WEBVTT 00:00:00.460 --> 00:00:04.080 Hey, everybody, and welcome to the SoCap Improv 00:00:04.080 --> 00:00:06.740 Comedy Podcast. My name is Ralph McLeod. I am 00:00:06.740 --> 00:00:08.939 the owner and artistic director of the SoCap 00:00:08.939 --> 00:00:12.560 Improv Comedy Theatre in Toronto, Ontario, where 00:00:12.560 --> 00:00:14.779 we do improv classes, shows, rentals, events, 00:00:15.080 --> 00:00:16.820 corporate events. I have a corporate company. 00:00:16.920 --> 00:00:21.140 I have a corporate company called Yes Unlimited, 00:00:21.339 --> 00:00:23.719 where we do corporate work with my partner, Tracy 00:00:23.719 --> 00:00:25.879 Shade Porter, who I'm going to have on at some 00:00:25.879 --> 00:00:27.800 point. We'll talk about corporate work. Corporate 00:00:27.800 --> 00:00:30.420 improv, how we can bring improv into your workplace 00:00:30.420 --> 00:00:34.179 to transform teams, to make a workplace that's 00:00:34.179 --> 00:00:36.740 more conducive to saying yes and getting along 00:00:36.740 --> 00:00:41.520 and communicating and embracing mistakes and 00:00:41.520 --> 00:00:45.479 creativity, thinking outside the box, stretching 00:00:45.479 --> 00:00:47.859 up against your edges of your comfort zone and 00:00:47.859 --> 00:00:49.840 expanding them and all that great, wonderful 00:00:49.840 --> 00:00:53.689 stuff. Also, you can come and take a class with 00:00:53.689 --> 00:00:56.570 me online every Wednesday at 6 to do a Zoom class. 00:00:56.869 --> 00:01:02.090 And we regularly, or I guess the Royal League, 00:01:02.149 --> 00:01:04.469 regularly have students from all over North America. 00:01:05.430 --> 00:01:09.209 Arizona, New York, Connecticut, Canada, of course. 00:01:10.609 --> 00:01:13.209 So that's been really, really fun and interesting. 00:01:13.409 --> 00:01:16.849 It's a nice community of people who still come 00:01:16.849 --> 00:01:19.709 and get together. Started during the pandemic. 00:01:20.109 --> 00:01:22.629 And boy, if you told me before the pandemic that 00:01:22.629 --> 00:01:25.409 I could teach improv online through Zoom, I'd 00:01:25.409 --> 00:01:29.810 say you're nuts. But I actually still do it and 00:01:29.810 --> 00:01:34.489 quite enjoy it. It is not the same as real life 00:01:34.489 --> 00:01:38.390 being in person, but it certainly has advantages 00:01:38.390 --> 00:01:43.829 that I've discovered and like. I recommend trying 00:01:43.829 --> 00:01:50.010 it if you are in a roommate place, remote place. 00:01:50.349 --> 00:01:53.829 I recommend it. But you can come to our website 00:01:53.829 --> 00:01:57.989 at socap .ca, S -O -C -A -P as in peter .ca, 00:01:58.170 --> 00:02:02.469 and try it out. We usually have at least one 00:02:02.469 --> 00:02:05.129 person who's new, which has been exciting and 00:02:05.129 --> 00:02:11.729 fun. Great. Also, every podcast has a sponsor. 00:02:12.459 --> 00:02:17.259 This SOCAP podcast is no different. Today's podcast, 00:02:17.780 --> 00:02:22.560 hey, do you have a baby in your life? Well, this 00:02:22.560 --> 00:02:24.879 magazine is for all the well -dressed babies 00:02:24.879 --> 00:02:28.419 out there. This magazine is called Coup GQ. So 00:02:28.419 --> 00:02:31.219 Coup GQ, the magazine for the well -dressed baby, 00:02:31.360 --> 00:02:34.039 the well -apportioned baby, proportioned baby, 00:02:34.219 --> 00:02:36.879 a baby. Do you have a baby in your life? Do you 00:02:36.879 --> 00:02:40.180 want to start it down the road of just thinking 00:02:40.180 --> 00:02:42.939 about material things? Well, then don't. I run 00:02:42.939 --> 00:02:46.479 out and get a copy of Coup GQ magazine available 00:02:46.479 --> 00:02:50.520 at your local grocery store and every place they 00:02:50.520 --> 00:02:55.539 sell fine magazines. So I'm assuming subways, 00:02:55.599 --> 00:03:01.719 underground vaults, terraces, things like that. 00:03:01.780 --> 00:03:06.849 Anyway. So this improv comedy podcast is about 00:03:06.849 --> 00:03:10.069 improvisation, but more bent or geared towards 00:03:10.069 --> 00:03:12.409 people who are not interested in performing. 