ImproMafia Members Code of Conduct
Positive – Safe – Respectful
1. Overview of Code of Conduct
 The code of conduct aims to create a simple and basic set of rules to help ensure that
company members can work positively and harmoniously together.
 This code seeks to reconcile both the unpredictable nature of improvisation, with the need
to create an open, safe and non-judgmental environment.
 The code sets out both general expectations and specific rules regarding standards of
behaviour by company members.
 Rules (as opposed to expectations) are identified in bold within the code and are
enforceable by the Committee or company officers, who may take action in response to any
breach.
 Each member must agree to abide by the code of conduct on becoming a member or on
renewal of membership.
 The code of conduct can be amended at any time by the Committee. However, changes are
not effective until notified to members via the company website and facebook pages.
2. Membership
 Rule 1: Performers must be members
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All members must be paid up members of ImproMafia before they perform on stage.
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Directors must ensure that all of their cast are paid up members before they allow
them onto stage. A director must instruct a performer not to perform if they are not a
member.
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An individual is not a member unless they have agreed to comply with the Code of
Conduct.
3. Company Culture and Communication
 All members are expected to help maintain the friendly and supportive nature of our
shows, rehearsals, workshops and other activities.
 Improvisation benefits from a positive and welcoming environment.
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Members are asked to bring a positive attitude to shows, rehearsals and training.
Even if you have had a bad day or are in a bad mood, you need to be aware of
how this may affect both other performers and the work itself.
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Members are asked to actively contribute to a welcoming environment by going
out of their way to make both members and audience feel welcome.
 Rule 2: Communication by Company Officials
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Members in leadership positions (either elected or appointed) are expected to
adhere to high standards of professionalism in their dealings with company
members, members of the public and each other, be it through verbal or written
communication. They should strive to be polite and respectful at all times when
acting in their official capacity.
 Rule 3: Unacceptable behaviour at Company events
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The following behaviour is considered unacceptable from any member when
present at an Impromafia event:
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abusive language directed at an individual or group.
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threatening language directed at an individual or group.
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inappropriate physical contact with another person.
A company event includes any activity which is promoted by the company, including
workshops, shows, committee meetings, forums, and social events.
Rule 4: Unacceptable behaviour by members directly involved in a company event
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If a member is directly involved in an event, for example as a performer, director,
stage manager, musician, or teacher then they must also adhere to the following
expectations regarding behaviour:
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They must not use obscene, racist, homophobic, sexist or otherwise
prejudiced or offensive language, either in a manner intended to hurt or
offend another member of the company or a member of the public; or in a
manner which is objectively likely to hurt or offend another member of the
company or a member of the public.
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They must respect the personal space of company members, volunteers,
staff and members of the public.
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They must adhere to the Company’s rules regarding drug and alcohol use.
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They must not act in a way which is disruptive to the organization or
running of the event.
4. Expectations regarding Alcohol and Drug Consumption
 The below rules regarding drug and alcohol consumption are to be enforced strictly by the
company. It is important for safety reasons that performers and others involved in a show
are exercising sound judgment and in full control of their faculties. In addition, many venues
have strict rules regarding alcohol and drug consumption, and use of these substances by
performers will affect their performance on stage.
 Rule 5: Alcohol Consumption
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Directors, Stage Managers and MCs must find out about a venue’s drug and alcohol
policy before performing a show in the venue. This policy must be communicated to
everyone involved in the show. For example, the Power House and Brisbane Arts
Theatre both have strict no drinking policies for groups using their venue.
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Members involved in a show must follow the venue’s drug and alcohol policy. Failure
to do so will result in automatic exclusion from the show by the director.
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If a venue allows alcohol consumption, a performer must not consume more than one
standard drink before or during a show. Directors, Mcs, Stage Managers, Lighting
Technicians and others responsible for safety must never consume alcohol before or
during a show.
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If in doubt about whether an individual has breached this rule, the director, stage
manager or MC must exclude a player from the show.
 Rule 6: Drug Consumption
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Members involved in a show must not be under the influence of an illicit drug.
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Members suspected of consuming illicit drugs before or during a show will be asked by
the director, MC or stage manager to not take part in the show.
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Prescription medication for which a member does not have a valid script is considered
to be an illicit drug.
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If in doubt about whether a player is under the influence of an illicit substance, the
director, stage manager or MC must exclude the player from the show.
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A member may perform under the influence of medication as long as it will not
significantly affect their judgement or otherwise present a risk to themselves or others.
If uncertain, the member should discuss the issue with the director, stage manager or
MC.
5. On-Stage Behaviour
 This includes all performed work, including shows, jams or rehearsals.
