I'm excited about the opportunity to gain confidence working with different players. Also I'm looking forward to more work on getting to game faster, as we began to do in 401, and getting a better sense of timing vis walk-ons and edits -- All things that I hope may be a matter of practice. I'm also interested in ways to change up the "landscape" of actors onstage, with movement, object work, being at different heights from others, etc.
I'm looking to integrate my fluidity of expression into my improv. Going beyond technique and really finding "myself" in scenes. Ease is the operative word. I think with ease will come discovery in the moment with less hassle or missed opportunities for saying yes.
I would add more to Steve Carrell’s comparison of improv and a game of chess. In chess, the opponent is a bad, low-energy, unsupported scene. The tiny moves in an improv scene are walk-ons, scene paintings, tag outs and cut-to’s. The chess pieces are fellow improvisers who work together as a team to achieve a common goal. And this leads to the ultimate goal: a fun, high-energy, group-supported scene which ends with a strong button. Checkmate.
For the chess metaphor to work, I need to see the opponent as the partner on the stage. Both people are working on a mutual checkmate. I want to have all the kings and queens and pawns thrown at me. That is part of the excitement but not for the win, more for the intrigue.