The introduction of the notion of “status” was transformational for improvised theater. Keith Johnstone’s conceptual innovation took the art of improvised theater into even deeper territory in the 1960’s. Adding the idea of status focused improvisers more fully upon a person/character’s behavior and intention. It allowed them to meditate on what are the ‘key’ actions that could make a human relationship flourish or wither. Status was a ‘Stanislavskian’ leap in developing improvised theater.
In classes, we typically start the discussion by having a pow wow about what everyone’s thoughts are when they hear the word “Status”. Most classes go to socio-economic and archetypal classifications: Rich, big cars, the boss. Then we usually start expanding on the notion by having people consider what the essentials are in talking about “high” and “low” status. This again is steeped in artifacts and appearance: suit and tie is high, scruffy dirty is low, Ferrari vs. Dodge Dart and so on. Largely, it stays close to the land of the stereotypical.
The conversation takes an interesting turn when it comes to using behaviors and intentions as the barometer for measuring how status is gained and lost by making a game out of them. I feel like this is one of the more important passages of thought for people to pass through on their journey through the world of improvised theater. In the laboratory of status games, we are asked to briefly detach ourselves emotionally from our typical actions and behavior. Essentially, we are allowed to have an active meditation on the mechanics of human choices in social situations and life in general.
This is also why, through many discussions with students, it helps to distinguish between ‘socio-economic’ status and ‘interactional’ status. Our interactions with others let us gain and lose status within minutes. Any of us can go from being on top to being made low by a turn of phrase or an ill-timed grimace. Clifford Geertz, an anthropologist, talked about much the same in his book The Interpretation of Cultures (1973), when he asked the question ‘when is a wink just a wink?’ to spur the analysis of symbolic actions. Exploring the meanings of symbolic actions (and the mistaken interpretations of them) is a big staple of both literature and comedy, and in our own lives it’s one of the key experiences that helps us grow to be more empathetic and balanced.
Through using the laboratory of status exercises and games in improvised theater, we are allowing ourselves to walk backward and forward through those experiences; thus adding miles to the odometer of our understandings of ourselves and others, through experiencing winning and losing, pride and hubris, and everything else on the journey to the top or the bottom. We are also fine-tuning our own abilities to get the most out of the relationships and interactions in our own lives. This is such an important set of skills to maintain, lest we lose our humanity and passions to the world we see on screens. If you turn yours off, you’ll elevate the status of the real world.
2 thoughts on “Thoughts on Status in Improvised Theater”
“We are also fine-tuning our own abilities to get the most out of the relationships and interactions in our own lives. This is such an important set of skills to maintain, lest we lose our humanity and passions to the world we see on screens.”
We’ll explore at least a couple such games, playing them, of course, and then, collectively, reviewing the play, as it were, as if the game were the work of art that I claim it to be. For fun, of course, and perhaps for some lasting insight into the endless applications of yet another kind of theater.