Qualities of a good coach?

[jrrtubbs]

What do you think sets good coaches from lackluster coaches?

[Biddle]

More luster.

[JRC]

A good coach should keep things moving in a professional, but friendly way. Firm, but not a tyrant about decisions and structure. S/He should also have an artistic vision for the group.

[Tabs]

A good coach brings in excercises to help the weaknesses of the team, and gives clear notes on why you are doing them and how they will help.

They have a plan for each rehearsal.

They don't force the team to do a form that they hate, because technically it is not their team. They work with the team to find something that compliments their style, while working to improve them.

If a scene was good, they give notes on the whole scene, what worked and what could have been improved even more. If a scene was bad, they do the same thing.

They genuinely want the team to succeed.

[Steev]

I think a good coach should definitely be a guy. It's not that women are ill-equipped to be improv coaches, I just think that guys are naturally better at it, like driving a car.

[Tabs]

I think a good coach should definitely be a guy. It's not that women are ill-equipped to be improv coaches, I just think that guys are naturally better at it, like driving a car.

I agree, if the coach is a girl, how am I going to sleep my way on to that team?

[Shotts]

I think we should be open to being coached by anyone.

I think improvisers are too hung up on "who's the best?" and not open to "what does this person potentially bring to the table?"

I love that The Diplomat Motel has invited 5B students to come coach their rehearsals. Why not? If we're truly improvisers, we won't judge. If we're truly improvisers, we'll try anything or anyone.

And then I'll hear about 5B students fretting about whether or not their 5B coach (really?) is "good enough".

Now that's funny.

[Nick]

I think we should be open to being coached by anyone.

I think improvisers are too hung up on "who's the best?" and not open to "what does this person potentially bring to the table?"

I love that The Diplomat Motel has invited 5B students to come coach their rehearsals. Why not? If we're truly improvisers, we won't judge. If we're truly improvisers, we'll try anything or anyone.

And then I'll hear about 5B students fretting about whether or not their 5B coach (really?) is "good enough".

Now that's funny.

1.) I didn't know this, and that is awesome. Go DM.

2.) The coach should feel the team is capable of anything and push them in that manner. Listen to what they want, and craft it in that direction and beyond.

[JRC]

Ah! here it is... I found this from an old blog of mine on coaching:

There are three kinds of improv ensembles; teams, casts and pick-ups. Casts are created in order to follow the form or show premise/concept. The function will follow the form. Pick-ups are randomly chosen or haphazardly put together groups of people to do a show (usually just one performance.) For now, let’s focus on “teams.”


What makes a great improv team?

A general consensus or group agreement as to the style of the team.
Group dedication to the process (rehearsals, performances, notes, et al.)
An equally dedicated coach (someone who gives strong constructive notes, conducts rehearsals and attends the shows, and usually, keeps the peace.)
It’s more difficult for newer teams to achieve the first two; some performers are still finding their own “voice” on stage, much less able to find a group mind. In the beginning, when players and shows are new, it’s imperative for rehearsals to be productive meetings.


Time is Money.

When a team starts meeting and begins to rehearse, there’s money involved. Here in Chicago the average honorarium is $5 per player per rehearsal to the coach. Usually, a room is rented at a Park District building or behind/above a bar somewhere. So a typical rehearsal might end up costing a player anywhere from $5 to $10 a week. That’s not nothing.. especially if you’re relatively new to Chicago and you still have a jay-oh-bee (as opposed to a career or where you don’t have to punch-in or have someone sign your card).

So, rehearsals=time+money. If you’re late, don’t show up, disrupt, don’t listen, argue, etc. during rehearsal you’re wasting everyone’s time and money and you’re a jerk.

If you’re on a team and you notice that Person A usually does all the organizing and arranging of space and personnel, offer to help out. Maybe for the next month, you’ll do it. Lighten the load… no one should have to feel that they’re responsible for the entire rehearsal.


No! then Go! Then TELL!

If a fellow player makes you uncomfortable and it’s disrupting your ability to improvise, then you should tell your coach in private. If your coach is the perpetrator, then you should tell whomever is in charge of your organization (the head of a training center, someone on the “board”, etc…). If you’re uncomfortable with that, try consulting with someone you trust who’s been around a while at that organization. Don’t tell rumors, don’t spread gossip… tell them the truth and facts of what’s happening with you and your group.



Some Guidelines for Players:


Don’t be late for shows or rehearsals.
Don’t miss rehearsals and then show up for the shows. Consult with the coach to see if you should watch.
Take the note.
Stay for notes after your show. Listen to them.
What works on stage works off stage as well; Listen to what people say, “yes, and…” don’t argue.
Respect your fellow players and your coach. Even if you don’t, act like you do.
Communicate! Let people know your opinions and your schedule, but don’t hold them hostage to either.



Some Guidelines & Advice for Coaches:


Don’t be late for shows or rehearsals.
Realize that coaching is actually two jobs; rehearsals and shows. If you can’t do both, you’re not doing the job.
Your notes should never be longer than the show.
Notes are constructive criticism from an outside eye; it’s not simply a rehash of what happened or a bitch-out session. Players, regardless of the show, should feel better after notes.
Doing the lights for your team can only help. Lights up & down is boring; use the spots, slow fade, etc.. it will make the show more theatrical and you (should) know the team better than anyone else.
Consider the players under your tutelage your students, treat them accordingly.
Don’t have favorites, don’t have unfavorites.


