Archive for the ‘Fundamentals’ Category

Five Ways Jeremy Lin Changes the Game

Thursday, February 23rd, 2012

JeremyLin1It’s too obvious not to bring it up: the global interest in the Jeremy Lin narrative underscores again how fast and dramatically the game can change…and how a player like Lin–or you—can create the change and benefit from it when it happens.

First, it’s important to point out (again) that people—not events, products, strategies or tactics—are gamechangers. Only people have the power to change the game in each and every moment. Everything else is either fantasy or history.

Here are five ways Jeremy Lin changes the game…not has changed…not will change. Changes. Now. A gamechanger is always in the now.

Emphasize preparation over planning. It’s good to have a plan, but plans are subject to a lot of forces beyond our control. Our preparation, however, is something we can control. When Lin’s chance came, because his team’s plan to have other guards playing ahead of him did not pan out—a situation entirely out of his control—he was prepared. He was in shape to play a full game, even though he’d only played a few minutes at a time prior to that. Because he had studied and practiced his coach’s offense, he was able to execute it in game conditions. Lin understood that in the NBA, the planning is the area of concern for coaches, owners, trainers, schedulers, the Commissioner, and that what a player needs to do is prepare. As the great John Wooden once counseled my son about his own basketball playing, have faith that your chance will come. In the meantime, work at being ready for when it does.

Be willing to change your role and your status from scene to scene. Lin has changed his role to fit the needs of his team, both situationally within a game, and from game to game. In Lin’s first games as a starter, the Knicks needed scoring, so he played the role of a scorer. When they needed a change in momentum or tempo, he created it. When the team got too passive, he got aggressive. Now that the team’s acknowledged stars, Amare Stoudemire and Carmelo Anthony, have returned to the lineup, we see Lin changing his game to accommodate and include them. He understands that changing one’s role or status within the game does not change the essential nature of one’s character. He is same person today, in the glare of the global spotlight, as he was when he was sleeping on his brother’s couch, before the spotlight hit. He will be the same player whether he’s scoring 31 points in a game, or scoring three points, with 14 assists.

Embrace your mistakes. That doesn’t mean making more of them, it means seeing them as an opportunity to improve your game.  Accept mistakes as pointing the way toward an improved standard of performance. Lin made too many turnovers in several of his early games as a starter. He made it a point of focus and his performance has since improved in this area.

Add vocabulary. Before I’d ever seen him bounce a basketball, I saw this clip of Lin and Knicks teammate Landry Fields doing an elaborate pre-game handshake. I call it the You’ve Got the Yin I’ve Got the Yang Dust Off Confucius 3-Point Binocular Pocket Shake. In the history of sports handshaking, this was a new one. It was the first indication that we were looking at a gamechanger. This isn’t the kind of handshake a person makes up on the spot. This is a move Lin and Fields had to have worked up before Lin got any playing time. It wasn’t a response to celebrity, a personal signature, or a religious statement. It was a couple of smart people (Lin a Harvard grad and Fields a Stanford grad) adding vocabulary to the lexicon of their profession.

Make your teammates look good. Giving support is the highest form of gamechanging. At first, I thought Stoudemire and Anthony, who have been in the spotlight for most of their careers, would resent the attention Lin was getting. Now I’m thinking this won’t be an issue, because they see that Lin is going to help the stars of the team shine brighter, not dim them. No matter what game you’re playing, making your teammates look good is always a winning way. And a recipe for happiness.

How to get to Carnegie Hall

Monday, February 6th, 2012

As the old joke goes, a man carrying a violin case in Manhattan gets stopped by a couple of tourists who ask him how to get to Carnegie Hall. The violinist responds, “Practice.”

So obvious, it’s funny–no one gets to Carnegie Hall without a ton of practice. It is usually the most ‘talented’ performers who practice most diligently. The talent onstage in Carnegie Hall is, as much as anything, a talent for practicing. A love of the hard work and focus that it takes to master one’s craft.

CarnegieHall1Rob McNamara writes in Integral Life about ‘The Necessity of Practice.’ Practice, notes McNamara, is preparation. What we are seeing and hearing onstage at Carnegie Hall is a performance informed by preparation. It is the preparation that elevates and defines the quality of the performance.

