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COLUMNS or HUMAN MAD LIBS Ô
Players perform a scene using audience volunteers to fill
in the blanks.
HUMAN BEAT BOX
Players build into an a capella beat box with drum,
bass and auxiliary sounds. Once a beat is rocking, each player takes turns
rapping about given topic. We love sporting events and favorite foods but
anything is far game.
DAY IN THE LIFE
Audience member is interviewed for details from a special life experience. Players acts out the day, recreating mini scenes. Most often as a Broadway Musical. We usually do this as a MODERN DANCE or BALLET
FOREIGN OPERA TRANSLATED
Our version of the classic gibberish game. Two players sing in gibberish. Two players interpret. Fifth player provides musical accompaniment.
FREEZE FRAME or HUMAN SLIDE SHOW
Audience volunteers help our actors pose in a series
of pictures/slides. A narrator or two interpret the slides as a vacation set,
historical lesson, area of expertise, etc
HITCHHIKER
Four players assume the various emotions or quirks. The
driver picks up each hitcher. As the new hitcher enters, the entire cast takes
on the quirk of that player. This happens until the car is full.
MADRIGAL
A Capella Choral song weaving a series of audience
suggestions. Each player is given an initial statement. (Usually a newspaper
headline). After each player adds their suggestion a musical treatment and
builds into a fugue-like choral work, each player mixes and matches various
elements to create new absurd statements.
ONE to FIVE
Players play out a one-minute scene. The scene then
repeats at 30-seconds, 15-seconds, 10-seconds, 5-seconds, maintaining the basic
structure of the original.
PBS INTERVIEW AKA MIRACLE EAR
Player one interviews Player two, the author of a new
book (title from audience). Third player fills in for missing sign language
interpreter.
PROM DATE
This is a musical guessing game. All set to music,
Player 1 has to guess a few character traits. We usually give the player a job,
quirk and mode of transportation. Player 2 and player 3 - as the date and a
parent sending off the couple – have to communicate clues of the various
secrets.
SONG STYLES
4 players each take a verse and split a 5th
verse. Most often we sing the Blues every show. We also love the Hoe Down,
March, Tango ad others.
Know your ABCs
Improvisers play a scene in which each LINE of
dialogue spoken by a character must begin with the next letter. In the example
above, one improviser will begin their first sentence with the letter A, all
following sentences may begin with any letter. The second improviser begins
their line of dialogue with the letter B, etc.
Accepting Game
Two improvisers play a scene where one of them is limited
in dialogue. The limited improviser can only say one of the following three
lines, "Sounds good to me!", "I'll go along with that!",
and "O.K., great!". The unlimited improviser makes offers and the
limited improviser replies. The choices made should be active ones allowing for
limited responses. This game is excellent if you are not in the mood to
improvise. You can be active in the scene without blocking or wimping on an
idea. Variation: This game can be easily played with an audience member in
the role with only three lines.
Adjective Scene
Improvisers ask for an adjective (eg: 'sad'). Must
play the scene with as much 'sadness' as possible, or each player may ask for a
different adjective.
Advancing Game
A very simple game. Perform an action, and then make
it more interesting. Keep the action simple, and be strict. Have someone
offstage call "Advance", at which point the improviser may advance
the story, and "Expand", at which point the
improviser must make whatever they are doing
more interesting. Example, if the action is "scratching your
nose", you need to make that activity more interesting. You can't blow
your nose, because that would change the action. You need to make
"scratching your nose" more interesting.
Airplane
A rectangular area is marked off with chairs or tape,
etc. Two improvisers stand at opposite ends of the area. One is blindfolded. An
obstacle course of improvisers, chairs, and props is assembled in the area. The
sighted improviser guides the other through the course without touching any of
the obstacles. Three touches and the game is over. It is good to have a time
limit on this exercise.
Alliances
Improvisers perform a two-minute, four-person scene.
At the end of the two minutes, one person needs to have been excluded from the
rest of the group. This game used to be called Exclusion, but that name doesn’t
fit the game. The object of this scene is not to exclude someone else, but to
align oneself with the others. If you have an ally with you, you can't be
excluded. If you are the one being excluded - don't fight it -be excluded. The
challenge is in trying to get an ally to join you. It is best to keep this
scene physical and very specific.
Alliteration
Improvisers ask for a letter of the alphabet and
incorporate as many words beginning with that letter into the scene as
possible. (T) Variation: Each improviser asks for their "own"
letter. Variation: Instead of words the improvisers make sounds beginning with
that letter. Variation: Every word spoken begins with that letter. Using the
letter “T”, “Hello, How are you?” becomes “Tello, Tow Tar Tou?”
Animal People
Improviser (or improvisers) asks for an animal, then
plays the scene as a human with that animal's characteristics.
Arms
One improviser stands in front of another improviser.
The improviser in front wraps his arms around the improviser behind. The
improviser behind then uses his own arms as the front improvisers arms. Can be
used with Experts. Variation: A different improviser plays each arm of the
third improviser.
Asides
Improvisers turn to the audience and declare their
true feelings or inner dialogue. The asides are not "heard" by the
other characters on-stage. The others maintain their positions in a "soft
freeze" (holding position without becoming rigid). Similar to Consciences
and Inner Dialogue.
At The Movies
Two critics review either a single film or multiple
films. As they review, clips from the fictitious movie are acted out onstage. Variation:
Can be done as a “tribute” to a fictitious actor or director. Variation: Rather
than critics, the improvisers can play a trailer to an upcoming feature. Then
they can play the whole movie trying to connect the scenes from the trailer.
Attitude Scene
Improvisers ask for attitudes. For instance, attitudes to have for each
other, or a particular topic. Example: if 3 people are initially in the scene,
you might get 2 attitudes from the audience ("impressed" and
"indignant"). Then, each improviser plays the scene "in
neutral" - endowing the other actors with one of the attitudes. Each actor
will react indignantly towards one person's comments and impressed with the
other. Each actor may assign different attitudes to different characters.
Audience, Scene Using The
Improvisers involve all or part of the audience in
the scene. Audience may be used as a Sound Environment (providing sounds for
the scene), to Move Actors Bodies, Family Dinner, Pillars, etc.
Ballet
Scene is performed in the style of a ballet, often
with a narrator. May choose to use music, but its not necessary. Performed
without speaking, except for the narrator's part.
Before or After
A short scene is played. The improvisers then ask the
audience if they want to see the scene that came before the scene they saw, or
after. The improvisers then play that scene. Once again, the audience is asked
and the third scene is played. If the audience choice leads to the improviser
repeating a scene, they can add something or inform the scene with something
from the earlier scene. Variation: Play this as a long form.
Beyond Words
Scene in which the emotions are so profound words
cannot express the emotions and therefore, are not used.
Black Box
Person 1 is sitting on a chair, in a location to be
determined. He holds a small, black box on his lap. This box controls parts of the
body - push one button, the leg bounces, push another and the shoulder
twitches, etc. Person 2 enters, notices the box and asks to use it. Person 1
says, "OK, but be sure you don't press the RED button." Person 2
plays with it, controlling person 1. Starting slowly, person 2 gets more and
more sadistic. Don't decide beforehand what the red button does. It might be a
Song Button, or an Emotional Release Button, or a Falling in Love Button, etc.
Blank Scene
Any scene based on suggestion that fills in a blank
such as “I opened the closet and found a ______?”
Blank Family
Improvisers ask for a verb or adjective and then play
a family of characters who are that verb or adjective.
Blindfold Scene
All onstage improvisers wear blindfolds while playing
the scene. They act as though they were sighted and the scene was a normal
scene. For the sake of safety, the stage should be lined with spotters to make
sure the onstage players do not walk off the edge of the stage.
Blind Hunt
Improvisers form a large circle. Six improvisers sit
in the middle of the circle with their eyes closed. One is tapped to be the
"murderer", a person who kills the others by squeezing their arms.
"Go" is given, and the six improvisers roam around the circle keeping
their eyes closed. When a victim is killed they let out a scream and open their
eyes, joining the outer circle. The people in the outer circle should act as
"spotters" for the six improvisers, making sure they remain safe.
Body Reversal
Improvisers play the scene as though the back of
their body is the front.
Boris
Scene in which an improviser is interrogated. The
improviser being interrogated is worked over by an invisible thug of gigantic
proportions (named Boris). Whenever the interrogator does not get a
satisfactory answer, Boris thrashes the prisoner. The person interrogated is
responsible for physically carrying out the orders to Boris. Remember - the
prisoner does not want to be thrashed, but the Interrogator is a cruel one.
TELL A STORY. Unexpected Productions
Call From Ray
A scene is begun in a given location. At some point
during the scene an onstage improviser receives a "Call from Ray",
which then must be incorporated into the scene. The "call" may come
in any form (smoke signal, Morse code, etc.), and Ray may not appear in the
scene.
Chance of a Lifetime
A person is picked from the audience and questioned about
something he has always wanted to do. He is then brought on-stage where he gets
to live that Chance of A Lifetime.
Characters from the Audience
Audience provides character traits or types for the
improvisers to use during the scene.
Chase
Two improvisers face each other, one begins a story,
the other asks related, but surprising questions about what is being seen. If
in a house one may ask, "The rocker speaks to you, what does it say?"
You want to prevent the person telling the story from thinking ahead about the
answers. You want to derail their train of thought.
Clashing Environments
Improvisers ask for two environments (unrelated).
Environments merge during the scene (e.g. Invent the lightbulb during the fall
of Troy).
Commercial
Improvisers ask the audience for a fictitious
product. The team then acts as a Production company writing a slogan, jingle,
or commercial - demonstrating what the product does. Similar to Yes, And... May
also simply be presented as the actual commercial.
Consciences
Scene where the thoughts of any or all characters are
revealed by on-stage beings (angels and devils) or offstage voice (Alter Egos,
Inner Dialogue, True Feelings).
Continuation
The opposing team begins a scene. After 30 sec., the
MC stops the scene. The offstage team assumes the positions and characters of
the onstage team, playing the rest of the scene.
Gradual Continuation
Instead of replacing onstage team en masse, off stage
improvisers substitute one at a time.
Continuation Circle
Play a scene in the center of a circle. Improvisers
tag in, while maintaining the same initial characters and story throughout the
scene.