Physical Contact
o It is important that performers respect the physical space of other performers, both
out of respect and for safety reasons.
o Performers must always be on the look-out for signs of discomfort in fellow
performers.
o However, performers on stage can be considered to have consented to reasonable
physical contact from other performers – as improvisations mirrors life it also
mirrors the physical contact inherent in the relationships it portrays.
 Rule 7: Inappropriate Physical Contact
o Performers must not engage in inappropriate physical contact with another
performer. Inappropriate physical contact can be defined as:
 Contact of a distinctly sexual nature (eg the touching of breasts, groin or
buttocks; removing another performer’s clothes). This would not normally
include kissing, or hand holding.
 Physical violence or stage combat, particularly any which involves objects,
fast movements or blows.
o Different rules or boundaries can be established by the performers consensually
ahead of time or by the show director.
o Stage combat must only be performed if performers have received appropriate
training, and with the permission of the person responsible for safety for the show.
o Common sense is to be used when applying this rule and consideration is to be given
to the surrounding circumstances. For example, fleeting or accidental contact is not
necessarily a breach of this rule.
 Rule 8: Performers should not ‘put up’ with behaviour which makes them uncomfortable
simply to avoid making a fuss.
o If a performer feels uncomfortable in a scene, the appropriate response is to leave
the stage immediately. No justification or explanation is required.
o Any concerns should then be addressed to the director or a member of the
committee.
Language, Offensive Material, Obscenity and Disrespectful behaviour
o It is acknowledged that performance on stage can involve actions or language which
may be otherwise considered offensive. Art cannot be afraid of representing ugly
and unpleasant characters or addressing dark or potentially distressing issues.
o However, performers should approach such work with thoughtfulness and
sensitivity.
o In addition, while comedy often does involve playing with the line between the
appropriate and inappropriate, this does not give a performer a free pass to express
prejudice or to deliberately seek to offend.
o Behaviour which is felt to ‘cross the line’ should normally be dealt with as an artistic
issue. The Director, MC or other appropriate company official should discuss the
matter with the individual involved, and potentially issue a direction in relation to
the offensive material that must be followed by the performer.
 Rule 9: Directions regarding Offensive Material
o Any instructions from a director or MC in relation to offensive material must be
followed by performers. Failure to follow such a direction is a breach of the Code of
Conduct.
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Performers should not normally be reprimanded or otherwise punished for genuine
artistic decisions, even if these are considered to be inappropriate in retrospect.
Rule 10: Member Complaints and Concerns
o If a member has serious concerns about either:
 A particular incident on stage which they consider offensive or inappropriate
 Or a pattern of behaviour by an individual or group
o They should raise this concern with the show director or MC. If it is a rehearsal or a
jam, their concern should be raised either with the group as a whole or, if they
would prefer, with the teacher or director.
For example, a member may be concerned that a performer routinely plays
unpleasant sexist characters or uses the word ‘Gay’ in a derogative sense, without it
being in character or for artistic reasons.
o If they are unhappy with the response, they may raise their concerns with a member
of the Committee or the President. This concern must then be brought to the
attention of the Committee for discussion.
o The Committee’s response should balance both the need to reinforce ImproMafia’s
policies on offensive material, with a recognition that improvisation is inherently an
unpredictable art form which encourages unstructured creative thought and which
can be hindered by a judgmental environment.
o The Committee should therefore respond in a flexible and non-judgmental way, for
example by discussing the matter with the relevant performer in a respectful fashion
or communicating with members about what is considered appropriate behaviour.
Rule 11: Language and Age Classification
o If an age classification is given to a show, this must be communicated to the players
(for example, certain venues require shows to be given a classification).
o Performers must adhere to the language and age classifications of a show.
o Minor infractions are acceptable but not desirable, but even the single use of a
swear word may constitute a breach of this rule.
o It is important that the company adheres to the classification which it promises to
audiences.
Rule 11A: Nudity on stage
o If the show has a classification, the performers must adhere to the age classification
given to the show.
o If the show is being performed in a public venue, in which ImproMafia does not have
the ability to exclude patrons from the venue (for example, a pub or restaurant)
then nudity is not permitted.
o If the show is a theatre show then nudity may be permissible as long as:
 Any directions by the MC, Director or Stage Manager are followed.
 It complies with the venues rules about nudity (eg do they require warnings
to be given to the audience?)
 it is not done in a way which objectively would cause other cast members or
audience to feel uncomfortable.
o A director can establish different rules as required artistically for a show. If a director
plans to have nudity or the potential for nudity in the show, this should be notified
to patrons before they purchase tickets.
o While there may be times that fleeting nudity in front of an adult audience, without
warning, is acceptable, players should generally respect the right of audiences to
make informed decisions about the shows they attend, and only appear naked if
appropriate warnings have been given.