Everyone has a Carnegie Hall, a place or ideal they’re trying to get to. A vision for the future. And then, quite often, something happens. We get sidetracked. Distracted. Too busy to practice. We stop off at the Carnegie DELI and call it Carnegie HALL. Our ego tells us we have arrived. That’s when the unproductive patterns–sameness, repetition, redundancy, stagnation, smugness—set in. That’s the point where our performances become cyclical, begin to repeat themselves, and our audiences get bored, and begin wondering why they paid their money.

McNamara defines the act of practicing as ‘Engagement.’ The GameChangers Orchestral Model™ identifies six practices that generate productive outcomes in the world. Engagement is one of the six. The other five are:

Heeding (listening, paying attention, observing actively). In the Orchestral Model™, this practice precedes Engagement. As the social media doyenne, Sally Falkow, (@sallyfalkow) says, “You don’t go right up to people having a conversation at a party or social event and just start talking. First you have to hear what conversation is about, and then can you be part of it, and engage with people in a meaningful way.”

Learning. What is revealed to you as a result of your interactions with others, and with your environment? How does your network inform you? How do you turn learning into solutions? All this takes practice.

Creating. How does what you do make a difference? How does it make you unique? How do channel creativity toward innovation?

Performing. What are your criteria? What is your Carnegie Hall? Is it a seven or eight digit number? A place? A whale of a client? A standard you have set for yourself, or that others have set for you? How does your performance differentiate you?

Deciding. How consistent are you? What values do you represent? How clear and shareable are your decisions? What themes are important to you? Who and what influences your behaviors? If your deciding practices are weak, Big Trouble soon come.

Performing and Deciding are what we call the core practices. If you are not good at these–if you don’t have a clear vision of where you’re going, or if you are indecisive and wishy-washy along the way—the rest of the practices will not matter, because you’ll be too busy zig-zagging toward a mirage, rendering meaningless decisions in service of illusory goals.

So call the whole thing Engagement, yes, definitely! Practice it! Be engaged! Be present! Pay attention! Notice! That’s a good first step. Then refine your practices into the six different areas of the Orchestral Model™, like an athlete working on muscle groups or a musician working through different progressions.

And when call comes from Carnegie Hall, you’ll be ready.

Miles Stroth: Listen Then Think

Monday, January 23rd, 2012

Listen4I take improv classes when I can, always from top-flight teachers. It helps me keep my edge by putting my performance under scrutiny and review that’s much more intense than what you or I experience in a workplace environment.  And it keeps me in a learning mode. You’ve probably never heard the name of my current teacher, Miles Stroth, but Miles is a legend in the improv community. He has influenced the art of improvisation as a performer and teacher, performed thousands of shows, taught thousands of students and changed the way they play the game.

I was struggling with my scenes in this week’s class, then had a little breakthrough in the last scene I did (we do dozens of scenes per class). The difference came about when I began by listening instead of thinking.

“Listen, then think,” says Miles. “Don’t try to make sense of the situation. Interact with it by listening.”

Here’s what happens when you think first instead of listening first:

You begin having a conversation about what’s in your head instead of about what’s in the scene. And because neither your scene partner(s) nor your audience can hear what’s in your head, you’re having a conversation with yourself, which distances you from the scene instead of engaging in it. You’re having a conversation with yourself.

Here’s what happens when you listen before thinking:

You can use your intellect to serve the scene (by doing something smart that propels the scene and makes your partner look good) instead of letting your intellect use you (“I am the smartest person in the room and here’s proof”). You’re having a conversation with reality.

Thinking is the ego talking; Listening is the world talking.

Listen. Then Think. That is the order of the opportunity in any scene you’re in.

Objectives vs. Outcomes cont’d

Thursday, January 19th, 2012

Tuesday night, we staged an invitation-only workshop for 25 friends, acquaintances and interested folks to let them experience the marvel that is GameChangers. After reviewing our performance, the GameChangers team’s consensus is that on this particular night we were not marvelous. We started 15 minutes late, got slow in the middle and rushed at the end. We felt that the experience was, at times, less than riveting for our audience.  A couple of people spent an inordinate amount of time on their mobile devices, and we know for a fact they were not tweeting about how great it all was.