00:03:12.810 --> 00:03:15.530 Certainly we will cover some improv performing 00:03:15.530 --> 00:03:21.150 topics. But as I have covered before, why should 00:03:21.150 --> 00:03:24.490 you as just an average Joe person or Jane person 00:03:24.490 --> 00:03:27.090 or whomever person who doesn't want to be the 00:03:27.090 --> 00:03:28.770 next Tina Fey, why would you take improv? Well, 00:03:28.889 --> 00:03:31.530 there's a legion of reasons that I've gone over 00:03:31.530 --> 00:03:34.060 and I won't. Go over them again. You can certainly 00:03:34.060 --> 00:03:37.680 search other podcasts. I think I even have one 00:03:37.680 --> 00:03:39.860 called, Why the heck should I even take improv? 00:03:40.039 --> 00:03:42.379 Or what is improv? Why is it important for me? 00:03:42.939 --> 00:03:45.039 Well, it helps you overcome such things as your 00:03:45.039 --> 00:03:47.180 self -consciousness. It improves self -confidence. 00:03:48.039 --> 00:03:50.219 I say, you know, get out of your head and into 00:03:50.219 --> 00:03:52.860 the moment. Getting out of your head is an interesting 00:03:52.860 --> 00:03:56.560 one. Because what does that mean? You've never 00:03:56.560 --> 00:03:58.639 heard that term before. Get out of your head. 00:03:58.919 --> 00:04:02.180 Well, it really means... get over that thinking 00:04:02.180 --> 00:04:03.860 part of your brain that wants to do everything 00:04:03.860 --> 00:04:06.560 right good and perfect just learn how to be yourself 00:04:06.560 --> 00:04:08.199 and connect with people because at the end of 00:04:08.199 --> 00:04:10.000 the day isn't that what we all want just to be 00:04:10.000 --> 00:04:12.759 ourselves and find people who will like us for 00:04:12.759 --> 00:04:16.240 who we are well those people exist so uh but 00:04:16.240 --> 00:04:19.139 you can never find them if you're so fixated 00:04:19.139 --> 00:04:22.500 on presenting a version of yourself to the world 00:04:22.500 --> 00:04:25.040 that's not real right which we all do because 00:04:25.040 --> 00:04:28.670 it's protective for a myriad of reasons but uh 00:04:28.670 --> 00:04:30.949 we all have our own reasons but it's a general 00:04:30.949 --> 00:04:34.110 thing and not everybody but a lot of us have 00:04:34.110 --> 00:04:37.889 this mask that we wear that we present to everybody 00:04:37.889 --> 00:04:41.029 else the best version of ourselves and idealized 00:04:41.029 --> 00:04:43.930 versions of ourselves whatever that is but it's 00:04:43.930 --> 00:04:47.569 not real and uh it's limiting and boring so what 00:04:47.569 --> 00:04:50.730 improv will help you do especially in my class 00:04:50.730 --> 00:04:53.310 i shouldn't say all classes do this i think i 00:04:53.310 --> 00:04:56.170 think if you start actually learning to improvise 00:04:56.170 --> 00:04:58.699 i think any class We'll break down those barriers 00:04:58.699 --> 00:05:01.160 for sure. Uh, even if you just do it yourself, 00:05:01.300 --> 00:05:05.019 don't even have someone who can show you because, 00:05:05.079 --> 00:05:08.579 uh, that's fun too. Uh, or I expect it would 00:05:08.579 --> 00:05:10.959 be probably frustrating as well. I don't know. 00:05:11.040 --> 00:05:17.560 Uh, I