Creation Myth
Scene based on the creation of something.
Culture
As if seen on PBS - may use Opera, Ballet,
Shakespeare, Masterpiece Theater, etc.
Cutting Room
The scene is interrupted by an off stage
"cutter" who directs the action to points in time and locations
before or after what is being played on stage. Actors make offers in their
dialogue, like, "Do you remember the first time we talked like this..."
Can also be played with the time changing anytime a character looks at a
timepiece or with an offstage improviser calling out the time. See: Remote
Control.
Day In The Life/Experience
Improvisers ask an audience member for an actual day in
his life. Improvisers recreate the day as they see fit. Can be an average day,
or a first day at work or a rite of passage or a family vacation experience
or...
Directed Movie
Scene is played with one or multiple players calling
out film shots that must be created by the onstage performers. Any type of film
technique can be called out such as“ Long shot, extreme close up, medium
establishing shot, slow cross fade”. Unexpected
Productions
Director
Title is given for the scene. "Actors"
begin a "rehearsal" of the piece. Periodically, they are stopped by
the "director", who gives new emphasis or emotional focus to the
scene. This game can also be played with the audience playing the character of
"Chris". When the "director" needs an emotion, a physical
direction, etc. he consults "Chris" to fill in the blanks.
Documentary
Scene is played in Documentary style with a narrator.
Unexpected
Productions
Dramatic Situations
The improvisers draw a card from the "36
Dramatic Situations" Cards, and then base their scene on the elements of
plot and character given on the card.
Dramatis Personae
Each person is assigned a famous personality from
history or current affairs, and a location in which their scene is played.
Each actor is assigned a famous person. The scene
begins with them in bed.
Drawing Game
Two people sit at a large drawing surface with two
different colored pens. They start to draw a line at a time beginning with the
eyes, to avoid the abstract. Nobody is in charge, just draw, you are sharing
the drawing and bypassing your personality. When the drawing is finished title
it one letter at a time.
Take a blank piece of paper and a pen. Look in the
upper left hand corner of the paper and write down the letter you
"see" there, then the next, and the next, and so on. Always “look”
for the letter in the blank next the letter you just wrote. When you’re done read
the page. This allows things to come out you, you don't need to
"think" about the letters, just write them down. Think of it as being
given the letter, as opposed to creating the letter.
Driver’s License
Improvisers base their characters on identification
photos they acquire from the audience.
Dubbing
Offstage improvisers provide the voices for the
onstage characters and action. May be played as a Foreign Film.
One improviser on stage speaks for all the other
improvisers in the scene, as well as for themselves. Can also be played as
MUTUAL DUBBING, with two improvisers providing each others voices
Improvisers A, B and C start a scene, A speaks (dubs)
for B, B for C and C for A.
Ending in "Blank"
Scene must end with a specific event or phrase. Unexpected
Productions
Endowments
These are scenes in which one or more improvisers
leaves the stage area so that other members of the team can get
"secret" information from the audience. When all necessary
information has been gathered, the improviser(s) return to the playing area,
where their teammates "endow" them with the characteristics necessary
to guess the secret information. This information generally involves activities
or character attributes. It is important that the teams ENDOW the improviser
with the proper qualities. This is not charades. Example: If you are endowing
some to be a dentist, you do not show them how to clean teeth, etc. Instead,
you come in yourself with a sore tooth and hope they become the dentist to help
you. All endowments (except corridors) are best played with a three minute time
limit.
The scene is played in Gibberish. One improviser
remains on stage; the rest of the team leaves the playing area. The on stage
improviser asks for 1) an occupation, 2) a room in a house or building, 3) an
object, not considered dangerous which will be used in the scene as a murder
weapon. The actors are brought back into the playing area. In gibberish, the on
stage improviser endows off stage improviser #1 with the three pieces of
information. When the endowing improviser is convinced that the endowed
improviser knows what the weapon is, he should be killed by it. Then improviser
2 communicates the information to improviser 3 and finally, 3 to 4. The MC then
asks the final improviser what the three pieces of information were. Score is
not effected by correct or incorrect answers. Remember that the scene is timed,
usually with one minute per off stage improviser. The object is to get all the
improvisers through in the allotted time (usually 3 minutes). There is nothing
wrong with improvisers REPEATING EXACTLY the actions from the previous
improviser. The audience is encouraged to applaud each time the improviser
correctly "identifies" the piece of information being transmitted.
The improviser sent offstage must return and take
confession, confessing to sins with the help of a priest.
Two playing spaces are defined with a "neutral
corridor" between them. Improviser A walks from the neutral corridor into
one of the spaces, Improviser B, already in the area makes an offer. A and B
have three lines to define who, what, and where they are before B has to find a
justified reason to leave. Improviser B leaves, passing through the corridor to
the other space, where Improviser C waits to make an offer. You can do this
with two lines of improvisers feeding each playing space. Example: A steps into
scene. B says,"Young man, do you know what time it is?" A replies, "I'm
sorry Dad, I won't come home this late again." B Says, "I think your
Mother should hear that, I'll go get her." B leaves to go to the other
playing area through the corridor.
The offstage improviser is endowed as the head of a
criminal organization and gathers with the others to plan or act out the crime.
. He is endowed with “something to steal”, “a method”, and some wild card such
as a code word or a disguise.
An environment is taken from the audience as a suggestion,
then all the improvisers except one leave. The remaining improviser gets from
three to five activities associated with the environment. The improvisers enter
together and a scene is played with one improviser attempting to endow the
others with the activities.
Two improvisers leave the stage area. 3rd improviser
gets 2 famous people. The 2 improvisers are called back to the playing area.
Whispering, Improviser 3 arbitrarily assigns to each improviser who the OTHER
improviser is (eg: improviser 1 has to endow improviser 2 with being Mickey
Mantle, Improviser 2 endows improviser 1 with being Marie Antoinette). This
scene is played in the vernacular. Like all endowment scenes, this is not a
charades scene.
One improviser leaves the playing area while his
partners get 5 activities from the audience. Improviser is then brought back to
the stage where he is endowed to perform the 5 activities. The activities
should be unrelated BUT the improvisers should attempt to incorporate the
activities into a linear narrative. The scene is most successful if the person
trying to guess the activities does whatever comes to mind. It is up to the
improvisers "in the know" to guide the one guessing. Again, this is
not a game of charades. Never forget narrative. Unexpected
Productions
One improviser leaves the playing area while his
partners get predictions (usually one per player onstage) from the audience
about events to happen to the customers. Improviser is then brought back to the
stage where they play a fortune teller predicting the future events. They can
be endowed by the customers or by being given clues from offstage improvisers
who “possess” the fortune teller.
All members of the team leave the playing area. The
MC asks the audience for an environment and for three words which may be used
in that place. The MC then coaches the audience to respond to the teams to let
them know when they are getting "warmer" vis a vis the three words.
The improvisers are given the environment when they return to the stage.
Improviser is sent out and the remaining players get
a college course topic and something not associated with that subject, for
instance “biology” and “presidents”. The offstage improviser returns and begins
a lecture. They are endowed with the subject “Presidential Biology” through
questions from fellow players and the audience playing students. Unexpected
Productions
An improviser leaves the playing area. Two
“relationship problems” are gotten from the audience. The offstage improviser
returns as a counselor and two fellow players try to endow him to guess at the
problems in the relationship by playing a couple in a therapy session.
NOT the same as Chain Murder Endowments.
The audience chooses a murderer from the playing
team. The murderer then leaves the playing area. The remaining improvisers then
get a location, a murder weapon, and a victim. The off stage improviser returns
and the scene is played with the partners endowing the murderer with
information so that he kills the right person, in the right place, with the
right weapon.
One improviser is sent out of the room and a list of
objects is gathered from the audience. The other improvisers try to endow the
unknowing improviser to use the objects given.
Single occupation or a series of occupations is asked
of the audience. The other improvisers try to endow the unknowing improviser
with that occupation, or occupations.
You have three experts on a given topic. Each expert
is introduced by the expert before them. During the introduction, the upcoming
expert is endowed with a particular trait. This may be a speech pattern, a
nervous tick, a physical limitation, an obsession, etc. The upcoming expert
then plays the endowment for the remainder of the scene and endows the next
expert.
Same as Chain Murder, except instead of a location,
the team gets a famous personality.
One improviser leaves the stage area and a proverb or
unusual word is given. Upon returning to the playing area, the improviser must
use the proverb or word during the course of the scene. This game may be played
with any number of improvisers endowing, perhaps as a warm up at the beginning
of the match.
The offstage improviser is endowed as psychic reading
the fortune of a fellow improviser taken from the audience. Fellow improvisers
may “possess” the person being endowed and channel clues from beyond to help
them guess.
A product and an unusual problem with the product are
received from the audience. An unknowing improviser enters and is playing an
employee in a return department of a store. An improviser then tries to endow
them with the product and the problem.
Two improvisers in turn, face upstage plugging their
ears. Improviser A asks the audience for a secret about Improviser B, and vice
versa. In the course of the scene, each improviser has to endow the other with
the appropriate secret.
Team members face upstage, plugging their ears. MC
asks the audience for a word for each of the improvisers. Using sheets of
paper, a big marking pen, and tape, the MC tapes a word to each improvisers back.
Scene is played as the improvisers attempt to get each other to say the word
taped to their back.
Someone is sent out and the remaining improvisers get
the name of a brand new superhero. They then get two strengths, and a weakness
based on the name. The offstage improviser returns and is told the name of his
superhero. Ascene is then played out in which the superhero must guess his
strengths and overcome his weakness.
Entirely in the Audience
Stage lights are turned off, House lights are turned
on. The scene is played entirely in the audience. Often this is played by
getting a room in the house such as kitchen. The improvisers then play a scene
in which their kitchen is the size of the theater.
Environment in a Minute
Improvisers create as complete an environment as
possible in one minute. Variation is to play the scene Without Words, in
Gibberish. Unexpected Productions
Experts
At least one improviser is an expert on a topic of
the audiences choosing. Talk shows, lectures, debates, or interviews have been
used. May be played as a Word At A Time Expert. SEE ALSO: Panel Expert
Endowments, and Lecture (Phone Bank).
Fairy Tale
Improvise on a familiar fairy tale, or make up a new
one. May be a timed scene.