Specific notes:

- After cautioning the audience at the beginning of the presentation about long monologues as a means of communicating, I wrapped up the presentation with a long monologue.

- Our direction was soft on a couple of the exercises. This resulted in a kind of sponginess in the middle of the two-hour session, with drawn-out explanations by Antonio and me, less focus by the teams, and a rushed ‘third act’ in the last 15 mins.

- As any improviser can tell you, you have to work on pieces of the process at a time. You cannot drop everything you know on your audience all at once. In my explanation of what we call ‘the orchestral model’ of business communication, and the concept we call ‘quantum narrative,’ I got into more detail than the audience was able to absorb in such a short window. ‘Too clever by half,”as they say in Blighty. ‘Ten pounds of potatoes in a five pound bag,” as they say in Boise.

- The teamwork that usually happens during our workshops was not so much apparent in this one. Things stayed more individualized, and less knit-together than we would like.

- The tempo at which we conducted the session was inconsistent. If I had been conducting a piece of music, it would have been in about 20 different time signatures, with me conducting at least part of the performance with my back to the orchestra. Missing cues. Dynamics roller-coastery instead of scenic.

These notes are related to our business objective for the workshop, which was to explain GameChangers and give attendees a sampling of what we do with our clients. At achieving this objective, we give ourselves a 50%. We were only about half as effective as we believe we’re capable of being.

So why are we not upset?

Two reasons: One is that because our process lets us see so clearly where the issues are, we have already taken steps to remedy them before the next open workshop.

The other, bigger, reason is that the outcomes of the session have been extraordinary, better than the outcomes of many workshops where our performance was actually  much better than it was Tuesday. A lot of credit for this goes to the people who were in attendance. One of the points we make in these introductions to GameChangers is to distinguish between objectives of the game, and the outcomes of the game, and wow, has that been our experience since Tuesday.

These are some of the outcomes:

- Our friend Ron Finley, the ‘renegade urban gardener’ connected with our friends Jenna and Adam from TakePart, who were in attendance. TakePart is the digital division of Participant Media. They are going to do a story about Ron.

- Erin Reilly, the creative director of USC’s Annenberg Innovation Lab, spoke yesterday to her faculty committee about having us do a one-day workshop there in March.

- Marcy and Strath Hamilton of Tri-Coast Studios, which is producing a lot of e-books, met a Ruby on  Rails coder named Patrick Maddox, who was in attendance Tuesday.  They’ve been looking for a coder. Now they’re talking to Patrick.

- T.H. Culhane and David Groder, who are working on a robotics education program funded by the U.S. Naval Research Dept., are making a presentation today (Wednesday) at Washington High School in Los Angeles, and are being joined by Ron Finley, who is a Washington High graduate. This is happening as a result of them connecting on Tuesday night.

- T.H. and Groder will soon get introduced by GameChangers associate Jamal Williams, who was in town from D.C. for the Tuesday workshop, to Nii Simmonds, the ‘Nubian Cheetah,’ a Ghanian-born D.C. resident and former investment banker who funds a program called Afrobotics, a robotics competition for African schoolchildren.

- Kevin Wall, who is producing the opening ceremonies and concert for the 2014 World Cup in Rio, was in attendance. Kevin learned for the first time that Fernando Godoy, who used to be an intern in at one of Kevin’s companies, is today a successful internet entrepreneur in Sao Paulo and is a partner in Spirit of Football 2014. Kevin and Fernando are going to meet the next time Kevin is in Brazil.

- Tri-Coast Productions and GameChangers are meeting this coming Monday to discuss two projects–a GameChangers ebook and a video series that would be produced and performed by people from our network of world-class improvisers.

- Andy Sternberg has since Tuesday introduced us to two friends of his whom he believes will be interested in our work.

- We were able to continue a conversation with Nicholle McClelland Betelier, a marketing officer from IdeaLab, that began at a yoga retreat in December.

- A crypto-hipster named Som showed up uninivited, and asked some of the best questions and offered some of the most thoughtful comments of the evening. Thank you, Som, whoever and wherever you are! Please stay in touch!