just remember like starting and, uh, we 00:05:17.560 --> 00:05:19.259 didn't, we had some people would show us some 00:05:19.259 --> 00:05:22.980 things. But I think by and large, we figured 00:05:22.980 --> 00:05:25.240 it out ourselves, which made it very exciting 00:05:25.240 --> 00:05:27.879 and also frustrating, all kinds of things. But 00:05:27.879 --> 00:05:30.500 now I'm very, very happy that I had that path. 00:05:30.899 --> 00:05:33.980 Anyway, today, what I want to talk about is scene 00:05:33.980 --> 00:05:39.459 structure. And this is more for performing or 00:05:39.459 --> 00:05:43.620 for more theory, I guess. But it does, it is 00:05:43.620 --> 00:05:49.180 helpful. to understand sort of the dynamics of 00:05:49.180 --> 00:05:52.259 scenes, the types of scenes we'll run into. And 00:05:52.259 --> 00:05:54.120 I'm not going to talk about all the types that 00:05:54.120 --> 00:05:58.120 we'll get or even the top four or five, but one 00:05:58.120 --> 00:06:02.040 particular type of scene that we will get. And 00:06:02.040 --> 00:06:06.759 this type of scene I call, you know, or I call, 00:06:06.879 --> 00:06:10.439 I didn't make this up, but I borrow, you could 00:06:10.439 --> 00:06:13.860 call it the hero's journey or the story circle 00:06:13.860 --> 00:06:17.639 scene or the three -act structure. And this is 00:06:17.639 --> 00:06:20.800 very familiar to us if you've seen any kind of 00:06:20.800 --> 00:06:25.600 movie with one hero. So the original Star Wars, 00:06:25.879 --> 00:06:31.579 Harry Potter, any kind of James Bond movie, action 00:06:31.579 --> 00:06:35.720 movies, Die Hard. These are all movies with a 00:06:35.720 --> 00:06:40.160 single hero facing insurmountable or I guess 00:06:40.160 --> 00:06:41.660 not insurmountable because they surmount them, 00:06:41.699 --> 00:06:45.910 but they face odds. And that can be. summarized 00:06:45.910 --> 00:06:49.769 uh in the story circle there's a book uh man 00:06:49.769 --> 00:06:54.829 of a thousand faces by oh my gosh i just blanked 00:06:54.829 --> 00:06:59.089 on his name that's terrible oh boy now i'm not 00:06:59.089 --> 00:07:02.230 googling it because i'm live um i will mention 00:07:02.230 --> 00:07:04.149 it on the subject of podcasts and i apologize 00:07:04.149 --> 00:07:07.910 that i forgot the name uh but this gentleman 00:07:07.910 --> 00:07:11.310 was a researcher and he discovered that he was 00:07:11.310 --> 00:07:15.639 investigating uh native myths uh from north america 00:07:15.639 --> 00:07:17.879 and he discovered similarities between these 00:07:17.879 --> 00:07:19.639 myths and then he started looking at other myths 00:07:19.639 --> 00:07:23.300 around the world and found that stories from 00:07:23.300 --> 00:07:28.500 every part of the planet had similar uh elements 00:07:28.500 --> 00:07:31.040 within them and so he documented this in a man 00:07:31.040 --> 00:07:34.850 of a thousand faces Which then George Lucas or 00:07:34.850 --> 00:07:37.009 George Lucas' wife, if you believe the conspiracy 00:07:37.009 --> 00:07:39.930 theories, wrote the original Star Wars using 00:07:39.930 --> 00:07:42.629 the Man of a Thousand Faces as a guide. And that's 00:07:42.629 --> 00:07:46.769 one reason why the original Star Wars, if you 00:07:46.769 --> 00:07:51.689 saw it before it was bastardized in the 90s, 00:07:51.730 --> 00:07:57.509 really fit that story structure perfectly. In 00:07:57.509 --> 00:08:01.639 more recent times... Dan Harmon, the creator 00:08:01.639 --> 00:08:06.300 of Community and also Rick and Morty, has coalesced 00:08:06.300 --> 00:08:09.779 that down to his story circle, which he has about 00:08:09.779 --> 00:08:13.459 eight elements within. And for my purposes through 00:08:13.459 --> 00:08:17.660 improv, I reduce it even further and really boil 00:08:17.660 --> 00:08:21.279 it down to its essence. And so I'm going to go 00:08:21.279 --> 00:08:25.439 through very quickly. I'll do the story circle 00:08:25.439 --> 00:08:27.860 in greater detail at another time because today 00:08:27.860 --> 00:08:30.810 what I really wanted to talk about. was one particular 00:08:30.810 --> 00:08:33.990 kind of scene the most common kind of scene which 00:08:33.990 --> 00:08:40.269 does follow this this structure um pretty well 00:08:40.269 --> 00:08:43.289 and um one other thing i just want to say before 00:08:43.289 --> 00:08:46.070 i delve into this is this is not something that 00:08:46.070 --> 00:08:48.450 will be running in your head while you're improvising 00:08:48.450 --> 00:08:51.509 you know i'm not i'm one of those people who 00:08:51.509 --> 00:08:53.690 want to get you out of your head that is not 00:08:53.690 --> 00:08:58.350 thinking about structure and uh and character 00:08:58.350 --> 00:09:01.750 i want all these things to be in our bodies you 00:09:01.750 --> 00:09:03.889 know the same way that driving when you start 00:09:03.889 --> 00:09:05.629 driving of course you have to check your mirrors 00:09:05.629 --> 00:09:07.450 you have to think about these things and you 00:09:07.450 --> 00:09:09.769 do them again and again and again until finally 00:09:09.769 --> 00:09:11.649 they're just in your body and you don't think 00:09:11.649 --> 00:09:15.309 about them right like if you watch concert pianists 00:09:15.309 --> 00:09:17.950 you know there's a thing in their brain telling 00:09:17.950 --> 00:09:21.990 them to move that finger but uh you know it happens 00:09:21.990 --> 00:09:24.710 so fast it's it's no longer it's beyond conscious 00:09:24.710 --> 00:09:28.659 control Like a lot of these reflexes that we 00:09:28.659 --> 00:09:32.860 have, you know, that can become like if you drive, 00:09:32.960 --> 00:09:36.639 you know, you're the impulse or the instinct, 00:09:36.759 --> 00:09:39.100 I guess, to hit your brakes at the sign of trouble. 00:09:39.480 --> 00:09:41.240 You know that your foot is on that brake for 00:09:41.240 --> 00:09:43.139 your brain recognizes there's a thing going on. 00:09:43.159 --> 00:09:44.860 That's a conditioned response. And that's what 00:09:44.860 --> 00:09:46.440 I'm trying to get to is a conditioned response 00:09:46.440 --> 00:09:49.080 where we say yes by default. We do these things 00:09:49.080 --> 00:09:51.039 by default because they're within our bodies. 00:09:51.399 --> 00:09:53.519 So I'm actually running out of time. So I'm going 00:09:53.519 --> 00:09:55.889 to. I'm going to hold off on the story circle 00:09:55.889 --> 00:09:58.850 for another podcast. But what I am going to talk 00:09:58.850 --> 00:10:02.490 about is this three act structure as it relates 00:10:02.490 --> 00:10:04.610 to this one particular kind of scene, which is 00:10:04.610 --> 00:10:08.210 a scene in which there is often these are duo 00:10:08.210 --> 00:10:11.870 scenes. I guess almost exclusively duo scenes, 00:10:11.970 --> 00:10:14.929 unless a third character may enter, may be part 00:10:14.929 --> 00:10:19.029 of it. But there is in this, there is one main 00:10:19.029 --> 00:10:22.190 character. That is, there is a character that 00:10:22.190 --> 00:10:26.399 is. has a point of view that is more, I guess, 00:10:26.440 --> 00:10:29.779 uh, more has more in common is more representative 00:10:29.779 --> 00:10:33.360 of the people as a whole. So for example, let's 00:10:33.360 --> 00:10:38.100 