Mastering the Improv Art of “Yes, And…” at Work
by Shannon Rose Greene
In 2011, I signed up for my first improv class. I was studying television writing in college and almost every time I researched a writer I liked (Tina Fey, Jenny Slate, Ilana Glazer and Abbi Jacobson) I’d learn they started out in comedy by doing improv. At the time, I had no idea what improv was, but I knew I wanted to work in a writers’ room, so I signed up for a class. After taking Improv 101, I continued doing improv for about five years. While I didn’t end up working in comedy (instead, I manage social media for a living), there are lots of things I learned in improv that I still apply to my work life every single day:
During my first ever improv scene, my partner started our sketch with, “I hope we have everything we need for the party tonight!” I responded in a full Paula Deen accent—and proceeded to speak without room for interruption for about two minutes.
While there’s nothing wrong with pulling out a Paula Deen impression while “playing” improv, what is wrong is completely taking over a scene by yourself. To make up for being nervous I said as much as I possibly could in an accent so I would look like I knew what I was doing. But improv is about building a scene and your character with the person you’re “playing with.” The reason improv is funny is that you and the audience don’t know what's going to happen, and everyone is making things up as they go. It’s not funny to watch someone control a party in real life or in improv. I should have trusted my scene partner and worked with him to get the scene to where it was going to go naturally, instead of taking it over, Paula-Deen-style.
Lesson: It’s better to work with those around you to reach your common goal rather than doing things all by yourself. If you’re nervous, just say so. Someone with experience is bound to be there to help you.
In improv, there’s a saying you learn on day one: “yes, and...” The phrase is pretty much the golden rule of improv. “Yes, and...” is a simple way of saying, if your partner presents something in a scene, don’t dismiss it; hear it, take it as truth and add to it.
Lesson: When your coworker shares an idea with you, thoughtfully consider it before responding. Even if you don’t think it's a good idea, it’s unkind and unprofessional to hear an idea and dismiss it entirely. The goal at work should be to have everyone feel comfortable sharing their ideas because they are genuinely acknowledged and listened to.
In long-format improv you’re given a suggestion with which to build an entire world. Long-format improv can last 30 minutes or more. Short-format improv can be as simple as seeing who can ask the other person the most questions in a row, which can sometimes take 30 seconds. A short-format improv game I loved was Status. In Status, you take turns with your partner lowering and raising your and their status. For example, I might say to my scene partner: “Kelly, you failed English 101? That class is so easy,” to which Kelly might say: “I know. I wish I knew how to read!” I lowered Kelly’s status, and then she lowered it even more.
Not long after learning this game did I start noticing the “game” play out in real life, especially at work. Status made me notice when I was lowering or raising my status around people, or if someone lowered or raised my status when I was around them. I don’t enjoy working with people who constantly raise their status or lower my status, or people who make me feel like I need to lower my status in order to work with them. I like working with people who don’t notice status at all, and when it’s applicable they enjoy raising everyone's status for doing good work.
Lesson: Putting someone down, putting yourself down, or putting yourself above other people only works when it’s used in an improv game—otherwise it’s a really bad habit to have. You’re more likely to attract opportunities at work and collaboration with coworkers if you keep your status neutral and your mind open.
Because improv is entirely made up on the spot, the lessons you learn from the practice are varied. But the thing is, every time I practiced, played, or performed it taught me something: how to work with a group, to be proud of what I contribute (even if I contribute nothing, staying quiet and letting your scene partners shine is a contribution all on its own), and how to work for the common goal, not just my own agenda.
Unlike stand-up comedy, if you bomb in improv, you share that unfunny and uncomfortable time with your fellow players. Work is the exact same way. When something unexpected happens at work, you can celebrate or mourn together. Because at the end of the day, improv isn’t about you, your accent, or how high your status is; it’s about your team and what you all accomplish together.
Shannon hustles as Social Media Manager for the historic, nonprofit Florida Theatre. Jacksonville, FL born-and-raised, she's lived in the 904 all her life, with a 7-year-stint in neighboring St. Augustine. In addition to marketing, she’s worked worked in television, film and radio production, magazine editing, improv comedy, and floral and jewelry design. She’s a mother of two and girlfriend to one fellow BWH, Keagan Anfuso. Check her out on IG for more information @shannonrosegreene.