- My favorite outcome of the evening came about thanks to a ‘gift’ from David Groder. At the very end of the session, after my long-winded closing monologue, Groder asked if we could go around the room and have everyone introduce themselves. All 25 people introduced themselves and described the work they’re doing. It was really remarkable, not only because it completely subverted the normal order of things—introductions at the end instead of the beginning!—but also because the people in attendance are doing brilliant things in the world. Attendees are working in robotics, social media, community development, urban gardening, fashion, cause-related marketing, transmedia storytelling, architecture, criminal law, venture capital, entertainment, academia, e-books, tech, watercraft stabilization, app development, etc. etc. etc. Introductions at the end became a very enjoyable kind of reveal. Almost everyone stayed and talked for half-an-hour or more after the session, and I believe most of that conversation would not have happened if not for David’s gift to the scene.

Never get objectives confused with outcomes. Objectives are what we use to assess and improve our performance. Outcomes happen as a result of having performed. Objectives are finite. Outcomes are unlimited. Objectives create focus. Outcomes generate value.

Post-event conversations were the most productive part of the evening

Post-event conversations were the most productive part of the evening

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A GameChanger Visits Disney

Wednesday, July 20th, 2011

Yesterday, our friend and business partner, Jonathan Franklin, the author of 33 Men, a beautifully-observed account of the Chilean Miners dramatic 2010 rescue, and I did a one-hour presentation for 40 people at Disney Animation.

Actually, Jonathan did the presentation. He told all the stories. I designed a game that engaged the audience with the material in a way that it would not have if Jonathan had used the standard format of ’45 minute speech + 15 minute Q&A.’

Jonathan Franklin in conversation with Disney Animation

Jonathan Franklin in conversation with Disney Animation

The game was called ’15 Themes in 45 Minutes’. Here’s how it went:

I dumped images from the Chilean Miners’ rescue that we have permission to use (abt 90 of them) into Prezi.

Then I arranged the images by Theme. We settled on a number of themes, 15, that divided evenly into 60, because that would give structure to the hour.  (10 would have worked just as well, or 12) The Themes were ideas like, ‘Extreme Conditions,’ ‘Top Drill,’ and ‘Flexible Vision’  which I know, from knowing him and reading his  book, Jonathan can illuminate with great story after great story.

Then I added animation to the images, which is super easy to do on Prezi and showed some respect for the animators in the Disney audience. A presentation with no movement is an insult to animators.

So now we had three of the four elements of what we call the ‘ERGO’ structure for a game: Environment (Disney Animation Theater, Prezi); Roles (Storyteller, Audience, Prompter); and Objective (explore 15 themes). We still needed the ‘G’ in ERGO: Guidelines. I gave the game three:

1) Audience member can at any time request a description of an image (by calling “Caption”)

2) Audience member can, at any time ask a question (by calling “Question”)

3)  Audience member can, at any time, request a new Theme (indicated by calling “Scene”)

For most audiences, I would have added another guideline or two, to encourage editing by everyone in the Audience, not just a few people, but because these were professional storytellers, there was no need to do this.

It was an excellent experience for all of us. The game took 55 minutes to play, which left 5 minutes for a few follow-up questions.  Our time together had a much better flow, it was more of a conversation with the Audience, than if everyone had tried to save their question for a 15 min. Q&A at the end.

In exploring the 15 Themes, the conversation danced through subjects like President (of Chile) Pinera’s leadership strategy, NASA technology, the physics of hard rock drilling, Chilean culture, post-traumatic stress psychology, blow-up dolls, chocolate, tactical news leaking, the saving grace of humor, the fickle nature of celebrity and similar stories of people  trapped underground or underwater (Ace in the Hole, Jessica McClure, the Soviet Sub,  Kursk). The ideas for what to talk about belonged as much to the Audience as to Jonathan. And even though we were free to explore in all directions, we did it within the structure of the game.  We never lost track of where we were because we always knew what Theme we were in.

I made a couple of adjustments to the game while we were playing it. Initially the role of Prompter (mine) was only to explain the game structure to the audience and click through the Prezi images. Once or twice, when I felt the editing by the audience was lagging relative to the time we had left, I’d call ‘Scene’ myself.