Jason R. Chin has been coaching improvisation for a dozen years in Chicago. He currently coaches the longest running team at the IO Theater, Deep Schwa. He has been coaching them (not counting a two year break) for almost nine years. He coached the team The Rabble, and is the coach of record for the team Mike Helicopter. Jason has coached over a dozen teams and regularly sub-coaches for teams across Illinois.

[Ldub]

Like Tabs said, someone who has a plan for each rehearsal.

And like Shotts told me, beat down the rock stars and build up the weak ones. So true.

I've also learned that constantly encouraging them, but in an aggressive way, really works.

And kudos to Diplomat, that is awesome!! We can all learn from each other. Doesn't matter if we're older or younger or the opposite sex of those we're coaching or being coached by.

[Shotts]

And like Shotts told me, beat down the rock stars and build up the weak ones. So true.
::big eyes::

I'm sure I didn't say that, Lindsay. I'm sure I said something more like "be cognizant of keeping a level playing field. All players are equal in stature and no player is more valuable than the next. Some performers need encouragement, while others may need help checking their ego at the door."

And then I probably lit off a smoke bomb and scurried out of the room.

[Chip]

In addition to the good stuff already mentioned, I'll add that a good coach will establish good habits for themself and the team early in the coaching relationship. If you want punctuality (and you should) then get on the stragglers early on. It's much harder to fix that kind of thing two months down the line.

Similarly, depending on your team and situation, find out what your team is expecting from you - if they brought you in to coach them, they might want to work on specific items, forms, styles. Or they might not know what they want to do, which would make your job involve helping them discover what their group is about.

Those are both situations I've been involved with as a player. 1) Punctuality wasn't addressed early and we'd never start until 15 minutes after the scheduled time. That sucked. 2) Having a coach who knows what you want out of him/her is going to get your group a lot more fine-tuned. If you don't know what you want as a group, you're basically asking them to be a general improv teacher, which is fine if both group and coach know that going in.

[HKREMER]

that's some rockstar advice!


And like Shotts told me, beat down the rock stars and build up the weak ones. So true.

[Walleye]

I've always felt a good coach is one who knows the difference between coaching and directing.

As a director, it is your duty (in most cases) to block the show, dictate pacing, create pictures, etc. While there is always room for interpretation and compromise, a director imposes his or her vision onto the show. A coach on the other hand needs to be able to support the vision of the group and help the performers grow as individuals and as an ensemble.

Of course, the ability to do both may be useful and, at times, needed. But with ensemble work, I see the coach far more useful than the director.

[sammy]

What do you think sets good coaches from lackluster coaches?

The ability to tolerate Louie Saunders for 2 hours.

[Ldub]

Some performers need encouragement, while others may need help checking their ego at the door."

And then I probably lit off a smoke bomb and scurried out of the room.

Yep, that's exactly what you did.

I actually had someone give me attitude last week and I beat him down. Literally. I took off my shoe and beat him down.

[Telfer]

I certainly like "check your ego at the door" better than "beat down the rockstars". What the fuck does that even mean?

My favorite coaches presented us with weird forms they saw out-of-towners do, either in their personal travels or at festivals.

[Ldub]

I certainly like "check your ego at the door" better than "beat down the rockstars". What the fuck does that even mean?



Ok ok people. Calm down. It means the same thing as "check your ego at the door." You have to make some people realize that they don't know everything.

[Telfer]

Look, I'm just trying to beat you down. Why are you so defensive?

[Frymire]

I prefer "beat the rockstars down".

But to bring the thread back on topic (lest it get locked), I love coaches who won't let you off the hook and will keep you working a scene or exercise until what they're trying to show you starts to sink in. And I love coaches who use "this is an option you can try" - tactics and not "don't do that thing you're doing, I hate that thing" tactics.

[gregcallozzo]

I have my theories, most of which align with JRC's repost of Player Guidelines and Coach Guidelines.

Still, 5B teams are in a unique category, so I wonder if it follows that the coach must have unique qualities...

[Hendo]

1) Try not to sex up the people you're coaching.

2) if you DO sex up the people you're coaching, move in with them for 9 years.

[Othy]

I think a good coach pushes you free of charge. The best coaching is that freely given, with nothing asked in return.

[rrpnumber1]

A wonderful quality of a great coach is reminding participants a cast can create improv so seemless that it appears written by the very best writers. Even better, that coach shows the group such seemless and invigorating work comes out of made mistakes, truthful moments, and that invention is never necessary. Just using whats in front of you(namely your partner) works best.

[cooterpunch]

I enjoy coaches who kick someone out within the first ten minutes of the first meeting.

The team has to band together to fight the coach.

Like Satan versus a bunch of Angels trying to find out where God has been misplaced.

It's very Fellini and whatnot.

[Bowman]

Know the buttons of your actors and how/when to push them.

[rrpnumber1]

He he he he!

I enjoy coaches who kick someone out within the first ten minutes of the first meeting.

The team has to band together to fight the coach.

Like Satan versus a bunch of Angels trying to find out where God has been misplaced.

It's very Fellini and whatnot.

[jillybee72]

I prefer "make everyone into rock stars."
________
Chrysler pacifica specifications (http://www.dodge-wiki.com/wiki/Chrysler_Pacifica)