say you have a couple and a married couple, uh, 00:10:38.360 --> 00:10:43.679 and one of those, and the, let's say this one, 00:10:43.799 --> 00:10:47.299 one of the spouses has, has discovered that their 00:10:47.299 --> 00:10:49.980 partner is having an affair and they confront 00:10:49.980 --> 00:10:54.440 them. Uh, now in that little, bit of a scene 00:10:54.440 --> 00:10:57.360 in the setup that would be the first part of 00:10:57.360 --> 00:10:59.860 the scene the world as it is the starting conditions 00:10:59.860 --> 00:11:04.440 this is what we know and just by virtue of being 00:11:04.440 --> 00:11:07.399 cheated upon the spouse who is the I guess the 00:11:07.399 --> 00:11:10.600 cuckold in this case is the main character they 00:11:10.600 --> 00:11:13.500 are vulnerable they're sympathetic you know this 00:11:13.500 --> 00:11:16.000 is why all heroes are orphans or their parents 00:11:16.000 --> 00:11:20.379 are mean to them or they are somehow sympathetic 00:11:20.379 --> 00:11:23.559 or vulnerable even in Die Hard John McClane afraid 00:11:23.559 --> 00:11:27.019 to fly so vulnerable sympathetic and that generally 00:11:27.019 --> 00:11:30.100 shows us a main character again i don't want 00:11:30.100 --> 00:11:31.539 you to think about these things while you're 00:11:31.539 --> 00:11:34.600 advising but it's it's good to deconstruct them 00:11:34.600 --> 00:11:39.399 uh scenes and and go through them anyway so this 00:11:39.399 --> 00:11:41.500 is the type of scene that we tend to have this 00:11:41.500 --> 00:11:44.600 this scene with joe's represents i think probably 00:11:44.600 --> 00:11:48.340 50 to 60 percent of the types of scenes that 00:11:48.340 --> 00:11:51.379 you will see in character and story scenes not 00:11:51.379 --> 00:11:53.549 game of the scene but i don't teach game of the 00:11:53.549 --> 00:11:56.730 scene although that they they come up and i'm 00:11:56.730 --> 00:11:59.250 i love game of the scene but i don't i think 00:11:59.250 --> 00:12:03.470 any scene that starts is not some a scene that 00:12:03.470 --> 00:12:05.330 we want to impose anything on i think we want 00:12:05.330 --> 00:12:07.809 to let it breathe and we want to discover what 00:12:07.809 --> 00:12:10.330 kind of scene this is maybe this is a scene where 00:12:10.330 --> 00:12:14.649 there are no laughs uh that's rarely it's very 00:12:14.649 --> 00:12:17.009 very very uncommon that you will have a scene 00:12:17.009 --> 00:12:20.929 with no laughs that is entertaining and that 00:12:21.210 --> 00:12:23.409 has to do with where the laughter comes from, 00:12:23.490 --> 00:12:25.309 which I don't have time to talk about today, 00:12:25.409 --> 00:12:28.190 but that's the 10 episodes right there just on 00:12:28.190 --> 00:12:31.490 why we laugh and the difference between laughter 00:12:31.490 --> 00:12:35.769 and humor. But we laugh at things with improv. 00:12:35.850 --> 00:12:40.330 We laugh not so much as a joke or the humor of 00:12:40.330 --> 00:12:42.950 it, but for the connecting of it. Anyway, so 00:12:42.950 --> 00:12:45.830 at the beginning of a scene, we have generally 00:12:45.830 --> 00:12:48.509 an identifiable main character in this case, 00:12:48.549 --> 00:12:52.149 and we have a... clear villain or agent of chaos 00:12:52.149 --> 00:12:58.889 or antagonist, a baddie. First of all, we have 00:12:58.889 --> 00:13:01.190 the first beat of this scene is the world as 00:13:01.190 --> 00:13:04.769 it is. It's understanding who, what, where in 00:13:04.769 --> 00:13:08.190 that parlance or just the world as it is, the 00:13:08.190 --> 00:13:10.830 starting conditions. Who are we looking at? When 