Jonathan, his wife, and their six daughters, are in Southern California for two weeks, courtesy of Oakley, who is returning the favor Jonathan did for them when (without any kind of quid pro quo) he got Oakley to design and donate the sunglasses for Los 33 to wear and protect their eyes from the severe reaction they’d have to daylight when they were freed from mine last October.

Five of the Franklin girls–Fancisca, Kimberly, Amy, Susan and Maciel–accompanied Jonathan to Disney. Afterward, the director, John Musker (“Little Mermaid,” “Aladdin,” “Princess and the Frog”), along with Howard Green, Stephanie Morse and Kelsi Taglang of Disney, treated us to lunch in the ABC commissary and a tour of the Disney Animation studio. John drew little sketches of characters from his films for each of the girls.

A good game was had by all.

Legendary Disney Animation director John Musker draws for the Franklin girls

Legendary Disney Animation director John Musker draws for the Franklin girls

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What is a Theme?

Monday, July 11th, 2011

SarahLawrence2Last week GameChangers got hired to conduct a ‘thematic exploration’ of a client’s brand. Most of us, at one time or another in our educational lives, if not our working lives, have had to wrestle with themes. What are they? And, when it comes to business, what purpose do they serve?SarahLawrence6

Themes are Big Ideas. That’s part of it, but only part of it–because ideas can get too big, and, like a balloon so large it cannot be inflated, they will never find their definition, nor serve their purpose.

‘Stardom’ is a Big Idea. So is ‘Food.’ They are not themes. They are un-inflatable balloons, weighted down with so much meaning we can never get them off the ground. What makes a Big Idea buoyant? What gives it definition and gets it off the ground? Explorability.SarahLawrence5

The Big Idea must be Explorable (by at least two people at any one time). When a theme is Explorable, we can map to it. It can help guide us, and give us our bearings. At any given time, we can assess our position with regards to it. Themes, by virtue of their Explorability, suggest action. We can do something about them, through them, with them.SarahLawrence3

‘Reality Show Stardom’ is a theme. ‘Food of Love’ is a theme. (‘Love of Food’ is another theme altogether.) When a Big Idea is Explorable, we can tell, and others can tell, objectively, whether we are engaged with the Big Idea or not. If we are studying dance at Sarah Lawrence, we are, in all probability, not exploring the theme of ‘Reality Show Stardom.’ It’s easy, by contrast, to imagine a hundred moves that do explore that theme. If we propose marriage over dinner, we’re sailing in the ‘Food of Love’ balloon. If we’re eating Cheerios and checking the box scores from last night’s game, we’re in a different balloon. Explorability gives Big Idea shape and definition, and carries us into new territory.SarahLawrence4

Which brings us to the business purpose of a theme:

The exploration of a Theme transports us. That, by itself, would be enough to make the exploration of a theme a valuable exercise. The buoyancy inherent in a Big Explorable Idea gives wings to our actions and adds to our sense of purpose. If a theme is strong, rather than get lost in the exploration of an idea,we have the potential to discover ourselves it it.

There’s a second big reason that Themes are important to business and brands: Themes are the glue that bind your brand to your customers. They are common ground that you explore together. Social media are the mechanisms, a garage full of vehicles, so to speak. Themes define the conceptual, physical and virtual territory you and your customers can explore together.

The narrative belongs to the customer. By exploring Themes that are authentic to your brand and relevant to your customers, you increase the probability that your product will play a meaningful role in their lives.

All photos in this post are from http://www.slc.edu/graduate/programs/dance/

All photos in this post are from http://www.slc.edu/graduate/programs/dance/

ERGO YOUR IDEA

Tuesday, June 21st, 2011

The first time I experienced demand for new system architectures was when we had eight ‘information architects’ on the staff of our internet company, iXL, from 1997-2000, and they were booked solid  for most of that time. We all loved working with them. It was the ultimate white board exercise. They were the first people in the history of the world to have this particular job, and so, with absolutely no standards to which they had to be held, they excelled. People like Josh Galban (today, a product designer at MatchCraft), Ben Bratton (an urban architecture professor and writer-in-residence at UCSD) and Anuradha Sachdev (an experience designer at iCrossing) were among the infonauts who guided us toward  those early user experiences. Because there was no ‘stock’ of knowledge about their nascent profession, they had no choice but to learn, and what they learned has been enriching them, their co-workers and their employers ever since.