Family Dinner
Audience member is brought to he stage. The
Improvisers ask them to describe their family or workplace and then play a
scene with those characters. When the audience member feels the offer made by a
character is accurate, they ring a bell. If the action is inaccurate, they ring
a buzzer and the improviser must continue to make new offers until the bell is
rung.
Famous Last Words
Famous last words are given, either real or imagined.
The scene is played accounting for those words.
Film Rollback
Scene begins. At some point, the scene is stopped and
returned to a designated event. The scene then proceeds in a different
direction from that point. Similar to Cutting Room.
Finger Puppets
A scene is played with the improvisers using their
hands as “finger puppets”.
First Line, Last Line
Improvisers are given a first line and an unrelated
last line of dialogue. Scene begins and ends with these lines. Variation:
Each improviser can get a first line and a last line that they must use in the scene.
Variation: Have the teams bid on how many lines it will take them to connect
the first and the last lines.
Fish Out of Water
Onstage improvisers change places with the tech
booth. The technical improvisers then play a scene with tech support from the
onstage improvisers.
Foley Room
In the Film World, the Foley Room is the room in
which the soundtrack is enhanced. To play Foley Room, someone must bring in a
collection of noisemakers. One team plays the scene; the other team uses the
noisemakers to enhance the scene. Both teams should justify the sounds. A one
minute 'familiarization' period with the noisemakers can be helpful. Variation:
If you have technical improvisers the offers can come from the sound
improviser.
Fortune Cookie
A fortune cookie is opened and read aloud. Scene must
use the fortune in some fashion (eg: philosophical base, an event that takes
place during the scene). Each improviser may open a fortune cookie, basing
their character on the fortune.
Free Association/Reincorporation
An improviser free associates for 30 seconds.
Opposing team plays a scene or tells a story based on the free association,
using as many of the images as possible. Stress narrative.
Free Scene
A team gets to do any scene they like. Unexpected
Productions
Freeze Games
Improvisers have their backs to the action and their
ears plugged, an improviser shouts freeze, the next person in line jumps on
stage, then, the same as above.
Two improvisers begin a scene. An off stager
improviser, at some point, shouts out "Freeze." The on stage
improvisers freeze. The off stage caller then jumps on stage, taps one of the
improvisers out of the scene, assumes that persons EXACT PHYSICAL POSITION, and
begins a new scene based on the physical positions. Improvisers may freeze in
and out as much as they like. In order to make this game work, the on stage
improvisers should be as physical as possible. This gives the off stage
improvisers a greater number of possible Freeze moments. Variation: Have the
audience “boo” if the improviser does not assume the exact position. The
improviser must then make adjustments until the audience is happy. The game
continues from there.
Same as Freeze Tag except the audience suggests a new
location with each freeze that the improvisers must justify.
Like freeze tag, except that the improvisers play one
character throughout the tag. Every time an improviser tags in, they play the
same character. Eventually, the scene takes on a "Soap Opera"
quality. Remember to justify the position, as well as the relationship each
time.
Gibberish
Any of a series of scenes in which the spoken
language on stage is gibberish. No known language may be used during the
playing of gibberish scenes. The scenes are not played as charades, but as
scenes in which the on stage improvisers know exactly what the other
improvisers are saying. The goal is to create a new language of understanding
between the improvisers onstage. Translations should match syllable for
syllable and begin as soon as the gibberish is spoken rather than waiting until
the end of the line.
A scene begins in English until a bell is rung and
the improvisers continue the scene in gibberish. The bell is sounded again and
the improvisers return to English. This back and forth continues until the
scene ends.
The improvisers get a foreign country from the
audience, like "Spain". A scene is played where an English-speaking
visitor is incorporated. But the "English Speaker" speaks in
gibberish and the "Foreigners”, in the example, the Spaniards, speak
understandable English. Variation: Someone offstage can say,
"switch", and the one speaking gibberish can then be understood,
while the others begin speaking in gibberish.
Three improvisers sit onstage. Two of the improvisers
conduct a gibberish conversation with both sides translated by the third
improviser.
Improvisers stand in a circle. An improviser turns to
the person next to them and says a gibberish word. The receiving improviser
repeats the word and then offers a definition to the next person. The third
improviser uses the word correctly in a sentence. The next person says a
gibberish word, etc. around the circle.
A (very funny) joke is told to the audience by a
single comedian. The joke teller is constantly interrupted by an assistant,
forcing the jokester to retell the joke from the beginning. Variation:A joke
is told, alternating between gibberish and the vernacular.
A poem or opera or...is translated by an interpreter
for the audience and/or other improvisers.
Two improvisers meet on stage who speak different
languages. They both speak in gibberish as far as the audience is concerned.
Scene begins with regular speaking. A bell is rung
and the players then continue in Poetic language. The bell is rung again and
they return to regular speak. The scene continues going back and forth between
these two states.
An improviser gets a number from the audience. Scene
is played using only numbers as dialogue, counting down from the number given
by the audience. Scene ends at "zero."
Give and Take
Step 1: Improvisers spread out through a playing
space then freeze in a position. One improviser begins to move about the room
in any fashion they wish. They then give the momentum to another improviser who
takes it immediately and begins to move about the room. When the second person
begins to move, the first person freezes. Remember to "give" focus.
Step 2: Same as above, but in addition, the momentum may be "taken"
by anyone who decides to move. If an improviser begins to move, the present
"mover" freezes. If two people begin to move at the same time, they
should mirror each other, or one of them has to give focus. It is very
important to be aware of the people around you and if someone is in a difficult
position give them the focus.
Growing and Shrinking Machine
Like Freeze Tag. Start with Improviser 1 on stage.
Improviser 2 freezes the scene, jumps on stage and begins a new scene with
Improviser 1. Same for Improvisers 3 and 4. Unlike Freeze Tag, improvisers do
not tag out of the scenes. Eventually, the entire team will be on stage (let’s
say 4 for example). Then!!! Improviser 4 must find a justifiable reason to
leave the stage and the scene reverts back to the original 3-person scene, but
time has passed, the improvisers are in new positions WHICH MUST BE JUSTIFIED.
Then Improviser 3 finds a justifiable reason to leave the stage - back to the
2-person scene. Finally, Improviser 2 leaves - back to the solo scene. It is
important to justify the new positions during the Shrinking phase of the game, not
to simply jump into the original scene at the next moment. Similar to Space
Jump. Variation: Use an emotion with each freeze Variation: Shrink then Grow
by beginning with 5 improvisers then one leaves and thus begins a 4-person
scene all the way down to one. Then the machine grows by having the improvisers
enter the scene in order again up to the 5-person scene.
Half Life
A thirty-second scene is played. It is then repeated
in fifteen seconds. It is then repeated in seven seconds, then three seconds,
and finally in one second.
Hall of Justice
A fill in the blank scene involving super heroes and
sinister villains. BLANK Man/Woman is the main hero. Dr. BLANK
is the main villain. BLANK is the sidekick to the hero and Mr./Ms BLANK
is the sidekick to the villain. The VICTIMS are the rest of the
players who set up the environment that soon becomes villain-ized. The
players are strongly urged to get the full benefit of their given blank-name by
incorporating all of the associations justifiably in the scene. FOR EXAMPLE, if
the suggestions are, "pancake, oven, wax, tree, and Starbucks" then, Pancake
Man and his sidekick Oven may fight against Dr. Wax and his
sidekick Mr. Tree as they plot to turn all the coffee beans of the world
to wax. Pancake Man battles using his special flipping and
flattening abilities as Oven melts off the wax.... etc... you get the
idea. This fun game was developed by Jay Hitt as a way to get improvisers to
know their parts in a scene. To play it successfully, players must focus on the
RELATIONSHIPS between their fellow improvisers.
Hand Slap
Players get down on the floor in a circle. They cross arms with the players next to
them and then place their our palms down on the ground keeping the circle. Each hand takes a turn patting the ground
once around the circle in order.
Direction is changed when a player pats one hand twice and the order must go in
the opposite direction. If a player makes a mistake, then the offending hand is
eliminated from the circle. The game is over when one player remains.
Hats
Two improvisers from opposing teams put on hats of
approximately equal dimensions. Scene ends when one improviser (a) grabs the
hat off his opponents head or (b) tries to grab the opponents hat and misses.
Play the scene for reality. A Hat grab, the move to grab a hat or defend a hat,
needs to be justifiable within the scene. The scene if often played with a 15
second "window" at the beginning in which improvisers cannot go for
the hats.
Headline
A headline, real or imagined, is asked of the
audience. The scene is played illustrating the headline.
Healthy and Fit
Have several improvisers play a simple family scene
together. When finished give them the instructions, "You feel healthy and fit.
You have all the space and air you need, and have a great interest in what
people have to say. Have the improvisers replay the scene and watch the
results. The scene will generally be much more interesting to watch. This
exercise is a good mantra to use when you are on stage as well.
He Said, She Said
A scene for two improvisers. Each improviser
describes the action of their partner. Example: Improviser 1, "I'd like to
talk to you, Mabel. Improviser 2, "He said, standing up and putting his
hands on his hips." Improviser 1 carries out that physical action as
improviser 2 continues, "All right." Then Improviser 1 responds,
"She said, pulling out her bullwhip and snapping it over his head."
Improvisers refer to each other in third person, to keep the narrative strong.
The idea, like every other improv scene, is to endow your partner with do-able
action. It gives the improvisers an excellent view on how to endow.
Hitchhiker
Get a list of characteristics, habits, emotions or
attitudes for the audience. Two chairs are placed onstage and one player takes
a chair as if driving a car. They pick up a hitchhiker played by another
player. The hitchhiker plays one of the strong character traits, habits or
quirks. The driver takes on the characteristic and they continue the
scene. After a while, the hitchhiker is
dropped off and a new hitchhiker is picked up with a new characteristic.
Variation: The driver makes an excuse to leave and the hitchhiker becomes the
driver who then picks up another hitchhiker. This is a rotating players through
the scene.
Honestly
Improviser(s) play a scene speaking their true
feelings (as opposed to socially accepted verbal interactions). Unexpected
Productions
Honeymoon
A hotelkeeper shows a couple into a room and leaves.
