Game Library: “Pick-Up Lines”

Certainly a bawdier option that may not be in keeping with your performance parameters (I don’t play this with my campus troupe, for example), Pick Up Lines provides an opportunity to stretch your punchline and wordplay skills in a tongue-in-check line game with X-rated tendencies.

The Basics

I’ve experienced this format as an all-play, warm-up, or team game in competitive formats such as Gorilla Theatre. Typically, an audience volunteer is brought to the stage and seated as the recipient of the cascade of pick-up lines. A facilitator (often the host or director in the case of Gorilla Theatre) elicits a series of different ask-fors such as occupations or objects. One at a time, players enter the field and approach the seated audience member, providing an original pun or flirtatious quip inspired by the audience prompt. The audience member then gives the attempt a thumbs up to indicate success or a thumbs down for efforts deemed less than enticing. If the game is being used as a decider, these results are then tallied by the host. The dynamic continues until a winner is announced, a particular well-crafted pun lands with finesse, or a time limit is reached. We’ll usually accompany the whole affair with a suitably raucous song from the booth such as “Shots” with the levels pulled down as each player gives their pick-up line. (We use a carefully edited version that primarily features the chorus to avoid the rather explicit language, so be warned!)

Example

With an audience member in place, the music starts after the facilitator acquires a “high school janitor” as the suggestion. One at a time, players dance in from the wings…

Player A: “So… do you come to this hallway often?”

OR

Player B: “I’ve been watching you from over there and you’ve just swept me off my feet!”

OR

Player C: “My life is just a complete mess without you!”

OR

Player D: “I know you might be out of my league, but for you I’d clean up my act.”

The audience volunteer gives a thumbs up or thumbs down accordingly, and the process continues...

The Focus

I would offer that this game is as much about charm and delivery as it is about crafting and executing clever or naughty puns. I’ve seen rather pedestrian dialogue land with thunderous reactions because it was thoughtfully and playfully delivered, and amazingly dexterous word play fumble into an abyss of silence because it was hurriedly or clumsily executed. Of course, the ideal is to achieve both expert performance and content, but if puns aren’t your thing, joyful success can still await.

Traps and Tips

1.) Select your audience member carefully. This is a mistake that companies generally only make once, but the game immediately takes on an “ick” factor if your audience volunteer is too young (or appears too young). This discomfort is amplified further if you have a cast of primarily more senior performers or if a young woman audience volunteer is surrounded by a sea of improvising men. The audience involvement is rather minimal with the thumbs up or thumbs down, but if they are at all uncomfortable, it will quickly deflate the playfulness and likely make the rest of the audience uncomfortable as well. As is always the case when you bring a volunteer onstage, you’ll want to prioritize their comfort and joy above all else, so exercise mindfulness when selecting someone to serve as the focus of the game.

2.) Double entendre generally sells. This is likely a personal stylistic preference, but I’ve found that explicit vulgarity tends to puncture the game and poisons the well for the improvisers to follow. Even if you’re operating in venues with very tolerant language and content parameters, I think the game is generally lessened when players resort to overt crassness or obscenity, especially as the first line of attack. There is a lot to be said for leaning into what isn’t literally said and skirting on the margins of ribald play. Subtle hues tend to become eclipsed and ineffective when they have to immediately share the stage with more overt language. Again, your venue might enjoy these raucous tones, but there is also an important value in working out other improvisational muscles and gently building to more obvious and colorful offers.

3.) Active facilitation helps. It’s extremely helpful if you have a host or director available to deploy them robustly in this game. It can feel overwhelming as a player if you can’t quickly formulate an angle for the proffered idea while you’re waiting in the wings: having an ally looking for these signals who can quickly pause the action and elicit a new inspiration can make all the difference. In addition to keeping track of the score if you’re using the game as a decider, a facilitator can also cajole the seated audience volunteer and keep them safe, as well as sort through the ask-fors to find suitable inspirations: mundane occupations and objects tend to open up more fun than offers that are already a little salacious or spicy. It’s often a bad sign when the ask-for itself is met with boisterous laughter…

