, like, why haven't I grown more? Why didn't I notice that? Why didn't I um so it's not really a competition between like uh me and Katie or me and Jess, uh Jesse. Um it's it's not that it's for me, it's more internal competition where I'm like, oh man, I can't, you know, I can't live up to somebody who's been doing it for like 10 years. Right. Like, and then it makes me want to grow.
SPEAKER_00:Yeah, right. Like it forces me to kind of like personal best instead of focusing on other people. You guys are both um competing in the duo competition as part of art county. Actually, I am not.
SPEAKER_02:I'm supporting.
SPEAKER_00:So I guess this question would be for you. Um what do you how do you think it feels to compete against people who are supposed to be a part of your community you're supposed to be supporting? Do you I mean you still want to win, right?
SPEAKER_04:But at the same time, um I think at this point, I I don't know. I mean, I would say I don't want to win right now. And I say that because um because I just view it, I mean, listen, the way that the competition is set up, which I only just learned this past weekend, was you know, you start out doing really short two, three-minute scenes, and then as they eliminate teams, you have to do 10 to 15 minutes, and at the end you do like 20 to 25 minutes, and it's just one scene with one other person and yourself. And so that seems super daunting, I mean, but also challenging in a good way. Yeah. So I'm focused, at least for this competition, I'm focused on that. And I think, you know, too, like Chris was saying, because this happens with stand-up comedy, I think a lot more because it is at least much more visibly competitive. And um, so that's where, you know, I try to focus, and it's not always easy for me, but try to focus on my goals and not try to compare myself to others and not, you know, because everybody's different, everybody has something to bring to the table, nobody else has any, nobody else has what I have to bring to the table, nobody else has what you have to bring to the table. You know, it's just and so just to try to focus on that, um, even though, of course, I mean, I'm sure we all have moments where we see somebody and you're like, God, why can't I just be like that? They're so amazing. And it's like, well, because that's that's them, you know.
SPEAKER_02:So just reminding myself of that, and building um for me, it's uh more about learning to build connections, um, like really connecting with that other person on stage. And that's where I am. Um, where I'm at right now is um building connection with that person because sometimes like I don't feel it and I have to fake it and I'm like, ooh, I wish I can't until you make it, yeah. Like I I wish I sometimes you don't make it. Yeah, sometimes you don't make it because like that scene fails. Yeah, I know. Um and then you're like, okay, that I've learned something from that. Like I either I wasn't listening or I wasn't. Um and I really don't like that term, like I have your back, um, because I want to be able to listen to you. I want to be able to hear you, I wanna, you know, really hear you. Um, I want to be able to see you, feel you. Um, those kind of I think I learned that from Rasowski. Um did I?
SPEAKER_00:I'm not just looking for ways to save you or help you I'm I'm looking for ways to lift you up and hear you and understand what yeah where you're at. Um be with you.
SPEAKER_02:Yeah, to be really with that person and to really make that connection. And I want to be able to to do it to a point where I'm making connections with every single person I'm on stage with. Right.
SPEAKER_04:But is that possible though? I mean sometimes it's it's you know, because I I feel like just in life, you know, I mean you connect better better with others, you know, some people more than others. I don't know what you guys think about that.
SPEAKER_02:My personal life, no. Uh it's a little bit harder because you know, that's that's the reality of things, you know. But when I'm on stage, like I want to be able to connect in that way where I can literally that's my goal. That's my own personal goal. Like I want to be able to I throw anybody at me and I can connect. Yeah, right, right. Yeah, and I think that's a beautiful thing to see on stage because I've seen people who are like damn, I thought that was gonna go really badly. Like we just connected in a way that I was not expecting. Yeah, yeah.
SPEAKER_00:Yeah. One thing that stuck out to me uh the other night that Tim Mahoney said, who is another great um teacher over at the Reno Improv, he said, Look, this is not a competition that we're doing. There is no competition in improv. This is a show about a competition.
SPEAKER_05:Yeah.
SPEAKER_00:So at the end of the day, we're all supporting everybody because we're all here to put this show on. Um, you know, don't get stuck in your ego about whether you win or not. It's not really about that. So I that's just something to add there. Um, let's let's finish up here because we've been here about an hour. Um actually, when I said hour, I think we just passed the hour mark. So let's um let's do some shameless promotion. You want to do some shameless promotion? Sure.
SPEAKER_04:Um oh me?
SPEAKER_00:Nope, nope.
SPEAKER_04:Let's do it.
SPEAKER_00:Chris, um, if people want to want to find you, if they want to follow your stuff, if they want to know what the heck is.
SPEAKER_02:I just create a Facebook page. Uh The Real Chris. I know someone someone was telling me. And when I say someone, I mean my husband. Um like you really need to start promoting yourself. Um, so uh yeah, check out my Facebook page at Chris uh The Real Chris ThinkPin. Um I also have uh an I uh IG or Instagram, uh The Real Chris Thigpin or I know it's all the same. Um or Twitter uh at uh Chris uh Chris ASTigpin um uh and then I soon we'll have a website that's uh coming soon.
SPEAKER_00:Um I think we will put all those in the show notes for you guys.
SPEAKER_02:Yeah, absolutely. Um and then um you can also catch me at uh Reno Tahoe Comedy. Um I also perform a lot with uh Katie at Reno uh Reno Improv. I'm so bad at telling the address.
SPEAKER_00:Oh we'll find it and put in Willow Street. That's what I know. I don't know what the number is.
SPEAKER_02:I know it's Willow Street. I'm so terrible. I'm moving there.
SPEAKER_00:Yeah, it's a lot of people.
SPEAKER_02:Wells and right next to the Aikido plate. Yeah, come and see us. It's uh well especially for July. Um we have a show every Friday at 8 p.m. And then we have two shows um on Saturdays. Uh we also have the playground and the workshops. Uh please come to all of those if you can. So the workshops are at uh 10 a.m. to 12. Uh Playground is always on Saturdays at 6:30. Um and then like I said, for just for Art Town uh for the July, for July, it's um Saturdays from uh it's eight. We have a show at 8 p.m. And then we have duo pro at 10 p.m. So please uh please show support. But on our regular, um, our regular showings like you know, past Art Town and Pass July, uh it's every Saturday at 8 p.m. Um and if you pay uh to get into playground, uh it's only five dollars. That five dollars actually takes you into the actual show, so you only have to pay once.
SPEAKER_04:So what you're saying is that people can get a whole night of improv, hours and hours of improv for only five dollars. Oh my god, yes. That sounds amazing.
SPEAKER_00:It is amazing, it's too good to be true. Um okay, well, one last question. Um, this podcast is called For the Love of Improv. So our final question is what do you love most about improv, Chris?
SPEAKER_02:Oh my gosh, I absolutely love that. Um even though it was by chance, I love it that it just became a tribe of amazing talented people and Accepted me into that tribe. Like, you know how people say, like, you need to find your village. Um, I found a tribe.
SPEAKER_00:Uh, that's wonderful. Uh thank you so much for coming on. Yeah, it was a pleasure. Thank you for having me. Yeah.
SPEAKER_03:This has been For the Love of Improv. We want to thank you for tuning in. If you would like to join the conversation, you can find our website at forthloveimprov.com. And don't forget that life is a stage. So get out there and perform the hell out of it.
SPEAKER_06:Come on, ladies! Love of improv improv for the love of improv Improv for the Love of Improv Improv. Improv Improv Woo. Yeah. See you next time.
SPEAKER_03:Peace.