They grab long knifes (imaginary) and cut their bodies open. Another creature
emerges, moving around the space gleefully. The hotelkeeper knocks, the
creatures freak and climb back into their old bodies (in a hurry, they put them
on wrong, or put on each others bodies, etc). Hotelkeeper enters, says, "I
know what you've been doing," and proceeds to cut himself in the same
manner.
Horoscope
A situation is given and a scene played out during
which a horoscope from a magazine is read out in parts. The central character
in the scene plays his part according to the horoscope.
Human Environment
The onstage environment is provided completely by
improvisers. Variation: The environment can speak or perform monologues.
Human Prop
One improviser runs around playing all of the props
in a scene.
I Love You
The words "I love you" are played as either
the subtext for the entire scene, without ever being stated, or in some cases,
as the final words of the scene.
I Me Mine
Scene without using the words “I”, “Me”, or “Mine.”
In A _____, With A ____, While _____
Improvisers get audience suggestions to fill in the
blanks IN A toaster WITH A Marine WHILE a hurricane is approaching. Scene does
not necessarily have to begin with the suggestions but may move toward that
moment. Or it may begin at the suggestion and proceed wherever it might.
Variations of the game are single blanks or combining two of the three.
In/Out
Improvisers each get a “trigger” word before the
scene. If any improviser in the scene speaks the word and they are onstage,
they must justify an exit. If the word is said and they are offstage, they must
justify an entrance. Variation: Play that the “trigger” word has no effect
if spoken by the improviser with that trigger word. The entrances and exits can
only be caused by other players.
Inner Dialogue
Improvisers perform the scene while off stage
"voices" create the inner dialogue - what they are REALLY thinking.
May be played with just one character having an inner dialogue, or with the
actors giving their own inner dialogue directly to the audience in the style of
an aside. See: Consciences and Asides. Variation: Play as Inner
Dance-alogue. Variation: See Inner Song-alogue.
Innuendo
Scene is played with as much innuendo, double entendre,
or suggestive dialogue as possible. Can be one on one or played as a tag team
scene.
Instant Exit
A scene is played with a number of improvisers
onstage. Each improviser tries to play the scene straight and has to justifiably
exit if the audience laughs at either their action or dialogue. All players
must contribute to the scene. Variation: Can be used as a toss up with equal
numbers from each team.
Insult Relay
Tag team insults. Get it? Some get it, others
don't...we fall into that latter category! Ouch.
Interference
Team begins a scene. Opposing team attempts to take
focus without speaking, making noise, or touching the "on stage"
team. You can also play this where the opposing team MAY touch the
"onstage" team.
Internal Narrative
One improviser narrates the story, usually in the 1st
person. The other improvisers interact with the narrator providing environment,
supporting characters, etc. More than one improviser may supply the internal
narration.
Invisibility
One or more characters in the scene are invisible to
each other. The other improvisers respond 1) as if they are visible (with no
actor, like in Harvey) 2) as if they
are invisible, but audible (voice provided by miked improviser off stage), or 3)
as if they are invisible and inaudible (with an actor playing a ghost as in Blythe Spirit).
Jeepers/Peepers
Everyone sits in a circle with their heads down and
eyes closed. On the count of three, everyone looks up at either the person on
their right, left, or directly across from them. If eye contact is made both
people scream and step out of the circle. The circle is then closed and the
exercise is repeated until there are only three players left.
Jumping to Conclusions
Improvisers play a scene in which all of their
sentences are completed by a fellow improviser.
Just a Minute
This scene begins with a group of improvisers
(usually four) standing in a line. Facing them is another improviser who acts
as the Judge. The improvisers select a general topic of discussion, a
one-minute timer is started, and the judge picks one person to start talking
about that topic. The person talking can speak of an actual experience in that
topic, they can make up a story around the theme, they can state facts about
that topic; anything they want. The other improvisers try to challenge the
speaker on ANY grounds. Challenges can be for repetition, boredom, off the
topic, anything at all. The clock stops and the Judge decides if the challenge
is valid or not. If the challenge is not valid, the clock and the speaker
continue. However if the challenge is upheld, the challenger gets the floor,
and begins speaking on the same topic. The challenging continues, if someone
who has started their story, gets the floor back, they must continue with the
same story they were telling when they lost the floor. The improviser talking
at the end of the one minute time limit wins. This game is not a narrative game
and should be played for fun.
Justification
All members of team except one block, wimp, waffle,
do bad mime, all forms of bad improv. One "straight" improviser must
justify everything - keeping the storyline strong.
Kiddy Show
Scene is played in the style of a Children's Show.
King Game
One improviser is the King and one improviser is the
Servant. The two play a scene; if at any time the King is dissatisfied with the
Servant, he claps his hands and the Servant instantly dies, replaced by a new
Servant. You may wish to time the Servants to see how long they last. This game
is for learning how to be a good servant. You assume most people will put up
with you, but being a servant is an acquired skill. If as servant you make
mistakes, but the king enjoys being on stage with you, then you’re learning
good servant skills. If you can keep the person onstage involved, then you can
keep the audience involved as well. Kings are annoyed by open ended offers
like, "What shall we do now?" They like specific things to do,
"Time for your tea, just the way you like it, Sir," is a more solid
offer. Kings will sometimes kill for no reason at all, but the game is still
worthwhile.
Kitty Wants a Corner
Players stand in a circle, one player stands in the
center and is “it”. The player goes to someone in the circle and says, “Kitty
wants a corner,” and the player responds, “Go see my neighbor.” Indicating one
direction or another. The player then moves to the next person in the circle
and the direction and asks the question again to the receive the same response,
etc. While this is talking place,
players standing in the circle establish eye contact with each other and then
quickly change places. The “Kitty” in the center tries to get to someone’s spot
before it is filled. If he succeeds,
then the person who didn’t make it becomes it.
Last Letter/First Letter
Last letter of Improviser 1's dialogue becomes first
letter of Improviser 2's dialogue. Improviser 1: "Love those pants."
Improviser 2: "Stop, you're just saying that. Improviser 1: "Trust
me, those pants are YOU." Improviser 2: Unfortunately, they have a big
hole in the knee." As always, the idea is to challenge your partner. The
audience appreciates a good struggle. They sit there wondering, "What word
would I use that starts with the letter U." Variation: Play second to last
letter, second letter.Variation: Play as Last Word/First Word
Light Booth
Scene is driven by changing the lights. Light changes
are made at the light board operators discretion. Improvisers must keep up with
- and justify - the changes.
Lists
A list of animals is gathered from the audience. One
improviser calls out different animals during the scene (or one improviser
calls per on stage improviser) Improvisers on stage then play the scene as if
they were a human with the animal's characteristics.
Get list of attitudes and/or emotions from the
audience. Make sure they vary; most audiences will readily supply
hostile/active attitudes and emotions. Improvisers onstage begin the scene in
neutral, then shift the scene as an off stage improviser calls out attitudes or
emotions from the list. On stage improvisers must justify the rapid changes in
attitude or emotion. AKA Emotional
Roller Coaster.Variation: May be played with one improviser remaining
"neutral" and the others taking on the emotional
characteristics.Variation: Each performer has their own separate attitude
called out.
A list scene where two lists are used to change the
improvisers in a single scene. For instance, Emotions and Film Styles, a scene
begins neutral, then the emotion "Happy" is called. The scene becomes
"Happy", after awhile, the film style "Sci-Fi" is called.
The scene becomes a "Happy, Sci-Fi" scene, if the emotion changes to
"Sad", then the scene becomes a "Sad Sci-Fi" scene. If the
film style changes to "Film Noir", it becomes a "Sad, Film
Noir", etc. Take your time with this game and make the transitions slowly.
Get a list of genres from the audience (styles
of...books, TV styles, plays, movies, paintings, etc). Play the scene in the
different styles as the scene progresses. Variation: see Three scene
A list scene that incorporates many of the items from
the above lists. For instance, you may have a single list with things like an
animal, a film style, a playwright, an emotion, etc. So improvisers would shift
from the emotion, "Sadness", to the film genre, "Western"
in the same scene.
Lotus
A series of scenes in which each scene develops out
of the "dynamics" of the previous scene. An audience suggestion is
not used. Three playing areas are established on stage, usually with a pair of
actors in each area. One couple begins a scene from nothing. When the second
group feels that they have determined the dynamic of the first scene, they
begin their own scene with different characters in a different place using
their interpreted dynamic from the first group. Then group three repeats the
process. The rotation is then completed two more times, for a total of 9
"scenes". Each time the cycle begins again, the groups use the
characters they established in their own first scene, but the scenes need not
be chronologically correct. Variations include: Solo in which three individuals take the stage doing monologues.
Again, it starts as a scene from nothing - the second improviser determines the
dynamic and each actor gets 3 shots at his character. Three Person again, three people on stage. But instead of doing
monologues, they each "visit" the other ones playing area.
Lyric Speak
All the characters onstage speak in song lyrics from
actual songs.
Machine
Improvisers form parts of a machine using their
bodies in repetitive movements and sounds. The machine may make an object, an
emotion, a genre of art, etc. Use an audience suggestion for the machine.
Improvisers begin a machine in the regular fashion,
the machine then evolves into a single monster that roams the stage. The
monster transforms into a slow motion riot, then back into a monster, then back
into a machine. Take your time with the transitions in this game as they are
the most important part.
Improvisers first create a machine, then move into a scene
suggested by either the machine or their own motions. At the end of the scene,
they create a new machine. Variation: the MC or opposing team specifies the
number of machine/scene transformations.
Making Faces
Three Improvisers sit shoulder to shoulder, the one
in the middle is the master, the outer two are the servants. The master is
planning a gathering and is giving the servants orders. He may only speak to one servant at a time.
When the master is not looking at them the servants make faces behind his back,
trying not to get caught. If the master catches them, he fires them instantly
and they are replaced with another servant. The idea is for the servants to
take bigger and bigger risks with making faces. If they play it safe the
audience will lose interest. They want to see the servants misbehave. The
master should play this strictly, showing no mercy, to create a sense of
danger. Variation: Add chairs to the outer servants and continue to play the
game that when the person next to you is not looking, you should make faces.
You may keep adding people to the outer edge.