4.) Throw yourself into the fray. When we played this in Gorilla Theatre, we only tended to have three improvisers available in the actor bank. This creates quite the challenge as there isn’t really anywhere to hide, and you need to be ready to enter at a moment’s notice. It’s helpful to remember that it’s a given that not all punchlines will be winners; in some cases, your effort’s major contribution is actually buying time for a fellow teammate to construct their stronger idea. Don’t under-estimate the value of charm and playfulness, look for the greater recurring games and gimmicks, and celebrate the glorious disasters along with the sublime successes. There is also an innate performance value in the simple staging of the game – dancing to the music, approaching the volunteer, physically interacting with them… (I particularly enjoy giving my characters different mimed drinks to hold!) Yes, the game is unavoidably about the “jokes” to some degree, but it’s also a palpable reminder that great performers do much more than just tell good jokes. There are some shows where I can’t seem to muster a clever witticism to save my life, but I can still add value to the game as a whole and facilitate or frame the success of my teammates.

In Performance

Again, this game won’t be everyone’s cup of tea, especially if you’re improvising in a more sincere or service-oriented modality, but in late night entertainment-based venues Pick-Up Lines undeniably has an appeal and provides a helpful opportunity to develop and polish joke-telling techniques in a form that thrives on these energies. It also is a great offering to break up more scene-based games or to give a boost of energy to take you to intermission or the curtain.

With special thanks to fellow Gorilla company members Jenni McIntire and Charlie Downs for helping me craft the “fit for publication” examples!

Cheers, David Charles.
www.improvdr.com
Join my Facebook group here.
© 2023 David Charles/ImprovDr

Connected Concept: X-Rated

“X” is for “X-Rated”

Improv is obviously a tool that can be used in countless ways. As material moves into more “adult” terrain, however, quality can quickly become a causality to careless content.

X-amining Your X-Rated Tendencies…

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Related Entries: Consent, Gagging, Material, Postmortem, Punching Up, Speaking Your Truth Antonyms: Family-Friendly Synonyms: Boundaries, Content, Mature

Cheers, David Charles.
www.improvdr.com
Join my Facebook group here.
© 2023 David Charles/ImprovDr

Connected Game: Pick-Up Lines

Game Library: “Slow Motion War”

As a decider or warm-up, Slow Motion War provides a wonderful opportunity to enthusiastically embrace losing on stage.

The Basics

Players scatter around the workshop or stage space, and suitably dynamic music is cued up, such as Mortal Kombat. Each player establishes one forearm as their “sword,” which extends from the tip of their little finger down to their elbow. This edge has been “poisoned” so that if any player (including the owner) is even gently touched, they immediately begin to die in excruciating pain. When the music begins, players move through the space in super slow motion, battling any other players they encounter. The only safe point of contact is each player’s own sword edge that can be used to parry an attack. Players who become poisoned must then die in super slow motion for the entire remainder of the game. The war continues until only one player remains atop a pile of squirming “not quite dead yet” bodies. If you’re using this as a decider, this player’s team is declared the winner (and teammates generally don’t attack each other).

Example

The music begins, and the battle commences…

The Focus

This game offers a chance to stretch your pantomimic and physicality muscles while also working on subtleties and accepting offers from your fellow players.

Traps and Tips

1.) Keep it slow. Establish a slow-motion tempo and strive to make it consistent. Players can have a tendency to speed up in order to land or avoid a hit, which isn’t really in keeping with the spirit of the game. When used as an exercise, it can prove helpful for the facilitator to monitor and reinforce the set speed as best they can, noting if players are routinely distorting the pace of play. I prefer to play the game at a super slow pace as this allows for a really exciting level of detail and whimsy.

2.) Accept the hit. The desire to win can prove quite strong for many, and players may bend the rules to do so – suddenly shifting direction or quickly moving their sword arm to meet a hit. The game takes on a much more joyous tone when participants willingly and playfully accept being hit by the arm swords when this fate is clearly projected and inevitable. Perhaps it’s human nature to avoid such moments to some degree, but the game suffers when combatants essentially “cheat” or pursue tactics that keep them out of harm’s way.