I think there is a similar need for game designers in business today.

Networked structures and systems are as different from Industrial Age systems as a jellyfish is from a jetty. Networked companies must adapt. Continually differentiate their brands. Quickly recognize and act on opportunity in a constantly-morphing business environment.

Networked companies absorb and ride change like seagulls adjust to the wind.

Continuing our trip to the beach…a rigid, hierarchical approach to business has about as much chance in this environment as a sand castle does at high tide. The flow of change is that strong, that tidal. The new structures must be fluid, like the roiling environment they navigate every day. Fortunately for us human beings, we are 90% water. Fluidity is in our nature. It’s there. All we have to do is recognize and embrace it.

Games are among the most dynamic and productive structures that can be introduced to a system. They legitimize authority, lend themselves to accountability and encourage autonomy–energies that must work in concert for a networked organization to succeed.

At GameChangers, we design improvisation games to help clients achieve their business objectives. Our definition of a game is E-R-G-O. Environment, Roles, Guidelines and Objective(s). If you can define those, game on.

Ideas are cheap; execution is hard. Games require execution. An idea is like a game that’s never been played. We never consider an idea–for either ourselves or our clients–without looking at it through the ERGO lens. Whether an idea is any good or not is a a subjective discussion. The experience of playing a game, by contrast, can be analyzed objectively.

GC_GameGrfx1In a networked world, the power of an idea, its ultimate meaning, resides in ‘how much game’ it’s got. How much ‘play’ it generates. Games create focus. Elevate performance. Stir emotions. Reward innovation. They result in great stories. The value proposition is the size of Monstro the Whale.

(NEXT: POOR GAME, RICH GAME)

Amber Magic

Tuesday, April 19th, 2011

Last week, I went to see a friend’s band play at a club in Hollywood, and got there to discover that they were third on the bill.  I had some time, so went across the street to Starbucks, where I read the paper and drank a cafe mocha.  The colorful characters are always present along Hollywood Boulevard, and a number of them were streaming in and out of the Starbucks, so I amused myself by tweeting about them.

One of them was a teenaged girl lugging a big suitcase. Her cheeks were painted in glitter. She looked tired. She ordered a water, then got a book out of a suitcase that looked to be crammed with rave clothing, smelled the book, and began reading.  On occasion, as she was reading, she would laugh out loud.

I figured I had the story.  Practically a cliche.  Underage girl, probably a runaway, goes to Hollywood rave, crashes with people she meets there, and when everyone is no longer amused, they kick her onto the street.  Now she was headed back to San Bernardino or Topeka, or wherever.

To confirm all this, I initiated a conversation with her.  It turned out that her name is Amber.  She works with a group in the Bay Area called Magic Princess that does party performances.  A couple of days earlier, they had gotten a phone call from the Make-a-Wish Foundation in L.A., and Amber happened to be in the office when the call came.  An eight year old girl from Los Angeles with a terminal illness had made a wish to see a fairy.  Amber volunteered to play the fairy.  She rode a bus for 12 hours from Oakland to L.A., spent the afternoon being the little girl’s fairy and was waiting for the bus, to ride 12 hours back home.

The light of Amber’s beautiful story exposed the wrongness of my pathetic preconception. How often do we do this? We perceive things to be a certain way because we see them from the perspective of our own experiences, when in reality, our own experiences are a very narrow lens, like trying to see the world through a pinhole camera. When we manage to put down that lens and really look around, we discover that every interaction holds the potential for something new and wonderful.