Mantra Scene
Play a scene in which the improvisers have a hidden
mantra that they keep repeating to themselves and try to embody during the
scene. If the mantra is "I love you", the character should try to
play "I love you" with everything they do. Everything is played with
the hidden objective. To teach this scene, have two improvisers play a neutral
scene. Ask them to recite, to themselves, the first line of a familiar nursery
rhyme. Ask them to respond to questions as they keep the rhyme running in their
heads. They should have problems responding to the questions. Next, have them
play their neutral scene again, this time with a "I love you" or
"I hate you" mantra. The key to the mantra scene is to play the
mantra truthfully within the context of the scene. If your mantra is "I
love you", you should show your love in actions and what you say, you
should always TRY to say "I love you" in everything you say, but only
say "I love you" if you can do it truthfully in the context of the
scene. Some basic mantras are; "I love you", "I hate you",
"I want to sleep with you", " I want nothing", "I'm
better than you.", etc. The list of possibilities is endless. After some
time, you may want to work with more complex mantras, such as "I love you,
but I want you to go", "I hate you, but I want to sleep with
you", etc. Again the possibilities are endless. Eventually, you may play a
mantra combined with an objective, such as, "I hate you, but I'm pregnant",
or "I love you, but I'm going to kill you", etc. Try to avoid falling
into a "talking heads" scene.
Masterpiece Theater
Scene is played in the style of Masterpiece Theater.
Media Challenges
Scene is based on some kind of published material.
Maybe in the form of a newspaper headline (real or imagined), personal ad,
letter to Dear Abby, TV Guide Synopsis, Movie or Video Guide Synopsis, entry
from Ripley’s Believe it or Not, Guiness Book of World Records, etc. The
internet is another great resource for this game. The shorter the original
source, the better.
Minute Long Scene
Scenes that take place in one minute. The may
include: Death in a Minute, Epic in a Minute, Most Justifiable Entrances and
Exits in a Minute, Most Complete Scenes in a Minute, _______ In a Minute, Most
Scenes Using the Same Inanimate Object, etc.
Mirror Games
One Player leaves the room, the remaining players
choose one person to be the lead. The player returns and everyone stands in a
circle, as the leader moves everyone else in the circle slowly imitates or
“mirrors” his movements without indicating who they are following. The player
tries to guess who is the lead
A situation is given and members of the opposing team
(or audience members) adopt a facial expression, then turn to each member of
the playing team. Then playing team members adopt any one of the faces. This
becomes a character or plot offer for the scene played.
Moon, The
Improvisers play a scene as though they have very
little gravity. This game works best with a mover (see Moving Bodies) to
help with the weightlessness.
Motivational Exit
Three improvisers are onstage. Without speaking, they
leave together for the same reason. Go with the first simple offer - don't try
to be original. A twitch or throat clearing can evolve into a reason to leave.
Beginners will always try to be clever, instead of letting the reason evolve.
Don't reject anything, use it to develop a reason to leave. After playing this
for a while, introduce dialogue. Improvisers may talk, but can't leave for the
reason they’re discussing.
Moving Bodies
Audience members or teammates provide the locomotion
for the improvisers on stage. Improvisers may not move any part of their own
bodies (except to provide dialogue by moving their mouths). Movers should put
the "puppets" in challenging positions and puppets should challenge
the puppeteers with their verbal endowments. Unexpected
Productions
Like regular Moving Bodies with one notable
exception, all the movers are in the scene. Improviser A moves Improviser B, Improviser
B moves Improviser C, Improviser C moves Improviser A. When a character onstage
has to move another character, they simply break their position, move the other
character, then resume their position to be moved.
Moving Bodies with a twist, when the
"puppets" are moved, they continue to move with their momentum until
sent into another direction, or stopped. If the mover taps the puppets arm,
that arm begins to move in slow motion. If the arm is not stopped, or tapped in
another direction, the movement would begin to affect the whole body. For
instance, if tapped outward, the arm would eventually begin pulling the whole
body outward in that direction. The whole scene generally takes on a
"weightless" quality, with puppets floating through the air.
The stage chairs, which are often black boxes, become
the "floor" and a player moves the floor as the improviser walks on
it. The mover's ultimate job is to take care of the improviser above and keep
him from falling.
Mouth
Simple exercise. Play a scene, as you open your mouth
to say something, pause, and say something else. If you are thinking of saying,
"Hello John, Can I help you?", grab onto that thought, open your
mouth to say it but don't say it; say whatever comes out of your mouth. It
helps to open your mouth wide before you say your line.
Move On
A scene begins and at anytime an offstage improviser
can yell, “Move On!” forcing the story to immediately move forward in time.
Location and characters may also change when a story moves on.
Musical Chair
A single improviser sits in a chair. The other
improvisers make offers in a scene to get the person out of the chair. Another
improviser must find a justifiable way to sit in the chair in the context of
the scene and then the process begins again. As a toss up game, the last
improviser in the chair at the scenes end wins.
Name Game
Improvisers roam around the room pointing at
different objects, calling them by a name other than what they actually are.
Example: An improviser points at a cat and declares, "A Walnut!",
then points at a chair and says, “A hat!", etc. Best played at a fast pace
with everyone speaking at once.
Narrage
Improvisers perform a scene through a collage of
monologues that eventually connect in some form to a central narrative.
Different points of view can be used, time can move forwards or backwards, and
even the point of view of an inanimate object may e used.
Narrative
An open challenge, allowing the improvisers to
perform any type of scene where the storyline is the major focus of the scene.
Narrated Scene
One improviser adopts a style of narrative, title of
a story, etc. Narrator tells the story which he may or may not be a part of.
Such scenes may be Tall tales, bedtime stories, courtroom testimonies, or any
other situation where a story may be narrated.
Nightmare
Similar to Day In The Life/Experience,
except that the person's day or experience is played as a nightmare. Variation:
The improvisers have an audience member share what they did that day, then
enact the nightmare they will have tonight.
Nine Line
A scene that has only nine lines of dialogue,
repeated with different Attitudes, Points of View or Genres. Try starting with
three improvisers, three lines each.
Nothing, Scene From
No suggestion is taken from the audience. There is no
pre-planning of the scene. One improviser gets up on stage and the scene
begins.
Number of Words
Two improvisers begin a scene while an offstage improviser
or MC calls out the number of words they must use in a sentence.
Object From the Audience
An object is picked from a member of the audience.
Scene is played using that object. It may or may not be used as what it really
is (eg: credit card may be used as a pocket TV...).
Ola/Reno
Improvisers play a scene from a suggestion in which
as many words as possible end with an added “-ola” or “reno” Example: Hellola,
Let’sola goreno forola a walkareno. Get a mundane task or serious situation for
the suggestion.
One Hit Wonders
Many games are primarily "one hit wonders,"
gag scenes which are rarely as interesting the second time around in the same
show or sometimes ever. The team performing second is usually at a disadvantage
as the scene's novelty has worn off. Might try taking three of these wonders
(eg: Boris, Arms, Sideways Scene, etc) writing them on a slip of paper and
picking one from a hat.
One On One
One member from each team is selected to play one on
one with member of the other team. May play Status, Love, Sincere, Humble, etc.
Usually played as a timed scene. Each improviser tries to be the most ________.
Good for toss up challenge at top of show.
Order A Coke
Scene is played in whatever manner the improvisers
choose, BUT at some point during the scene, one of the improvisers must, justifiably,
order a coke.
Oscar™ Winning Moment
A scene is played in which each improviser gets an
“Oscar™ Winning Moment” in the scene. You can ask for these
from the audience if you like: A subject for an award winning monologue, or a
physical habit that is well played, etc.
Paper
A situation is established. The stage is strewn with
pieces of paper each containing single, unrelated lines of dialogue and/or
stage directions. A scene is played, randomly incorporating these lines of
dialogue and/or stage directions. The lines can come from plays, song titles or
lyrics, the audience, clichés, etc.
Parallel Parking
Two or more improvisers stand center next to one
another and begin walking away from the center till an audience member stops
them. They then play a scene in which they must always justify being in the
same relationship and distance to each other.
Parallel Universe
The improvisers get two environments from the
audience, which they play in the same space. In other words, two separate
scenes in two separate environments occupy the same space. The scenes do not
acknowledge each other. Give and Take is crucial for this game. Variation: Each
improviser gets a environment and plays the scene in that environment. Each improviser
acknowledges the other improvisers in their environment.
Parties
Each improviser gets an emotion. As they enter the
party, the emotion of the party changes. As each person leaves, the emotion
returns to the previous improvisers (kind of an emotional Growing and Shrinking
Machine). People can enter and leave as many times as is justifiable. Emotions
may be played as "instantly transforming" the scene, or more subtly.
Each improviser gets an obsession. Try to get more general
obsessions as opposed to more specific ones (eg: late model Camaros). People
tend to play obsessions at one level of intensity. Try to vary the intensity.
Don't make the obsession the focus of the party and keep the narrative going.
See Endowments
Four improvisers are on stage. You consider yourself
neutral. Secretly endow each of the other improvisers with either being silly,
sexy, or stinky. The scene is then played using the individual designations as
your attitude toward the others. Play the scene for as much reality as
possible.
Pecking Order
Status game. Each improviser picks a number
corresponding to the number of improvisers on stage (e.g. if there are three
people on stage, all improvisers pick a number between 1 - 3). Improvisers
don't tell each other what number they have chosen for themselves, so it is
conceivable that all improvisers might choose the same number. #1 is considered
the highest status. The highest number (going back to the previous example, would
be "3") is considered the lowest status. Scene is played with
improvisers projecting their own status - one does what one must to demonstrate
to the others the status they have chosen. Scenes are most interesting when
more than one person chooses the same number. One person may play "1"
the way someone else plays "3". The status may also be given in
secret to each improviser by an improviser not in the scene.
Played as Pecking Order, except that the improvisers
wear their numbers on hats. If a 2 is able to grab 1's hat then they switch
pecking positions. So a 4 could work his way to the 1 position by the end of
the scene. When playing this scene, don't worry about the hats, if it's going
to be taken let it be taken. The fun is in trying to get it back.
Performance Art
Title is self-explanatory. May be played as part of a
"Culture" Scene.
