There are so many relevant subtitles for an article titled
“Inclusivity in Improv Comedy”. Here are
just a few to help emphasize the specific intent of this piece:
·
The Do’s and Don’ts of inclusivity in improv
·
It’s not just for middle aged white guys anymore
·
Producing an improv environment free of toxicity
·
How to identify, discuss, and stop racism,
sexism, ageism, hate, and ignorance on the stage
·
Move out the way, you toxic white male
·
No, the female of the group does not have to be
pregnant on stage
·
Racism is not funny
·
Ok, calling all toxic white women “Karen” is
funny
Historically, the majority of improv comedy performers have
been white males. Yes, and they are mostly middle aged white males. Acceptance,
followed by the heightening of the offer is one of the most basic and generally
accepted “Do’s” of improv. Being endowed with “character traits” including relationship,
age, gender, race, and profession help move scenes along. Getting a suggestion
of a location or an occupation is the fuel that improvisers need to “yes, and”
the scene and their teammates. Most likely leading to an unpolished and
mediocre scene with just a few laughs (come on now. It’s true. Not all improv
is funny or good). Quite possibly the laughs come at the expense of the
marginalized members of our society. Almost all audiences (probably a white
dude) will provide “gynecologist” and a male player will hold his back, spread
his legs, and give birth to a beautiful white baby. Simple and easy laugh to
earn even though we’ve seen it a million times. It’s not funny anymore. In fact
it never was funny.
Let’s start with players who identify as “male” and
“female”. Most likely a male player will endow a female player with “mom” or
“prostitute” or some other antiquated gender stereotype. Improvisers know the
rule of acceptance, so as a good player you have to “yes, and” those offers,
right? There is no need to answer that question. Let’s stop it before it
starts. Enough white male dominance. This is true for improv comedy and the
rest of the world actually. The audience
suggestion, the performer’s initiation, and the start of the scene is what we
should focus on first. Don’t accept it. Don’t play it. Don’t do it. Train the
audience to be smarter. Don’t reward them with sexist, racist, ageist, and
intolerant kibble by accepting these suggestions. Be better. Start before they
sit down.
Know your performance space and the venue. Quite simply
encourage and assist theatres, venues, and facilities to have Inclusivity and
Diversity statements. See the Goshen Art House Statement below. Do not perform
at a place that does not have these beliefs or standards. Post it publicly. Let
patrons know that the space is welcoming to all and there is no place for hate.
Make the statements visible and more importantly make sure everyone who works,
volunteers, or walks through the doors knows and lives by the policy. That was
easy.
Now that the space and the audience knows the requirements
and beliefs, it’s vital to cast a diverse group. No more all white male
majority. Do not form or maintain an improv group or team of all white males.
You are not Monty Python or any other famous all white male comedy group. Don’t
even try. Seek diversity. “It’s only white dudes that show up to auditions” is
no longer an excuse. Actively fix it. Do not cast all white guys. Seek members
of the community that are diverse. Actively recruit and include all people
regardless of race, socioeconomic class, color, national origin, religion,
diverse perspectives, age, sex, sexual orientation, gender, gender identity,
neurological or physical ability, veteran status, legal status, or education
level. Focus on diversity in the cast and make sure the word “token” is
reserved for the “token white guy”. Take away the straight white male presence
and I bet the group will be more comfortable and perhaps more funny.
Before you create an audition notice, focus on informing yourself
about privilege, marginalization, cultural appropriation, gender identity,
pronouns, common definitions, and basic human rights. Art has always spoken
about the struggles of those underrepresented and mistreated. Even though it is
a stretch at times to call improv “art”, it is important to know that your
“art” should be helping and not hurting.
Yes, you can make and publish Inclusivity Statements. Yes, you can
bring awareness to issues in the greater community. Yes, you can be edgy and
“controversial”. All of this can be done without stepping on the existence of
others, especially those that are traditionally underrepresented or
marginalized.
The Do’s of a troupe/team
·
Do have a diverse cast
·
Do discuss the inclusivity and diversity
requirements
·
Do provide a safe opportunity for all to share
their pronouns (frequently)
·
Do require a contract from players to honor, respect,
and live the Inclusivity Statement
·
Do offer a safe place to gather, to play, to
participate, to spectate
·
Do offer a confidential and neutral point of
contact for conflict resolution
·
Do provide a safe environment for all
·
Do give space for all to share and express their
needs
·
Do everything possible to remove toxicity
·
Do treat everyone fairly
·
Do keep learning, evolving, discussing, and
growing
·
Do do run run
The Don’ts of a troupe/team
·
Do not allow behavior that does not follow the
policies, procedures, guidelines, statements
·
Do not assume gender or pronouns
·
Do not be complacent
·
Do not be jerks
·
Do not give stage time to jerks (performers or
audience members)
·
Do not “do run run”, actually
The Do’s of a performer
·
Do know the difference between “Race”,
“Ethnicity”, and “Nationality”
·
Do form a friendship with your teammates. Get to
know them and share yourself
·
Do respect and honor your teammates
·
Do know the boundaries of your teammates and
respect them
·
Do step out of the way if you can make room for
someone under represented
·
Do your work before getting on stage (improv can
be therapeutic but not at the expense of your fellow performers)
The Don’ts of a performer
·
Don’t endow players who identify as women with
gender stereotypes. (Why use “mom” when you can use “doctor”, or “Captain” or
something more interesting.
·
Don’t endow players of color with stereotypical
names that related to a specific culture.
·
Don’t use a voice or accent that mocks a race or
ethnicity
·
Do not appropriate a culture
