The rules governing Pecking Order are relatively simple but will nonetheless provide rich opportunities for exploring relationships and status in a whole new way.
The Basics
This scene works well with four actors who form a line at the lip of the stage prior to the action beginning. Players are assigned a status order (from 1 as the highest to 4 as the lowest), so Player A might be assigned 1, B a 2, C a 3, and D a 4 at the bottom of the pecking order. For the following scene, players may only talk to characters who hold status positions immediately above or below their own. In this way, Player A can only talk to B, while B can talk to A or C but not D… The action unfolds honoring these preset patterns and conditions.
Example
Status is assigned as described above with A holding the highest 1, and D the lowest 4. A movie star and their entourage serve as the inspiring impetus, and B and C volunteer to start. They create a luxurious dressing room and continue their preparations for their boss’ arrival.
Player B: (arranging an oversized bouquet on the star’s makeup table) “I’m just saying that he isn’t happy. Something clearly didn’t go as planned last night.”
Player C: (nervously fluffing the pillows on the star’s couch) “Did he say something to you? Something about me? I did everything on the list you gave me…”
Player B: (candidly but without cruelty) “I’m not even sure he knows your name. It’s my job to make it so he doesn’t have to worry about the insignificant details…”
Player C: “I’m just really enjoying this job and working for you both. I always wanted to work in the entertainment industry, and this is a dream come…”
Player A enters in a grumpy mood. C stops mid-sentence, honoring the rule that they can’t talk to A (or overtly in A’s presence). A goes to their makeup table.
Player A: (simply, to B) “I prefer orchids.”
Player B shoots a look to C as an explanation of sorts.
Player B: “Yes, sorry. I thought I’d made that clear. But these are quite lovely.”
Player A: “I can see why you might feel that way…”
Player B considers assigning the task to C but doesn’t want to risk another flower-related fiasco.
Player B: “Let me personally fix this oversight for you. You deserve nothing but the very best.”
B exits leaving A at their mirror and C fussing with the couch. These two characters cannot talk to each other…
The Focus
Obey the scenic rules and enjoy the resulting status discoveries and games.
Traps and Tips
1.) Status thoughts. Consider the basic rules of status (you can review them more fully here). High status needn’t become belligerent or mean; low status doesn’t have to be bumbling or incompetent. Extreme status contrasts will prove entertaining, but there is also something bracing about watching characters who are just slightly above or below each other on the status ladder. These subtler distinctions will likely encourage subtler moves and choices as well. If B was A’s best friend before A made it big, this relationship should become more nuanced and believable (as opposed to B being some hapless pleb).
2.) Casting thoughts. If you’re playing this game for the first time, it can be helpful to line up a character’s social role or rank with their pecking order assignment – in this way, our “number one” becomes the star with lower positions becoming their manager, assistant, driver and the like. Different (and frankly, often more interesting) dynamics await when the company doesn’t conflate rank or function with status. If Player D, for example, becomes A’s director, now there is a new and interesting tension to unpack (especially as the rules don’t allow A and D to talk directly to each other!) Another variant, Family Status (coming soonish to the Game Library) takes this idea up a few extra notches.
3.) Staging thoughts. Aim to thoughtfully rotate through the available characters in helpful (and then, ideally, less helpful) combinations. Don’t avoid staging the “gap” relationships – A and C above – and yet don’t rush to these more challenging vignettes before a firm scenic foundation has been laid. And if the scene is struggling rather than soaring due to the silence, be ready to provide a connecting entrance. When there are multiple characters on stage, pay particular attention to speaking rights and norms. The guiding rules are a little less cut and dry here, but if C is talking to B in the presence of A, then they are probably doing so very discreetly (perhaps almost as an aside) and they certainly wouldn’t interrupt A to speak. As with all status games, top dogs need to be extra generous with their presence and exits so that the other cats and mice can play.
4.) Justification thoughts. There can be a tendency to want to explain all the communication patterns in the scene: Player D messed up really badly with their boss, A, and is now avoiding them so as not to risk being fired… Some of this behavior is certainly warranted and will add to the greater tapestry of emotions and motivations. However, don’t neglect the wonderful power of subtext as well. If every line of dialogue is used to explain who is talking to whom and why, then there may not be much time left to construct a compelling scene, and too much talking about the talking essentially drags the whole affair into “naming the game” territory.
In performance
Played thoughtfully, focus will move between the players in new and exciting patterns. If you are a bit of an over-talker by default, challenge yourself to play in the middle or lower end of the pack as this should necessitate moving more of your choices into your physicality and actions.
Don’t forget you can keyword search the always expanding Game Library to find other games and exercises of a similar or contrasting ilk here. And you can find out how to get a copy of my companion book, The Improv Dictionary, which digs into core performance skills and strategies like status and relationship by following this link.
Cheers, David Charles.
www.improvdr.com
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Photo Credit: Tony Firriolo
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