Phone Bank
Improvisers begin the scene as if they are standing
in front of a bank of pay telephones - at a public location. Each improviser
may ask the audience for a professional problem, or an emotion, or an object,
etc. The first improviser steps up to a phone, calls someone, and begins a
conversation that relates to the suggestion from the audience. After the tone
and rhythm of the conversation is established, improviser 2 does the same
thing. Improviser 1 fades out of the conversation for a while. After improviser
2 is established, improviser 3 calls someone, etc. This process continues until
all the improvisers are on the phone. At this point, improvisers trade the
focus of the scene back and forth, using words, phrases, emotions, etc from
each other’s conversations in order to temporarily take the focus of the scene.
Gradually, each improviser hangs up. The scene should be played like a chamber
music piece: volume changes, speed of conversation changes, rapidity of people
taking focus changes, etc.
Two experts stand shoulder to shoulder on stage. They
each get a topic to discuss. They both begin to lecture on their topic,
speaking at the same time and ignoring the other expert. As the lecture
continues they begin to pick up on each others words, etc, as in Phone Bank.
Physical Contact
Improvisers may only speak when they are in physical
contact with each other. This is a one hit wonder (unless one improviser
secretly chooses to endow himself with this quality in another scene).
Physical Thermometer
Teammate holds hand in front of another improviser's
forehead. Slowly, the hand is lowered toward the improviser's feet. At some
part of the improvisers body, an audience member shouts "Stop". That
becomes the part of the body that 'leads' the improviser's character. Each
improviser gets a “leading” part.
Pillars
Two audience volunteers are brought to the stage.
Whenever an improviser points to one of the audience members (a Pillar) the
audience member provides a missing word or line of dialogue for that character.
Pivot
Imagine that the stage is a large disk, balanced on a
single point. As an improviser moves around on the stage, the balance of the
stage is effected. Improvisers must compensate for each other’s movements,
making sure that the stage is always balanced.
Improvisers stand in a circle (the disc). One of the improvisers
steps onto the disc. He is now the HERO. He moves about the disc not speaking
but playing his status. When he stops, someone else steps onto the disc to
become the new HERO. The old HERO is now the CHORUS. When the New HERO stops,
the CHORUS rushes to balance the disc opposite the HERO. At some point, the
CHORUS decides not to move. When the CHORUS refuses to move, another HERO steps
onto the disc, and the former HEROES join the CHORUS, moving to balance the
HERO. Remember, the HERO and CHORUS cannot move at the same time, the chorus
must wait for the HERO to stop. The CHORUS will decide not to move without
consultation. They simply will not move. If one member of the CHORUS moves,
then all must move. The CHORUS, when even in number can spilt into different
combinations to balance the stage. For instance, a CHORUS of 6 could split into
two groups 3, three groups of 2, six individuals, or remain as 6 person CHORUS.
If the CHORUS is an odd number, they must stay whole. It is important to
remember that the entire CHORUS is equal to one HERO. The game is about status
being given, not taken. You can't be the HERO, if the CHORUS won't let you, and
you can't be in the CHORUS till you've been the HERO.
Plagiarism
Scene played using characters, plots, and lines of
dialogue from previous scenes. All must be justified.
Playbook
Using an anthology of plays, an improviser asks for a
page number. The improviser "holding book" must take all of their dialogue from one character’s
consecutive lines of dialogue in the play, beginning on the assigned page.
Teammates work to justify the dialogue. Keep the narrative moving. The tendency
is to eventually treat the person holding book as if they are insane.
Variation: person holding book reads the lines in reverse order. Variation: See
Paper
Plosives and Fricatives
Scene using as many plosives ("k",
"p", "b", "t") and fricatives ("f",
"s", "v" and "z") as possible. One person may ask
for a single plosive or fricative, using it as many times as possible in the
course of the scene.
Poetry Corner
Four improvisers stand in a row. A suggestion is
taken audience. One improviser steps out and says the first line of a poem
based on the suggestion. The next improviser says the next line, until the poem
is finished. It’s fun to play with various poem forms, such as Limerick, Haiku,
and Sonnet, just be sure you can actually do those forms.
Poetry Scene
Tell a story (in a line) or play a scene using an
actual poetry form such as limerick, haiku, sonnet, couplets, etc for all
spoken lines. Unexpected Productions
Poison Arm Samurai
The outer edge off your forearms, from elbow to
pinky, is a poison sword which can be used to kill and to defend. Improvisers
stand in a circle and move their arms up and down in slow motion. Once an even
rate is established, the "GO!" is given. The improvisers go at each
other trying to hit each other anywhere on the body with their poison sword.
The only defense being that persons own sword. If hit anywhere other than the
outer edge of the forearm, that person dies in slow motion. A dying samurai may
continue to kill until their rump touches the ground. The point of this game is
to be aware and in control of your body. Focus on keeping your body moving at
the same rate. You want to follow through on your actions, you're not moving
slowly, you're moving in slow motion. If you swing and miss, follow through
with your arm movement, even if it means being killed. Once you've mastered
this, try playing in teams of two, remembering that you can accidentally kill
your partner.
Point of View
A short scene is played with neutral character. It is
then replayed from the Point of View of each major character in the scene - the
POV character remains neutral. It is NOT necessary to repeat the dialogue
exactly. Try to endow your character with the 'biggest' emotions, actions, etc.
relative to the neutral character.
Two people sit in chairs, facing the audience. Each
does a monologue, alternating with the other. They talk about the same
situation from their own points of view.
Pop Up StoryBook
As above, except the on stage actors "pop
up" from a lying position and the narrator may manipulate one or more of
the actors body parts in order to illustrate parts of the story.
Position Vacant
Interview situation, occupation is given. One or more
people apply for the job. (Interviewer is also a member of the team). This can
be played with a different endowment given to each applicant.
Props
Each improviser is assigned a prop. The improviser
must use the prop through the course of the scene. The prop may or may not be
used to represent what it actually is. Variation 1: Scene begins without
specific reference to props, but they are added to the scene by other
improvisers throughout the scene. On stage improvisers must justify their
appearance. Variation 2: Other improvisers or members of the audience are used
as props. Variation 3: Human Prop – A single improviser plays all of the props
in a scene.
Radio Play
This scene works best with working microphones.
Voices and all sound effects are provided by the actors, like an old radio
play. May be played with the lights off, but it’s more interesting if the
audience can see the actors working.
Radio Stations
4 players stand in a line as in story story die or
storyline. The audience gives each person a radio station style such as “talk
radio,” “heavy metal,” “jazz,” “alternative,” “easy listening,” etc. Another
player points to them and they must say or sing what is on that station at that
time. If it is a talk radio station, then they can talk, if it is a music
station they need to sing a song in that style.
Realistic Scene
Improvisers play a scene for realism (fine line
between "being real" and "being maudlin". We tend to over
emote these scenes).
Research and Development
The improvisers ask for the name of a yet to be
invented scene format. One of the improvisers takes the stage and provides an
improvised definition of the format. Then the improvisers play the scene as
defined. Great for finding new formats!
Reminiscence
One or more improvisers reminisce about event/people
from the past. Other improvisers create the scene. The person reminiscing may
weave in and out of the flashback.
Remote Control
An imaginary movie title is given and the action
begins. At the discretion of an off stage improviser, "Fast Forward",
"Rewind", "Slow Motion" are called out. The actors react
accordingly.
A scene begins. At some point, an off-stage voice
"changes the channel." Improvisers momentarily freeze, and then start
a new TV show based on their positions. Scene plays a bit, then the channel
changes again. Off stage improviser then changes channels periodically between
the three established shows.
Replacement
Play a two-person scene. If an improviser wimps,
blocks, waffles, or doesn't accept an offer, they are replaced in the scene.
This game helps to train you to listen and accept offers.
Reverse, Scene In
Scene starts at the end and moves to the beginning.
Actions, conversations, all cause and effect relationships are reversed.
Variation: Use a story that is already known (eg: Folk Tale in Reverse).
Dialogue is spoken in the understandable vernacular.
Ritual
Everyday activity or object is played as if part of a
ritualistic ceremony.
Scene From Music
Scene starts with music provided by music improviser.
One or more improvisers dance to the music. After a short period of time, the
MC blows the whistle, dancers freeze in position. They then begin a scene based
on their physical positions.
Improvisers perform a scene to music provided by a
live musician or the music improviser. Can be played as a silent scene.
Improvisers may choose to ask for a suggestion. Music may be played for the entire
scene, cut off at some point, or changed during the course of the scene. If it
changes, improvisers must justify the change.
Scene In The Dark
Situation is given. At the lighting improvisers
discretion, the lights go out on stage at some point.
As above, except whenever the lights on stage are
"on", the improvisers react as if they are in the dark. When on stage
lights are "off", improvisers react as if the lights are on.
Scene Tag
Multiple playing areas (usually two) are established.
A scene begins in one of the areas. When a player hears a line of dialogue they
wish to use, they clap their hands and begin a scene in their area repeating
that line as the first line of the scene. Once all the scenes have been
established, then the scenes transition from one to another in any order by
simply clapping and using the line of dialogue as their next line. Variation:
Rather than clapping, the improvisers simply say the line and allow the
original scene to play to a beat before beginning the next scene with that line
of dialogue.
Scene Using the MC
Teams play a scene in which they use the MC as an
integral part of the team.
Scene Using A Member of the Opposing Team
Member(s) of the opposing team takes parts in the
scene. The audience may be called upon to select the opposing improviser to be
used.
Scene Without _______
Possibilities are limitless. Scene is played, for
reality, as if the world were without ____ (eg: words, emotions, contractions,
gravity, a word, the letter "h", love, parents, food, etc.)
Scene Without Humans
Scene is played entirely without human characters
appearing on stage.
Seductions
In the course of the scene someone is seduced.
Serious Scene
Improvisers play a dramatic scene that is serious in
nature or incorporates a serious theme. There may be laughs as life is funny
but there may be no gags or deliberate jokes.
Sex Role Reversal
Men play the women’s roles, women play the men’s
roles.
Shared Story
Like a regular Narrated Scene, Internal Narrative, or
Typewriter, except that several characters narrate the story from their points
of view.
Should Have Said
A scene is played and when an offstage improviser
calls “Should have said.” The last improviser to speak must make a substitute
for the last offer they made.Variation: The should have said offers sound like
the original offer. “The pizza’s ready.” May become “A piece of bread please!”
