Part of Beyond the Harold: The Longform Landscape in Mastering the Form
format

Organic Longform

Longform improvisation with no predetermined structure. No preset opening, no mandated beats, no required group games, no predetermined scene order. The form emerges from the content itself — what the scenes need dictates when to edit, when to return to a thread, when to do a group scene.

What "organic" means: The structure should feel like it grew naturally from the content rather than being imposed from outside. Hines: "If you didn't use an opening, it was called 'organic improv.'" This represents the post-Harold evolution toward maximum performer autonomy.

The Del Close to organic evolution:

  1. Close's original Harold (1960s) was intentionally loose and experimental
  2. In the 1980s at iO, Harold became codified into the 3x3 "training wheels" structure
  3. Close himself insisted: "the first rule is: there are no rules" and "content and the need to develop an organic commentary on the suggestion trump predetermined structures" (Truth in Comedy)
  4. Post-Close teachers — David Razowsky, Susan Messing, Joe Bill, Mark Sutton — championed organic, be-in-the-moment approaches
  5. Razowsky brought Viewpoints (Mary Overlie's dance technique, adapted by Anne Bogart and Tina Landau) into improv — nine tenets of time and space used as scene-building tools
  6. By the early 2010s, traditional Harold nights had largely disappeared from many venues, replaced by organic and custom formats

How performers navigate without structure:

  • Emotional commitment (Razowsky method): Start with an emotion, heighten it honestly, let it transform
  • Viewpoints awareness: Use spatial relationship, tempo, and kinesthetic response as navigation tools rather than narrative logic
  • Internalized structure: Harold training provides unconscious scaffolding — performers trained in 3x3 naturally recognize when threads need revisiting, even without explicit form. Like a jazz pianist who learns scales before improvising
  • Group mind: Shared aesthetic sensibility allows the ensemble to collectively sense when to edit, callback, or shift

Who does this well: David Razowsky (primary teacher/evangelist), Susan Messing ("If you're not having fun, you're the asshole"), Joe Bill and Mark Sutton (BASSPROV duo), The Family (Del Close's iO house team).

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Two-Person Longform