3.) Embrace the loss. And once you’re poisoned – which is in many ways the real goal of the game – fully embrace the loss. Luxuriate in your epic slow-motion death scene. Keep your choices clean and specific. When the deaths are approximated or become wimpy, the overall experience suffers for both the players and any observing audience members. In many ways, the real victors in the game are those who imagine and execute the most dynamic death scenes!

4.) Play the game. Tell the story. Yes, the competitive frame will certainly inform the action, but there are so many opportunities for fun characterizations, physical finesses, and narrative elements. Perhaps your fighter spends the whole battle meticulously preparing only to immediately die at the hands of a hidden rival, or you get ill at the sight of any violence, or you spend the scene protecting another only to be betrayed. Don’t underestimate the potential for playful storytelling amidst (and through) the silly fighting.

In Performance

When you play to lose spectacularly, the battle becomes so much more enjoyable for everyone. If your sole purpose is to win, on the other hand, you probably will, but without this amazing sense of selfless abandon. And at the end of the day, is that really winning?

Cheers, David Charles.
www.improvdr.com
Join my Facebook group here.
© 2023 David Charles/ImprovDr

Connected Concept: Winning

“W” is for “Winning”

While some improv franchises incorporate a competitive frame to help package the experience, few spontaneous events truly benefit from an unchecked desire to “win” in the simplest and most oppositional sense of the term.

Towards a Winning Formula…

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Related Entries: Commandment #3, Commandment #10, Looking Good Antonyms: Ensemble Synonyms: Competitiveness, Shining

Cheers, David Charles.
www.improvdr.com
Join my Facebook group here.
© 2023 David Charles/ImprovDr

Connected Game: Slow Motion War

Game Library: “Yes Party”

Part demonstration, part exercise, Yes Party aptly models the destructive results of negativity and Wimping.

The Basics

It’s helpful to have a whiteboard and markers (or similar) for this participatory brainstorming exercise. A facilitator leads the discussion, perhaps with a helper or two writing the offered suggestions on the whiteboard.

Round One

The facilitator invites the participants to offer up a theme for a party, which is then written on the whiteboard. Those in attendance are then asked for a reason why this party theme can’t happen or is a bad idea – a block or wimping “Yes, but…,” if you will. The theme is then crossed out. A series of new party ideas are then elicited, with each receiving the same treatment. Continue in this fashion until there is a small collection of rejected themes.

Round Two

The facilitator now elicits one more possible party theme. This time, rather than seeking a reason to nix the idea, participants are invited to brainstorm ways to realize and expand upon this particular party concept. What types of food might be served? Will there be decorations or costumes? Who might serve as the entertainment? These additions are recorded without judgment on the whiteboard around the theme in question.

Example

Facilitator: “What’s a fun theme for a party?”

Player: “A Halloween party.”

Halloween is written boldly on the whiteboard.

Facilitator: “OK, what’s a reason for not having a Halloween party?”

Another Player: “It’s February.”

Halloween is crossed out on the whiteboard.

Facilitator: “Fair enough. What’s another theme then?”

Another Player: “Pirates of the Caribbean.”

This new idea is recorded.

Facilitator: “Great! But what might be a reason we can’t do that?”

Another Player: “I don’t like pirates…”

Several more themes are obtained only to be rejected…

THEN

Facilitator: “Let’s try our planning session again. I need another possible theme…”

Player: “How about a villains theme?”

Facilitator: “I love it. So what would we need for such a party?”

Villains and the resulting additions are all recorded…

Player: “We could have black light to make it eerie.”

Another Player: “And a smoke machine…”

Another Player: “We’ll need a DJ with a customized playlist.”

Another Player: “And definitely themed costumes – everyone dressed up as their favorite villain…”

Facilitator: “Any refreshments…?”

The Focus

This experience typically culminates in an extremely provocative visual: one section of the board covered in crossed out suggestions and another full of uncensored potential. As this exercise is more often tailored for improv novices, my tips focus on proven ways to debrief the experience.

