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Learning to speak a made-up language

Gibberish is a made-up language improvisers speak using completely random sounds. It has no verbal content, which encourages us to be more expressive with our bodies and emotions to get our message across.

It also forces players to pay more attention to each other, including increased eye contact and listening. They learn to rely less on words, or at least how to supplement their dialogue nonverbally.

Depending on how you pronounce and emphasize your syllables, Gibberish can sound similar to an actual existing language. You could do this if you’re playing a scene with a tourist in a foreign country. Either the tourist character speaks Gibberish, or everyone around them does.

Some players love the freedom of Gibberish and have no trouble taking it on. Others resist it because speaking random sounds is unfamiliar and uncomfortable.

Players may “cheat” by dropping in recognizable words to hint at what they’re saying (which is also an easy gag). Or they might shift to a second language they know. Some people can’t get past mumbling one syllable over and over. (Which could be perfectly fine, but since it doesn’t sound like a language, they may feel they’re failing at it.)

Over the years, I’ve come up with a method to help people learn to speak Gibberish. I get them to focus on the rhythm of speech, then gradually substitute words with unfamiliar sounds. Once they can do it with a rhythm, it’s easier to unlock more general speech.

Obviously, I’m describing how I teach this in English, but if you have a different home language, it should be easy to adapt.

1. Start with an actual sentence.

Circle up with your group. As the leader, you will demonstrate each step, and then the group will follow.

Start with a short sentence of one-syllable words. Something like, “The dog chased the cat.” Have everyone speak it aloud together several times.

As you repeat it, listen to the rhythm of the words. Maybe if you’re emphasizing the nouns, it sounds like, “The DOG chased the CAT.” Repeat it several times with the same rhythm.

2. Replace the words with a single sound.

Try using “la” for each word, but keeping the same rhythm. In our example, this would be: “La LAH la la LAH.” Everyone repeats several times.

Remind players that the verbal content is gone at this step, which is the whole point of Gibberish. So if they really can’t get their mouth and brain around it, this much is still okay. This can take pressure off and make them more receptive to the next steps.

3. Replace with similar sounds.

Instead of the single “la,” use progressive vowel sounds for a, e, i, o, and u. “L-ah L-EE l-eye l-oh L-OO.” Repeat several times.

4. Replace with random sounds.

Give the group an example with random syllables. Maybe it sounds like, “Miss PAH bex noo CHEE.” Everyone repeats your example several times.

5. Let everyone try their own version.

This is the tough transition step, so take it slowly. Keep repeating with the same sentence rhythm, but everyone speaks their own random syllables each time. They can start by repeating the same sounds each time, but slowly work toward using different sounds each time they repeat the sentence.

“Rih DAH tack moo TOO.”
“Tal WOMP mish me GACK.”
…

6. Repeat with a poem.

Now try a familiar rhyming poem, like a nursery rhyme. A good one is, “Mary had a little lamb, its fleece was white as snow…” Have everyone recite together once to hear the rhythm.

Players who catch on quickly could go straight to trying a Gibberish version. You may have to lead others through all the previous steps. In that case, it’s easier to use just the first couple of lines of the poem.

7. Try playing Neanderthals.

Once players feel physically comfortable substituting random sounds for words, try simple scenes with Neanderthal characters speaking Gibberish. We wouldn’t expect detailed language from these characters, so it’s an easy win. Gradually work up to scenes with freestyle Gibberish.

Some players will need more practice at this than others. It’s worth the effort.

One last thing

Gibberish is closely associated with clowning, which many improvisers don’t identify with, and that can play into their resistance to using it in scene work. Remind players they can still do grounded scenes in Gibberish. All they need is a little more physical and emotional energy.

Do you use Gibberish with your team? Do they struggle with it? Try this method and let me know how it works for you!

Things to Try

Exercises, scenes, and practices to work out your physical improv skills.

• SOLO exercise: Shakespearean soliloquy. Try speaking a dramatic monologue, channeling your best Cordelia or Hamlet in Gibberish. Even if you have no idea what you’re saying, it’s great practice for expressing yourself emotionally.
• Silent scenes. Gibberish is great practice for moving toward scenes with no dialogue at all. Gradually dial up the physical/emotional expression while lowering the verbal content.
• If you really don’t like Gibberish, experiment with other ways to remove verbal content from your dialogue. One exercise is 25-Count. Play a scene where each character can only say the numbers 1 through 25, in order, once through, and that’s it. (i.e. they can only speak 25 words total, then must stay silent if the scene keeps going). For added challenge, try it with only 25 words between all characters!

More from Improv Illusionist

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​Emotional Safety Resources​

​Improv Exercises for Physical Skills​

​Improv Books — Reviews & Recommendations​

​Improv Podcasts — Reviews & Recommendations​

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​Sound and Movement​
Will Hines writes about how a specific form of sound-and-movement is used as inspiration for UCB-style shows. Yet another example of the power of physicality.

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See you next month! (December 4th.)

Ex nihilo!