We sometimes have trouble with pop culture references in our troupe. Not every high school student has the same breadth of knowledge as everyone else, much less adult improvisers. The wider the knowledge base of the improviser, the more they have to draw upon in a scene.

Study and observe, folks. File away the minutia into the improv part of your brain.

My improv troupe has been in session with new members for about two weeks now, and last week we were doing some basic open scenes in improv. Normally when we do scenes like this, my veteran players are the ones who run the scenes - picking the players and giving the suggestions. And as a learning exercise, we always deconstruct scenes at the end to find out what went right and wrong.

We had so many new players that I had to break them into two groups, with vets splitting up and running each group. As I floated between the two groups, I discovered that my vets were doing what I myself was trying to diminish in me - overcoaching.

Once a scene was over, the vets launched into critiquing the scene. They did it very well - gave positive feedback first, and then suggestions about what could've been improved upon. They picked up on basic improv tenets that needed work within the scene and brought those to light. But I realized it was always them doing the talking - occasionally they'd get other troupe members input to specific questions, but it was still very...managed.

It got me thinking about how best to include the whole troupe when coaching one scene.

Open it up to the group first.
Let the general populace share their observations first. Most likely, they'll have picked up on the same issues that the coaches will have, and they are the ones who need practice articulating them. They may also have a different take on it that can be instructive.

Make sure the scene players give their own feedback.
They were in there doing it - no doubt they have their own opinions about how well (or not) a scene went. Having them focus on their own performance can make them view themselves with a more critical eye; having them comment on each other's performance in a positive sense can help them build trust and rapport.

Have coaches focus the discussion.
Whether by design or happy accident, a scene can usually serve to instruct a small subset of improv skills or rules. Have the coaches focus on those - ask directed questions to the group or the performers, point out examples of those skills/rules from the scene, etc.

Shut up.
As I've said before, don't say it. Do it - or, perhaps, have the performers do it again to illustrate the point. Get in there and do it with them. At the very least, say what you need to say in the least number of words so you can move on to someone else's thoughts - or even to doing some more improv.

Those four ideas cover most of the problems I and my veteran performers have. Coaches, anything to add? Share it in the comments below.

Whether you're a teacher interested in being a sponsor of an improv club or a student who's interested in more opportunities to do improv, this post may give you some tips about how to get one started at your school.

Get administration on board.
Most schools have a policy that new student organizations need the permission of an administrator (perhaps a specific one). You might find that your administration is a little nervous about permitting an improv troupe - the unscripted nature of teens on stage can be a little...unsettling. Let the administration know that there's a lot more structure to it than it might seem. 


Establish clear standards and expectations.
It can be very easy for improvisers to simply go where their performance impulse takes them - but at the high school level, there are certain lines about sex, drugs, behavior and so forth that just might not be appropriate. Depending on where your school is located, those lines might be more or less strict. Get all your interested kids on board with the notion that these aren't flexible. Determine what type of show best suits your local audience, and then emphasize that in rehearsals.


Decide what kind of improv you want to perform.
The easiest entrance into performing improv is short form: improv games and scenes very much like Whose Line is it Anyway? It tends to be easiest for teens to get their heads into, and they contain fairly easy gimmicks to make them funny. Some improv purists argue that doing short form improv makes you actually a bad improviser, but that's debatable.
Another option is to establish a troupe dedicated to long form: scenes which run much longer - even up to a completely improvised two-act play - in which characterization and storytelling are much more important and integral. Starting a long form troupe from scratch - with students who don't have any improv background - can be more difficult. If you have a group of solid drama students who have inclinations towards improvisation, you might be able to pull it off; long form tends to rely much more on acting ability, group memory, and storytelling ability.


Decide who the coach will be.
There's no reason why a drama teacher with improv experience couldn't be the coach of a school's improv troupe - but some teachers would rather bring in outside help. If you have any local improv troupes, either professionally or at nearby colleges, you might consider bringing them in to coach the troupe. Make sure that the coach you choose can commit to it regularly - if you have a professional who can help but can't commit long-term, then perhaps a better choice would be to have a drama teacher serve as the coach/sponsor, and bring the professional in early to do a number of workshops.


Set a clear rehearsal schedule and structure.
What day of the week will fit with the extracurricular schedule? Some schools stagger how their clubs meet, some leave it wide open for clubs to choose - but in that case, you'll need to consider conflicts with other organizations. Once you know the day - and how long your troupe will meet on that day - figure out what rehearsals will look like. How long will warm-ups take? Will the coach talk a bit at the troupe, or just jump right into scenes or games?
Unlike normal drama rehearsals - which is structured specifically towards scripted material performing on a certain date - improv rehearsals tend to be more skill-based: pick a particular type of improv skill, and work on that for one rehearsal.
One final important note about rehearsals: you absolutely must allow time/opportunities for coaching - breaking down what worked/didn't work in a scene, critiquing player's performances, etc. Without it, rehearsals just won't be effective.


Find your rehearsal space.
Ideally, if schedules accommodate it, you can rehearse in your school's performing arts facility. The nice thing about improv, however, is that with a lack of sets or props, rehearsals can take place almost anywhere. The best option is to find a space that is easy to reconfigure to give you plenty of space to play, a clear delineation of stage and seating, and somewhere you might be able to get loud. Classrooms are just fine, as long as there's room to get desks out of the way. If possible, make it a consistent rehearsal space, so that troupe members have a familiar, comfortable space in which to open up.


Generate interest.
You can't have a troupe without performers. Advertise auditions in the school theater, in drama classes, and around school. Don't just stick to the drama kids - you might find that students who have a talent for improv might not do well or fit in with regular stage performing, so they may be "hiding" elsewhere.


It may take a while before your troupe (or you) feel ready to perform on stage in front of an audience. As your troupe gets to that point, you may want to take a look at our tips for improv shows.