Sideways Scene
The stage floor is used as a wall in the reality of
the scene. The proscenium's "4th wall" becomes the floor of the stage
reality. Allows the improvisers to defy gravity and fall to truly gruesome
deaths.
Silent Scene
Playing a scene in which no words are spoken. Should
be played realistically and the improvisers should not find themselves in a position
where they might speak to each other.
Slide Show
A great handle for many different formats.
Improvisers pose in non specific poses while narrator explains - vacation, area
of expertise, etc.
Slides
A scene in which an improviser slides from one state
into another and then back again or goes back and forth between two states of
being such as high/low status, two emotions, etc.
Two improvisers perform an everyday activity, in
slo-mo, as if part of an Olympic style competition. Two off stage improvisers
provide color commentary. Good to avoid the now cliché fight in this scene.
Only one person is allowed on stage. Teammates may
provide voices, props, or sound effects.
Can't discuss on Bench what you are going to do. One
person gets up, gets a suggestion from the audience, and begins.
Improvisers create a song or scene with music from a
suggestion from the audience. Handles include:
As in Doo-wop, ballad, Angel song, Death Song, Da Doo
Run Run, etc.
A group of improvisers enter a playing area speaking
gibberish. They are at a reunion, not having seen each other for quite some
time. After a few minutes of catching up in their native language, they gather
in a circle and begin to sing gibberish songs they all know. Each person, or
small groups, may step into the circle and sing a verse or dance a native
dance. When the songs end, they all say good-bye, then leave.
Three singers to begin. Person 1 may ask for a
"Simple phrase from the Bible or Shakespeare." Person 2 may get a
"Common Advertising Slogan". Person 3 gets a "Fictitious
Headline from The Enquirer." Person 1 sings their phrase through twice.
Then Person 2, then Person 3. After all three lines have been heard, the
singers weave words and phrases in and out of each other’s lines, creating new
lines. Similar to Phone Bank. Singers trade focus, harmonies, tempos, words,
etc.
As in the style of a musical ala Andrew Lloyd Webber,
Rodgers and Hammerstein, Fosse, etc.
Figaro! Figaro! Figaro! Unexpected
Productions
Madrigal format, but rather than sing and play off the
same few sentences, a singer can advance the story with each line they sing. As
each advancing line is sung, the others combine the line with previous lines
and sing in the regular madrigal format.
As a scene is played, the improviser must begin
singing their dialogue when an accompanist begins playing. They return to
regular dialogue when the music stops, then sing when music plays, and then
speak, etc.
Improvisers form a circle. One at time, they add a
musical sound to the circle. After everyone has joined in, the improvisers
mingle with each other making their sounds, finding little "jam
sessions". At a given signal, they reform the circle in the same starting
order. Then one by one, starting with the person who made the first sound,
everyone falls silent.
As a scene is played, an offstage improviser will
occasionally freeze the scene and the last line spoken becomes the title of a
song sung by that character. Duets, etc. can be endowed upon the scene.
A scene is played that features three "black out
songs" in any style.
Sound Effects
A tape with randomly placed sound effects is played while
scene is being played. Improvisers must incorporate and justify the F/X. A
sound improviser may be used in place of a tape.
Soundtrack
A situation is given. Music, changing periodically,
sets the mood. Must be justified by the improvisers.
SoundScape
Scene is played, usually without dialogue, while off
stage improviser(s) provide sounds for the environment.
Space Jump
Similar to Growing and Shrinking Machine except
MC/Narrator chooses the order in which the scenes are repeated.
Speaking at the Same Time
Improvisers must carry on a scene in which they all
must be speaking and silent at the same time.
Speaking In One Voice
A scene suggestion is given. Two or more improvisers
combine to speak (and move) as one character. Can also be used to narrate or tell
a story to the audience. Also known as Multiple People Person.
Speaking In Turn
Improvisers decide on a speaking order rotation, then
play the scene speaking only in that rotation.
Speck
An onstage actor plays a scene with a
"speck" whose voice is provided by an off stage improviser. The on
stage improviser endows the voice ("Wow, a talking bottle cap!") and
plays the scene. Also known as Small Voice
Spell It
A scene is played in which all lines of dialogue are
spelled rather then spoken. They must S-P-E-L-L O-U-T E-V-E-R-Y W-O-R-D.
Split Focus
A scene in which the focus alternates between
characters and scenes in different areas of the stage. The two scenes may or
may not be related, however, some elements of one scene should be incorporated
into the other.
Split Screen
A location is established for the stage. Imagine that
a line is drawn down the center of the location and the two halves of the
location are switched. The “center of the stage becomes the stage right and
left edges of the playing area. A scene is then played in this environment.
When a character crosses “center” they leave the playing area and another
improviser enters from the other side playing the same character crossing the
room.Variation: The same actors play the same characters so a cross across the
room would entail the actor running backstage and reentering on the other side.
Spoon River
Improvisers get suggestions for occupations and an
attitude; begin the scene by lying on the stage. One by one, they sit up and
introduce their characters (who are dead). They recount the circumstances of
their lives and deaths, as they tell their stories the tales should weave
themselves together.
Stage Directions
Directions or instructions are written on a deck of
cards. The onstage improvisers look at the cards and justifiably follow them
while continuing the scene. Directions may be things like, “Be suspicious of
one of the characters” “Stand on one foot” Or “Speak in poetic language”
Standing, Sitting, Kneeling, Lying Down
A scene in which the improvisers must be standing,
sitting, kneeling, or lying down. No two improvisers can be in the same
position and all positions must be justified.
Statues
Audience members, or other improvisers, mold the body
positions of two on stage improvisers. Improvisers begin the scene, justifying
their positions. May try to end the scene in the same positions, or having
swapped the original positions.
Status Cards
Each improviser onstage draws a card from a deck of
playing cards without looking at it. They then place the card on their
foreheads and play a scene. All the improvisers treat each other with the
status they see on the improviser’s forehead with aces being high. If it is a
two is on someone’s head, they are treated with low status; a queen receives
very high status treatment, etc.Variation: Each player has multiple cards that
they cycle through allowing their status to change over the course of a scene.
Step Letter Scene
A word is taken from the audience as a suggestion
(Stop). The first improviser has to use that word in a sentence (Stop,
don’t go there!). The second improviser must change one letter in the word and
use it in the second sentence (I just took a step). This then continues
(Don’t leave without your stew).
Step Out Narrative
A scene or story in which any character can step out
and share their true feelings or a monologue with the audience.
Step Word
A scene or story that has a sequence of words. For
instance you can all say one word sentences, then two word sentences, then
three word sentences, then two word sentences, then one word sentences.
Stimulus Response
Each improviser gets a simple action that one of the
other improvisers will naturally do in a scene (blink, or touch their lips),
and something they will do in response (When improviser one blinks, I will sneeze!).
None of the improvisers should hear the stimulus or the response of any other
player. A scene is then played with the stimuli and responses activated.
Stop Action Narrative
A scene starts with a suggestion from the audience.
The improvisers begin playing the scene. Periodically, the narrator will stop
the scene and ask the audience what happens next in the plot. Question may be
informational ("Who calls on the phone?") or interpretive ("Regis
is deathly afraid of the next object Mary shows him, what is that
object?") The actors on stage should be constantly challenging the
narrator with opportunities to stop the narrative in order to ask a question.
Stop and Go
Freeze while talking and move in silence. Or vice
versa.
Story Story Die
Three or four improvisers stand in line on stage.
MC/Narrator kneels just downstage of them, facing the line. The MC/Narrator
points randomly to individuals in the line. When he points to Improviser 1,
Improviser 1 speaks, when he moves to Improviser 2, Improviser 1 stops (mid
syllable, if necessary), Improviser 2 picks up the story at exactly the same
place. If Improviser 2 stutters, repeats a word or two from Improviser 1, or
says something completely incongruous, the audience shouts, "DIE!"
The improviser dies and a new story begins. This continues until only one
person remains. Variation: Get styles for each one as in Storyline.
Story, Story Die, without the deaths. Each improviser
may request their own movie style, magazine style, -ism, etc. in which to tell
the story. When the finger is pointing at them. The story told is usually a
familiar fairy tale.
Strong Emotions
Scene is played with actors using assigned emotions.
Stunt Doubles
Improvisers begin a scene. At any point during the
scene an on stage actor may call out "Stunt Double". That actor is
then replaced by his stunt double, who then performs the dangerous or
distasteful activities. When the activity is finished the double calls out
"First Team", and the original improviser returns to the stage.
Styles
Team plays a short neutral scene. Then play the scene
two more times "In The Style Of..." a playwright, a period in history,
philosophers, painters, type of architecture, etc. Variation: Use 2
emotions.Variation: Play a scene in as many styles as possible within three
minutes. Have the audience yell out the style each time.
Scene played in the style of "-isms" (eg:
socialism, cannibalism, etc).
The style of any playwright, e.g. Miller, Brecht,
Shakespeare, etc.
As in the style of a magazine or newspaper, e.g.
National Enquirer, Playboy, Reader's Digest, New York Times, etc.
Any style of film, e.g. Film Noir, Silent, Western,
etc.
Subtitles
Scene begins in gibberish. Offstage improviser
"translates" the on stage dialogue into subtitles. Often used with
Operas or Foreign Film.
Swedish Storytelling
Get suggestions for a big thing, a small thing, and
something alive. Tell a story incorporating those three things. This game may
also be played by taking three different sentences that then must be
incorporated into the scene.
Tag Team Monologue
A character monologue in which all the improvisers
tag in playing the same single character.
Tag Team Typewriter
Same as above, with several people tagging in and out
of the scene. The typist who is tagged out might replace the actor who does the
tagging.
Three Lines
Choose three lines of dialogue, perhaps famous,
perhaps not, which must be used somewhere in the scene.
Three Scene
Scene is played in three parts. A “neutral” scene is
played. It then repeated two times with a new style or piece of information.
See STYLES
Similar to a Styles scene. Get three periods in
history then play the scene as if it took place in those time periods.
A scene is played in three parts as if from different
chapters of a book, usually the first chapter, a middle chapter, and the last
chapter.
Before or After
A scene is played then the audience is polled to see
if they want to see the scene that came before the original scene or after the
original scene. The question is repeated after the second scene. In some cases,
you may be repeating a scene that has been played as it comes before or after.