Audience Members
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Performers and MCs must always be very careful to treat audience members with respect
and consideration.
If an audience members are used as part of the show, they are always to be guided on and
off stage, made to feel welcome, and thanked when their participation is over.
Rule 12: Behaviour towards audience members
Audience members must always be shown respect - they are not to be humiliated,
embarrassed or made to feel uncomfortable.
Minimal physical contact is allowed with audience members but be alert for signs of
discomfort.
For example: at most they may be touched on the shoulder or elbow, never grab their
hand – offer your hand and let them decide whether to grab yours back;
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If greater contact is required (for example, if demonstrating a puppets) make sure that
you get the audience members consent ahead of time. This does not have to be
complicated but can be a simple “do you mind if I demonstrate how to move my legs?”
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Remember that just because you know an audience member not everyone else in the
audience knows that you know the audience member.
Rule 13: Safety of Audience Members
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Do not subject audience members to any physically dangerous actions.
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Examples include, but are not limited to:
 Physically manipulating them on stage
 Getting them to move at speed, jump, or lift an object.
 Getting them to move while blindfolded or in the dark.
 Be present on stage with a hazardous material.
6. Feedback and note giving
 Honest feedback is absolutely essential to improving as both a company and as a
performer. Notes are not just for new performers, but for anyone who wants to improve
their work.
 Directors of shows should discourage free-for-all approach to note giving. It can be negative
and time consuming. Instead, a designated note-giver should generally be the only source
of collective notes after the show. Group notes should not generally last longer than 10
minutes.
 Receiving notes
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Individuals receiving a note should not criticise or qualify the note. This wastes time
and is unnecessary.
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Notes are about the work not about you as a person - try to leave your ego out of it.
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Always treat the note giver with the respect and empathy which you would want in
return.
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Do not criticise, become defensive or qualify notes you receive. It is just one person's
opinion and arguing wastes everyone's time and is disrespectful.
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Listen to the note, think about it, thank them and if you disagree - either discard it or
talk to them about it later. Even disagreeing with a note can teach you something.
 Giving Notes
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Only give notes if the other person requests or wants them.
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Giving notes is not about proving status or knowledge. Don't act like a guru.
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Always treat the person receiving notes with respect and empathy. It is not always
easy to hear honest feedback, so try to ensure your notes are constructive.
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make sure your notes are appropriate for the level of performer you are dealing with.
 Rule 14: Do not give specific notes or feedback unless the other performer requests them.
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This does not include group notes at the end of the show or other formal feedback
mechanisms.
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This does not mean you cannot ask a performer if they would like to receive feedback.
Rule 15: Inappropriate note-giving or feedback
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Members should never seek to demean or embarrass a performer when giving notes,
particularly in a group setting.
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Such behaviour may consist of excessively negative, sarcastic, aggressive, or dismissive
feedback, or publically ridiculing a performer’s actions.
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This rule should not be seen as discouraging honest, direct and critical feedback, which
remains invaluable.
7. Dress Code
 How we present ourselves as performers does impact on how the audience views our work.
 What is an appropriate standard of dress depends on the show in which you are performing
– is it a grungy pub or a comedy club in front of a paying audience? Each will require a
different standard of dress. The key is to tailor what you wear to your audience – what you
wear for one would not necessarily be appropriate for the other venue.
 Rule 16: Dress Standards
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As a general rule performers must seek to be neat and presentable. Below are some
general guides as to what is appropriate dress:
 Wear long-pants or skirts. In particular, make sure your clothing doesn’t restrict
your movements on stage.
 Avoid hats, high heels or other clothes inappropriate for the stage (eg crazy
costumes which hinder physical movement).
 Avoid offensive slogans on t-shirts (plain colours are best).
 Avoid old, worn out or dirty clothing.
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If a director indicates an alternative dress standard or costume for a show, that dress
standard is applied instead of the above.
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Inappropriate dress is primarily an artistic issue and should be dealt with by the show
director or MC. A director or MC can give a direction regarding dress in accordance
with Rule 19.
8. Performer Etiquette and Professionalism
 Performers are expected to act with professionalism and discipline.
 Performers are expected when possible to attend all rehearsals for show, unless otherwise
arranged with the director.
 Performers should endeavour to turn up on time for shows and rehearsals, and to let the
director know if they are unavoidably late.
 Performers should respect the rehearsal process and bring a positive attitude to the
process.
 Performers should always respect the audience and try to put on the best show possible.