00:13:10.830 --> 00:13:13.049 a scene starts, it can be anybody. We want to 00:13:13.049 --> 00:13:16.169 know who we're looking at, what they're doing 00:13:16.169 --> 00:13:20.629 and where they are. I don't think they're ever 00:13:20.629 --> 00:13:24.190 extraneous, but they're less important as to 00:13:24.190 --> 00:13:27.169 what's going on. Like what's happening between 00:13:27.169 --> 00:13:30.370 these two characters right now? Oh, it's a couple 00:13:30.370 --> 00:13:33.509 and one has just discovered that the other one 00:13:33.509 --> 00:13:37.509 is cheating on them. So that's starting conditions 00:13:37.509 --> 00:13:42.009 and that's the world as it is. That once that 00:13:42.009 --> 00:13:44.730 is established, that's act one in the three -act 00:13:44.730 --> 00:13:47.830 structure. Act two comes when we understand what 00:13:47.830 --> 00:13:50.639 the main character, wants to do as a result of 00:13:50.639 --> 00:13:52.559 finding out this information? Do they want to 00:13:52.559 --> 00:13:58.840 leave their spouse? Do they want to congratulate 00:13:58.840 --> 00:14:04.399 them on also joining the ranks of people who 00:14:04.399 --> 00:14:09.679 have affairs? What is the main character's reaction? 00:14:11.419 --> 00:14:13.700 And based on their reaction, what do they do? 00:14:14.320 --> 00:14:16.600 Are they going to leave? Are they going to scream 00:14:16.600 --> 00:14:19.690 and shout? Are they going to cry? and beg for 00:14:19.690 --> 00:14:22.529 sympathy or forgiveness or try to fix it what 00:14:22.529 --> 00:14:24.590 is the decision the main character takes and 00:14:24.590 --> 00:14:28.090 that takes us into act two and act two is the 00:14:28.090 --> 00:14:32.850 playing out of that beat leaving uh and let's 00:14:32.850 --> 00:14:34.929 say that's what the character chooses because 00:14:34.929 --> 00:14:39.269 that's the most relatable choice and which will 00:14:39.269 --> 00:14:41.549 always work and then what's the character do 00:14:41.549 --> 00:14:45.590 once we play out that beat the leaving okay and 00:14:45.590 --> 00:14:47.669 then what does the antagonist do as a result 00:14:47.669 --> 00:14:50.789 of that And then act three happens at the end 00:14:50.789 --> 00:14:55.850 when we know for sure what's going to happen. 00:14:56.029 --> 00:14:58.809 Will these characters be okay? Will they come 00:14:58.809 --> 00:15:00.730 back together? Will they have a new understanding? 00:15:01.169 --> 00:15:06.690 Will the affair that happened cause them to reevaluate 00:15:06.690 --> 00:15:09.690 their relationship and start over again? In which 00:15:09.690 --> 00:15:12.690 case we're looking at a comedy. Or will the characters 00:15:12.690 --> 00:15:16.009 break up and then we're looking at either a tragedy. 00:15:16.669 --> 00:15:20.389 Yeah, we're looking at a tragedy. So that's act, 00:15:20.509 --> 00:15:24.669 that's the three act structure. And why that's 00:15:24.669 --> 00:15:28.870 helpful is once the first act plays out and we're 00:15:28.870 --> 00:15:30.690 all natural storytellers, so we know it has to 00:15:30.690 --> 00:15:34.570 move on. And so newer students will kind of get, 00:15:34.590 --> 00:15:37.370 will dry up at this point, like their brain, 00:15:37.389 --> 00:15:39.070 they'll like, wait a minute, they'll run out 00:15:39.070 --> 00:15:41.509 of an idea and they'll be, and that's your brain 00:15:41.509 --> 00:15:44.450 telling you, move on, move on to act two, which 00:15:44.450 --> 00:15:47.799 is make a choice. Make a decision. Do something. 