It is only when we let go of our own narratives, our scripts for what we think we want our lives to be, our prejudices preconceptions and fears, that we can truly experience the beauty of what life actually is. We don’t have to make the magic. It’s all around us. And if we’re open to it, it will happen.AmberFairy1

‘Yes and’ Artfully

Wednesday, March 9th, 2011

The basic building block of improvisation is ‘Yes and.’  The premise of every statement improvisers make is one of agreement and addition.  Scenes move forward by ratcheting along with the ‘tool’ of yes-and like a climber finding holds on the side of a mountain…

MountainConnect1BYes, we are here, and I see a place we can grab over there.  Yes!  A new crack reveals itself, and we grab it.  We see another hold and we make the move.  Yes, and now we’re experiencing the mountain from a new perspective.  Multiple new holds appear, and one hold at a time, with each move accompanied by a thousand little calculations that are faster than conscious thought, we move up the face of the mountain.

Beginning improvisation students tend to use the phrase ‘Yes and’ literally.  Skilled players discover infinite ways to ‘Yes and’ without necessarily using the words themselves.  This keeps technique in the background where it belongs.  A scene in which every player begins every contribution with the words ‘Yes and’ will get sing-songy in a hurry, and that’s not what we want.  We want nuance.  Refinement.  We want technique to be second nature so that it becomes invisible to our audience, and we can pay attention fully to the realities of the environment and our fellow players.  That’s gamechanging leadership.

Gamechanging is the art of doing what’s best for the scene.  That means knowing a lot of different ways to yes-and.  GameChangers yes-and artfully, with technique taking a backseat to the scene’s objective.

They can do it with a smile and a supporting comment.  Or

A reaction and a correction. Or

With constructive criticism. Or

By giving gifts to their scene partners and making them look good.  Or

By seeing and adding to the environment. Or

By joining in the shop talk of the scene. Or

By keeping the scene focused on its objective. Or

By supporting the scene from offstage. Or

By making declarative statements instead of interrogating scene partners. Or

By energizing and heightening the emotional level of the scene.  Or

By emphasizing convergence on a solution when a divergence of ideas gets unwieldy. Or

By doing what our friend Kristen Parrinello calls ‘invisible work’ (@invisiblework is her Twitter handle), the little moves that are so subtle as to be invisible to the audience.

Walt Disney used to call yes-anding (and Pixar Animation has taken to calling it) ‘plussing.’  Add something to the scene, and if you don’t have anything to add, get off the stage.

Not that you shouldn’t practice yes-anding by literally using those two words.  You should.  Use them as a kind of warm-up or rehearsal, like you’d practice the basic forms in ballet or the scales in music.  When the game is on, and you’re in the heat of a big scene, ‘Yes and’ may not literally pop up in your dialogue, but the technique will be there, invisible and inaudible, doing its work, ratcheting you and your team to the summit of whatever mountain you choose to climb.

Bring Your Toolbox, Not Your Rulebox

Tuesday, January 11th, 2011

One of the best improv groups I’ve ever seen is the three person team, Dasariski, consisting of Bob Dassie, Rich Talarico, and Craig Cackowski, who perform at I.O. West in Los Angeles.  They are a great group for a million reasons.  My favorite thing about them is that they are incredibly patient about letting the game come to them.  They are as delighted as the audience by what they discover in their scenes, and they discover a lot.  It’s what makes a Dasariski show a delightful experience.

Talarico2When I saw that Rich Talarico would be conducting an 8-week class entitled The Way of Improv, I jumped at it.  We had our first class this past week and just as one might expect from a Dasariski player, the coaching was patient, and it was delightful.

Rehearsal space is sacred space, and I’m not going be reporting on these classes, but Rich said something wonderful early in the first class that is worth sharing.  I don’t think he’ll mind, because it is drawn from the commonly-shared language of improvisers.  He said, “We don’t have rules, we have tools.”

That, to me, is a perfect summation of what improvisation is all about.  Of course, there are rules to every game.  In business, there are rules governing every transaction.  What Rich meant is that the art of improvisation itself has no rules.  It has tools.  We put our tools to work to liberate performance.  Rules are just there to give shape and context to the performance.  In terms of improvisation, rules are to tools what the block of wood is to the hammer, what the plaster is to the putty knife.

When you invoke rules to guide your process you are using a block of wood to hit the nail.  You are throwing wet plaster at a crack in the wall.  To solve the problem, bring your toolbox, not your rulebox.