 If you are unable to attend a rostered or cast show, let the director know as soon as
possible.
 Performers must comply with the directions of any stage manager or director regarding a
show.
 Rule 17: Unprofessional Behaviour
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Performers must recognise that performing is a privilege not a right, and treat the
audience, directors and other performers with respect at all times.
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Performers must act in a professional manner at all times in regards to their shows.
Examples of unprofessional conduct are:
 missing rehearsals with no valid reason.
 Repeatedly being late for call times.
 Disrupting rehearsal with a negative or flippant attitude.
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Showing disrespect or contempt to a fellow performer or the director whether onstage or off.
 Refusing to comply with a reasonable request or instruction from a director relating
to an artistic issue.
While these issues should generally be dealt with as artistic issues by the director, if
the behaviour shows an on-going lack of respect for the work, or is affecting the
quality of the work itself, the director may issue a direction under Rule 19.
9. The Speak Easy (or Rookie Show)
 The Speak Easy is a show primarily designed to give new players an opportunity to perform
and practice improvisation. However, it also aims to:
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Provide opportunities for experienced players to explore and develop new work.
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Provide a venue for new and experienced players to perform together on stage.
 Performance opportunities are a limited resource, and performers are asked to respect that
performance at the Speak Easy is not a right. While we will often seek to maximise player
opportunities, the directors of the show also need to consider issues of show quality,
equity, and artistic growth and exploration.
 Performers are expected to assist organizers in the running of the show. They can do this
by:
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Arriving on time for show and taking part in warm ups.
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Helping with setting up and packing up the show as required.
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Complying with any directions regarding the show provided by organizers.
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Maintaining a positive and friendly attitude.
 Rule 18: Speak Easy Performer Expectations
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Performers must never challenge judges over scores or the use of the horn. If a
performer has a concern, they should raise it with the show director or a member of
the Committee. However, remember that as improvisation is not actually competitive,
such concerns will not generally be taken seriously.
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Performers must never complain about the games or scenes which they have been
assigned or the performers to whom they have been assigned during a show. It is
acceptable to address any concerns after the show as long as it is done in a respectful
fashion.
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Performers must always follow the MC’s or directors’ directions – they are in control of
the show so directions given by them should be complied with.
 This is not to say that a player cannot be ‘mischievous’. This rule relates to
performers who are showing contempt or disregard for an MC rather than players
who are merely playfully engaging in the show. Whether such ‘mischief’ is
appropriate is an artistic issue for the show director.
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Remain quiet when off-stage. It is highly disrespectful to other performers to talk or
otherwise be distracting during their scenes.
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Any abusive or aggressive behaviour relating to the above issues will be considered a
serious breach of the code of conduct.
10. Directions by Directors etc
 Rule 19: Directors etc may issue directions
 Directors, MCs, stage managers and committee members are able to issue directions to
members who are directly involved in an event regarding their behaviour. Any such
direction must be complied with by the member, irrespective of whether the member feels
that the direction is fair or appropriate.
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Failure to comply with a direction is itself a breach of the code of conduct.
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A member may raise concerns about a direction after the event with the company
President, or other committee member.
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For the purpose of this rule, the Artistic and Workshop directors are considered to be
directors in relation to shows and workshops respectively.
Directions must relate to the code of conduct above and it must be designed to avoid a
specific breach of the rules. Directions may include, but are not limited to:
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Cease involvement in a show or event
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Stop drinking
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Stop using certain language
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Stop a particular behaviour
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If the behaviour is particularly serious, asking the individual to leave the event.
Rule 20: Safety directions
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a direction given in accordance with the safety rules set out below must be complied
with by company members. Failure to do so constitutes a breach of the company’s
rules of behaviour.
11. Rule 21: Consequences of Breach
 Any member who is concerned that another member has violated one of the above
standards of behaviour, can report the incident to the company president. If the incident is
about the company president, it can be reported to another member of the committee.
 The committee must consider the incident and may take one of the following actions:
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discuss the incident with those involved and explain company policy.
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issue an instruction to the relevant member about their behaviour (for example, do
not drink before shows).
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Request the member issue an apology for their behaviour.
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If the behaviour is particularly serious or on-going, ban the member from some or all
company events for a period of time.
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Remove the membership of the individual. This must be in accordance with the Rules
of Association.
Rules of Safety
1. Members should be aware that improvisation is a physical pursuit and that injuries sustained in
the course of performing may not be covered by the company’s insurance.
2. Planning and identification of risk
3. The President, Committee, and other company officers (such as the Artistic, Workshop and
Festival Directors) have primary responsibility for maintaining a safe environment for company
events.