00:15:49.220 --> 00:15:53.039 There's other things to segue us into Act 2, 00:15:53.080 --> 00:15:55.639 but that's the most obvious and common one. You 00:15:55.639 --> 00:15:58.000 make a choice. Based on everything that's happened, 00:15:58.080 --> 00:16:01.200 here's what I decide to do next as a result of 00:16:01.200 --> 00:16:03.860 that. And then we play that beat out. And then 00:16:03.860 --> 00:16:07.059 are they going to stick with their idea? Are 00:16:07.059 --> 00:16:09.399 they going to have another opportunity to make 00:16:09.399 --> 00:16:11.720 another choice? And it's at that point that we 00:16:11.720 --> 00:16:14.039 enter Act 3, and that is the end of the scene. 00:16:14.460 --> 00:16:18.460 So in my example, the character discovers their 00:16:18.460 --> 00:16:20.779 spouse is having an affair. They make the choice 00:16:20.779 --> 00:16:23.519 to leave. There's some back and forth. There 00:16:23.519 --> 00:16:27.440 is some cajoling. And at the very end, the person 00:16:27.440 --> 00:16:29.960 who did the cheating asks one more time for the 00:16:29.960 --> 00:16:32.039 main character to stay. They've learned their 00:16:32.039 --> 00:16:34.799 lesson. They'll do better. Or they've offered 00:16:34.799 --> 00:16:39.700 some kind of assurance or gift or offering to 00:16:39.700 --> 00:16:41.500 make the main character change their mind. And 00:16:41.500 --> 00:16:43.840 the main character may go, OK, you get one more 00:16:43.840 --> 00:16:47.259 chance or be too late, sucker. I'm out of here. 00:16:47.519 --> 00:16:49.980 And so that's a three act structure. And that 00:16:49.980 --> 00:16:53.700 will work in many kinds of scenes. And that's 00:16:53.700 --> 00:16:55.980 highlighted by two characters in which there's 00:16:55.980 --> 00:16:58.340 conflict between the two of them, which is not 00:16:58.340 --> 00:17:01.299 all scenes. And it's not necessarily the best 00:17:01.299 --> 00:17:03.960 scenes, but it is one of the most familiar and 00:17:03.960 --> 00:17:06.380 it is one of the most common. Anyway, that's 00:17:06.380 --> 00:17:09.279 it for today. I'll be back next week with some 00:17:09.279 --> 00:17:12.880 more improv -related information and content. 00:17:15.039 --> 00:17:17.180 Subsequently, I will talk more about the different 00:17:17.180 --> 00:17:19.579 kinds of scenes. I will do a whole episode just 00:17:19.579 --> 00:17:21.440 on the story circle because I think it is very, 00:17:21.519 --> 00:17:23.900 very important just to understand it. Again, 00:17:24.000 --> 00:17:26.619 this is not something that while you're improvising, 00:17:26.720 --> 00:17:29.900 you pull out of your back pocket like, oh, guide, 00:17:30.099 --> 00:17:35.410 okay. Oh, now it's time to, you know. to enter 00:17:35.410 --> 00:17:38.369 the second point of no return. Or now it's time 00:17:38.369 --> 00:17:41.609 to, as main character, has to go through a bunch 00:17:41.609 --> 00:17:45.210 of trials. Not that. This comes in our body. 00:17:45.289 --> 00:17:47.470 And the thing about stories is it's already in 00:17:47.470 --> 00:17:49.549 there. We just have to get out of its way and 00:17:49.549 --> 00:17:52.230 let it out. But our thinking brain causes us 00:17:52.230 --> 00:17:55.069 to not trust it and run away from it. Anyway, 00:17:55.150 --> 00:17:57.309 that's it for me today. Thank you all very much. 00:17:57.410 --> 00:18:00.059 I hope to see you back here next time. for some 00:18:00.059 --> 00:18:04.259 more SoCap .ca. And remember, if you've got a 00:18:04.259 --> 00:18:07.640 baby in your life, Coup GQ, the magazine for 00:18:07.640 --> 00:18:10.859 the well -dressed baby. Let's face it. Who doesn't 00:18:10.859 --> 00:18:13.259 want a well -dressed baby? Take care, everyone.