EvelKnievelImprov

The Evel Knievel Theory of Improvisation

Object

To jump over as many buses as possible, land safely, and beat your own record next week.

The Metaphor

As an improvisor, you're the greatest stunt motorcyclist ever. You draw the crowds by giving them compelling theater - leaping over a ludicrous number of buses. Landing safely is preferred but not absolutely necessary - the thrill is comes from the risk of a fatal outcome.

To perform a thrilling stunt like this you need a fearless rider, a fast, reliable bike with a powerful motor and just enough fuel to get you off the first ramp. You need a flat piece of ground where you can build up speed, a sturdy jump ramp, a bunch of buses, and a sturdy landing ramp. Loitering nearby is an ambulance and fire engine, just in case.

You are the rider.

You need to take seemingly-foolhardy risks, believing that no matter what happens, you'll survive the landing.

Your character is the bike.

It needs to be strong enough to accept the offers (fuel) and to maintain your objective (motor) to get you over the buses you've set up. It doesn't need to be big, flashy, or loud, but it does need to be strong.

Offers are your fuel.

You need just enough fuel. Too little and you won't make it to the ramp. Too much fuel just weighs you down and makes a bigger fireball when you land on that last bus. It's better to use a high-grade fuel (strong offers) than the weak stuff from the mini-mart on the corner. ACME Rocket Fuel(tm) works great; it's a lot less volatile than you'd think.

Judging the number and strength of offers to make is an acquired skill. If you can land safely with an empty tank, the crowd will think you're a real pro. Besides without all that extra useless sloshing, it's easier to hit your landing.

Your objective is your motor.

This is obvious - unless you want something, unless you're driven, motivated, you'll just sit there and never go anyplace. A strong objective reduces the amount of platform you need to make anything interesting happen, otherwise you waste time puttering toward your goal. Too much motor and you'll spin your wheels; the scene becomes about you, not about the perilous path to your goal.

A solid platform helps you get your scene up to speed.

You need a patch of flat ground to get up to speed so you can accelerate toward the ramp. The right amount of platform builds tension as the crowd watches your approach. Too little platform puts more burden on character, offers, and objective. Some people can make the jump with only a little platform, but it's more satisfying for the audience to watch you speed toward danger. Too much platform is dull; jump the damn buses already!

The tilt provides your ramp.

The ramp provides you with an opportunity to change. If you accept the critical offer (tilt) of the scene and are affected, it can propel you into the air over any adversity. Strong character and objective make reaction intuitive. Being "in the moment" is like the feeling of flying over a score of buses on a motercycle. Thrilling, timeless, and ephemeral, you don't realize it until you land.

More buses means higher stakes.

Jumping a foot-wide gap is no challenge; most people have done it with a rental car. The visceral thrill comes from jumping twenty buses filled with piranhas, lions, and flaming nuns. That's what draws the crowds and gives you the adrenaline rush. Add more buses whenever possible.

The resolution is the landing ramp.

What goes up must come down, preferably safely and sanely. Once you've jumped the buses, you need to hit your mark, find your ending, take off your helmet and give a hero's wave to the adoring crowd. Overshoot your mark and it can get kinda messy. Undershoot and it gets even messier.

The directors are your pit crew.

When present, the directors are there to make sure you have the best possible chance of success, helping you adjust your fuel and ramp placement (platform and tilt). Often they'll sneak another bus between the ramps when you aren't looking.

Bench and lighting support is your ambulance.

Sometimes things go awry when you're in mid-air -- that's when other players come to the rescue, helping you kick-start the scene, moving the ramps, and generally cheering you on. And if there's a big ball of fire, the lighting improvisor arrives with fire extingishers and promptly puts you out.