4. All major events (eg shows, workshops, festivals and Christmas parties) should have a risk
assessment performed ahead of time by an organizer.
 A risk assessment is only required for each venue, not for each show at that venue, unless
the show has non-standard elements. Only the non-standard elements need to be
reconsidered.
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For example, a show which has stage combat or large amounts of liquid on the stage
may require extra consideration to be taken.
 The risk assessment is to be completed at least one week before the event, if possible, and
submitted to the President.
 The risk assessment should identify:
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Any potential risks
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The likelihood of that risk occurring
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The type of harm the risk poses
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And any recommended course of action.
 The President should work with the relevant officer to address potential risks and
implement an appropriate course of action.
 If appropriate, these recommendations should be communicated to show directors, MCs,
teachers and other relevant parties.
5. Day-to-Day safety
6. The following individuals also have responsibility for ensuring company events occur as safely as
possible. This is because these individuals will often have significant day-to-day control over the
running of shows and training.
 Show directors (in conjunction with stage manager if it is a theatre show)
 Teachers
 MCs of weekly shows
 Other event organizers.
7. These individuals are able to issue directions to members who are directly involved in an event
regarding safety issues. Any such direction must be complied with by the member, irrespective
of whether the member feels that the direction is fair or appropriate.
 Failure to comply with a direction is a breach of the code of conduct.
 A member may raise concerns about a direction after the event with the company
President, or other committee member.
 For the purpose of this rule, the Artistic and Workshop directors are considered to be
directors in relation to shows and workshops respectively.
8. Note that alcohol or drug affected performers should not be allowed to perform on stage as per
our code of conduct. If a director reasonably believes that a performer is so affected, they must
instruct the individual not to take part in the show. This rule is to be applied strictly, and if in
doubt the director must opt to exclude the performer.
9. All other company members are expected to help the above individuals ensure a safe
environment by complying with any directives and raising any concerns which they may have
about safety issues.
10. Before every show the person responsible for safety must do a safety check of the venue. They
need to consider any issue which may affect the safety of performers and audience.
11. For example:
 Power cords: cords which go through public areas MUST be taped down as they pose a
tripping hazard to the audience. Their location should be noted and water kept away.
Damaged cords should not be used.
 Uneven or dangerous staging: Take note of any unexpected, awkward or uneven staging.
This should either be corrected or time taken to mention it in the safety briefing.
 Hidden Obstacles: Take note of objects behind curtains, low hanging beams or tripping
hazards in the dark. This should be mentioned to players and if possible lit, padded or
otherwise identified.
 Fire Exits: make sure chairs, tables, speakers or any other objects have not been placed in
front of fire exits.
 Electrical Goods and Heat: Make sure that any electrical goods which get hot are not near
flammable items (Eg lights are not situated near curtains etc).
 Wet floors: These pose an obvious slipping hazard. Floors need to be dry before performers
are allowed onto them.
12. The responsible person should put in place suitable measures to address the safety issues
identified. This may include:
 Conducting a safety briefing with the cast, students, or volunteer workers.
 Ask the cast to do a physical orientation of the stage
 Delaying, cancelling or moving the show.
 Or other actions as required.
13. The person responsible for safety must also ensure that the set up, pack up and performance of
the show is done safely.
 For example, care should be taken that anyone above floor level has a spotter and is on a
stable and safe surface to stand on (eg a properly set up ladder).
14. Hazardous materials should not be brought onto stage without first clearing it with the person
responsible for safety. Hazardous materials may include liquid, glass, mousetraps, fire etc. The
responsible person should consider any reasonably foreseeable harm that might arise from the
use of the substance, and put in place suitable measures to address this. If suitable measures are
not available, then the material should not be brought onto stage.
 for example, if water is being used allow time for clean up afterwards.
 if mousetraps are being used, players are given an option to opt out before the show.
 Glass or ceramics should not be broken on stage without a clear understanding of the risks
involved – such as breaking it in a contained and safe area away from the audience and
other performers.
15. Most venues will have staff who are responsible for fire evacuation procedures (eg a manager or
the stage manager). The person responsible for show safety is NOT responsible for evacuating
audience and performers from the venue. However, if the company is to provide the fire safety
officer, it is important that
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a) the officer is given a safety briefing by the venue and
 b) they are present at all shows.
16. Incident Reports
17. If an incident happens at a company event (either an injury or a close call) it should be reported
to the artistic director or committee through the incident report form to be found on the
player’s page of the website. The committee must then consider the incident and what actions
need to be taken as a result.
 Note: even if an injury is not sustained, it is still important that a ‘near miss’ is reported as it
may still usefully identify a potential risk.