The first scene is done with a "G" rating.
That same scene is recreated again but as though it were rated PG (or PG-13)
the next one is rated "R."
Timed Scene
A scene that takes place in a specific amount of time
(Deaths In A Minute, Epic In A Minute, Two Minute Status Transfer, etc.). Or
the scene can be played in the time it takes to complete an activity (Scene
That Takes Place in the Same Amount of Time It Takes to Recite the Alphabet
Backwards, In The Time It Takes To Walk Around the Theater Five Times, Player
to Shave, etc). The key is to find the most appropriate method of timing that
will serve the scene and not simply be a gag.
Timed Styles
A short scene is played. Then the accelerated scene
is repeated in different styles as many times as possible within a three-minute
time limit.
Town Meeting
A topic is taken from the audience and an improviser
opens a “Town Meeting” on that subject. They field questions and comments from
fellow improvisers and audience members playing the population of the town.
Transfers
Two improvisers start a scene with emotions, styles,
opposite status and over the course of the scene they switch. This is usually
played as a timed scene.
True Feelings
Improviser(s) play a scene speaking their true
feelings as improvisers in the scene. Important for the improvisers to be
truthful with their feelings.
Triptych
Three short, unconnected scenes are played. The
improvisers play an extension of their original narratives in the same
performance order, making minimal references to one or both of the other
scenes. Scenes are played a third time gradually incorporating offers from the
other stories. The ninth (and last) scene should connect all the scenes.
Two Chairs
The improvisers play a scene based on any location
where two chairs would be found.
Two Rooms
The stage is divided in two and each half assigned a
room in which separate scenes take place.
Two, Too, To
The following blanks are filled by the audience: Two_________,
To _______, Too_______. A scene then is played incorporating the suggestions.
Typewriter
One improviser sits at an imaginary 'typewriter',
typing a story, while the other actors act out the story. Both actors and
typist are responsible for endowing the story with narrative line.
Understudy
An improviser leaves the stage and does not watch the
scene. A scene is played to a point and one of the characters falls ill. The
offstage “understudy” is then called upon to recreate the scene and/or pick the
scene up from where it was with no knowledge of what happened the first time.
Using Character of Plot Line From The Previous Scene
Title pretty much says it all.
Verse
This scene is played entirely in verse. Unless stated
the verse DOES NOT need to be rhymed couplets. If you do rhymed couplets you
may rhyme yourself, or set up your partner. Haiku, Shakespeare, Iambic
Pentameter, etc. are all permissible.
Virtual Reality
An audience member (or several) are brought to the
stage and assigned an improviser. During the course of the scene, the audience
member moves and the improviser must mimic their movements and justify them in
the context of the scene.
Visualization
An improviser closes their eyes and visualizes a
seashore. Don't have them think about it, just have them tell what they see. If
they see a house ask them what's inside? Who's there? Continue to ask them what
they see and have them describe it in detail. They shouldn't have to choose
anything, simply use their strong imaginations.
Wallpaper Drama
Improvisers begin a scene. At the discretion of an
off stage improviser, "Positive", "Negative", or
"Neutral" are called and slowly effect the emotional content of the
scene on stage accordingly. Variation: no off stage caller, the improvisers on
stage move through levels of neutral, positive, and negative by there own
silent discretion.
What Are You Doing?
Improviser 1 begins an action, (eg: jumping rope).
Improviser 2 says, "What are you doing?" Improviser 1 says something
OTHER than jumping rope (e.g. "Building a bird house.") Improviser 2
begins building a bird house, improviser 1 asks 2, "What are you
doing." and so on. Response speed is a must, as is making the action as
different from the response as possible.
What Comes Next?
An improviser takes the stage and asks, "What
happens first?", then does whatever the audience has replied, then they
ask “What comes next?”. The goal is to create narrative. This works best if you
show the audience that blocking or clever suggestions will get them nowhere. If
you train the audience to do this, they will understand it's a skill. If the
audience groans at a suggestion, go back and get a different
suggestion.Variation: This game can also be played with a committee of four or
five giving the suggestions. The committee will usually feel pressured and make
wimpy choices. If the audience feels the committee has failed, the committee
may be replaced. The committee should take their time and try to get into
trouble. Demand that the first eight or nine suggestions be positive and
advance the story. They want to set a routine and then break it, not delay
it.Variation: Player only asks for help when stuckVariation: Player ask for
step by step instructions.
What If ____
Audience fills in the blank. For example, "What
if money really did grow on trees?"
With Only Questions
Do you understand this challenge? Can you tell that
no statements are allowed? Can this be explained anymore clearly?
Without (a) ______
Similar to What If ____.
Without Questions
Just like With Only Questions, but with only
statements.
Word Pattern
A word is taken from the audience (Dog), and a scene
is played in which the improvisers have to begin each line of dialogue using
the next letter in the word. (“Doug has to be the right one.” “Over my dead
Body!” “Get out of the way!” “Don’t touch me.” Oh, come on!” “Go away”, etc.)
Word Scenes
Two improvisers tell a story, alternating one word at
a time, acting out the action of the story as it is told. Story should be kept
in the present tense so that action is accomplished rather than talked
about.Variation: Have the mutant narrate a story that is acted out by other
improvisers.
Improvisers stand in a circle. They begin to tell a
story a word at a time around the circle.
VARIATION: Play this as Story Ball (see Word
Ball),where improvisers "toss" the story to each other.
A verbal restriction scene. Scene begins with a 1
word sentence. Next sentence has two words. Then three. Proceeds up to a 10
word sentence, then to a 9 word sentence. Back to a final 1 word sentence.
A combination of One Word Story, and Step Word Scene.
Improvisers tell a story around a circle. The first time around the circle each
improviser is allowed one word. The second time around, they are allowed two
words, then three, etc. up to five. Then descend from five to one word circles.
When the circle finishes the cycle the story should end. Again that pattern is
1-2-3-4-5-4-3-2-1-end Variation: Offstage player calls out numbers at random
and that’s how many words each improviser uses.
An area of expertise is asked of the audience.
Several improvisers are picked to speak as an expert in that field. They answer
questions, show slides, etc. speaking alternately one word at a time. Often
done as a Talk Show, another teammate plays the talk show host. Variation: Have
an audience member sit between two improvisers as the expert.
Like Mutants, except each improviser plays a separate
character. If one character speaks, the dialogue is provided by all the
improvisers onstage - a word at a time. It is vital in this scene to have
strong character voices for each person in the scene, since all the actors
onstage are providing dialogue, the voices serve to distinguish the characters
from one another.
Improvisers stand in a circle. One improviser
"tosses" any word they want to anybody else in the circle, that
person in turn "tosses" another free associated word to another
person in the circle. This warm up should be played at a fast pace and the
improvisers should not think ahead, simply free associate on the word they're
tossed.
Yes, And...
Every line of dialogue begins with the words,
"Yes, and..."Can be played as a brainstorming meeting for marketing a
new product. The goal is to absolutely support your partners’ suggestions and
to experience being supported. Excellent workshop game.
Same as above, rather than demonstrating support, it
demonstrates creative waffling.
Zones or Quadrants
Improvisers divide stage into quadrants and take
audience suggestions (ex. -emotions, styles, status, attitudes) for each quadrant.
Improvisers play the scene, changing their style as they change stage
quadrants. Changes must be justifiable.
In one quadrant, improvisers may speak, in another
they may make noises, in the third, they are silent. Variation: An order is
established to the words, sounds, silences which is maintained by the onstage
players.
Zulu
Several improvisers line up and a product category is
taken form the audience such as cars or furniture polishes. When the MC points
at one of the improvisers, they must come up with a fictitious brand name for
the item or the audience yells, “Die”. Played until only one improviser is
left. Best played if sentences are not allowed. For instance a fictitious
furniture polish named “Shine Bright” is acceptable while “Gee, my furniture
looks terrific” is not.
LONG
FORM – MORE TO COME SOON
A Harold is a series of scenes based on one theme
from an audience suggestion. The form works as a collaboration between the
actor and the audience. This form allows us to use everything we do in improv:
1. Monologues, 2. Scenes, and 3. Games. It should incorporate the verbal and
the non-verbal. The theme should be gathered in the form of an everyday object.
You should always take the first suggestion. From something very simple, the
actors should draw the "inner magic" of the object or suggestion by
relating the object through the realm of their own experiences. Everything
should be considered; the color, texture, purpose, and symbolism of the object.
The actors should trust the audience to make their own connections to the
object and place their own themes on the scenes. Scenes may be reincorporated throughout the Harold, or individual
scene may only be seen once. In a Harold, you should not feel afraid to play
the beats of a scene at different times. The trick comes in keeping the scenes
in the present. Harolds may be done without any structure. The main reason for doing a Harold is to
"riff" on a theme - playing variations, bringing back characters and
illuminating different levels of a subject.
A Harold may be started in any fashion, if stuck, a
classic opening for the Harold is the Static Walk: All improvisers move about
the stage - one actor claps his hands, steps forward, and says what could be
the first line of a scene as suggested by the theme. The other improvisers stand frozen while he speaks. After the line, he melts back into the crowd
until another person claps his hands and the process repeats itself. After 5 or
6 hand claps, the line is used as a launching pad for a scene. Other improvisers fade off stage as the
scene plays. Scene continues until
another improviser blacks out the scene and begins another. Process repeats
itself.
Created by Del Close
Harold in monologues with the improvisers playing characters.
The characters may eventually intertwine their stories into one.
Three improvisers "check in" (monologue
recent incidents in their own lives). After each person "checks in",
the first improviser begins again, only another improviser (or improvisers)
join them in a scene. The Harold is based on the "check ins", or what
the subject of the check in suggests to the improvisers. The "Check In
Harold" traditionally ends with a poem, performed by all participants, in
a "Phone Bank" style.
Take a common object, such as "Pillow". The
improvisers form a line and share with the audience a monologue, based in
truth, in which the object plays a part. After playing the monologues for
several beats the improvisers leap off into scene work based on the issues
raised in the monologues, or on the monologues themselves.
Harold with a structure. Three scenes, followed by a
game. Then the three scenes are revisited followed by a group game. Finally the
three scenes are concluded and the Harold finishes with a group game. Similar
to LOTUS which is essentially a structured Harold without the games.