Traps and Tips

1.) How did each planning session feel? There are no guarantees in improv – and both models can certainly prove joyous for different reasons – but generally, participants will feel thwarted by the first model and at least comparatively encouraged by the second. There can be undeniable pleasure in creatively shooting down others’ ideas, but ultimately, this leaves very little of value on the brainstorming whiteboard.

2.) Were you equally as likely to contribute to both seasons? Often, the first round will peter out on its own accord. Once the dynamic becomes crystal clear with no idea surviving the group gauntlet, there is little motivation for folks to offer up anything new. In the second iteration, while there can be momentary stalls as everyone contemplates what might be missing, the mood tends to quickly become playful and less guarded. Every idea, after all, gets written down without judgment.

3.) Which approach was more likely to result in a fun party? This is when the visual representations of the two rounds are worth a thousand words. Little survives the carnage of blocking and wimping on the first board, while the second likely displays a delightful array of brilliant and off-kilter ideas (many of which are probably brilliant in their unique off-kilter way too). By joyously embracing all ideas, players are now likely to find inspiration for exciting offers that might not have been immediately apparent.

4.) Is there a place for assessment in the second model, too? On the improv stage, when we’re dealing with fictitious characters and journeys, there are rarely damaging real-world consequences. If we were to actually hold our brainstormed party, there are some parameters that would need to be honored. There are probably budgetary limitations and important interpersonal social contracts to uphold, such as making sure everyone feels welcome and included. This exercise doesn’t seek to deny these realities but rather reveals that when critique enters the creative equation too quickly, it tends to serve a destructive rather than constructive role. Sometimes, the most lauded idea is actually a response to an earlier “out of left field” notion.

In Performance

In life and art, it’s very easy to poke holes in the ideas of others and come up with wimping reasons that allow you to avoid action or momentum. Yes Party hopefully provides a glimpse into an alternative pathway where ideas – and the people behind them – are given some room to explore and muse without the pressure of always presenting polished finished product.

Cheers, David Charles.
www.improvdr.com
Join my Facebook group here.
Photo Credit: Tony Firriolo
© 2023 David Charles/ImprovDr

Connected Concept: Wimping

“W” is for “Wimping”

Wimping is a fear-based response characterized by the phrase “Yes, but…” that ultimately withholds energy and reduces all-important momentum that allows scenes to climb to new unexplored heights.

When the Fear Strikes…

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Related Entries: Commandment #8, Conflict, Waffling Antonyms: Accepting Synonyms: Blocking, Negating, Postponing

Cheers, David Charles.
www.improvdr.com
Join my Facebook group here.
© 2023 David Charles/ImprovDr

Connected Game: Yes Party

Game Library: “Zones”

The central conceit of Zones encourages players to construct a detailed Where that, in turn, necessitates skillful justifications and imaginative stage movement.

The Basics

There are several variations of this basic premise that all involve dividing the available playing space into distinct areas. I’m assuming for this description a reasonably robust proscenium floorplan that could accommodate four clear square “zones” upstage left and right and downstage left and right, respectively. In a smaller space, you might want to opt for three columns or strips that face the audience stage left, center stage, and stage right. Whatever your preferred orientation, be sure that the zones are clearly marked – placing cones or small blocks as boundary markers should suffice. The audience then provides four random contrasting emotions (or one for each area). One emotion is clearly assigned to each particular zone. For the scene that follows, players must experience and express the emotion that corresponds to their current stage position. All movement and emotional shifts must be justified.

Example

The four emotions “fear,” “joy,” “infatuation” and “frustration” are assigned to the upstage right, upstage left, downstage right and downstage left zones, and “apartment” serves as the basic premise. Company members ready the stage in the countdown transition, placing a couch downstage center (half in the infatuation and half in the frustration zones) and a couple of stools by a kitchen counter upstage left (in the land of joy). As the scene begins, Player A is discovered behind the kitchen counter, preparing some bread and cheese. A playful tune plays on their speaker system, and they bob along to the rhythm. They are in their happy place.

Player B arrives outside the apartment door positioned upstage right. It quickly becomes apparent they have forgotten or lost their keys… again. They don’t want a confrontation. They timidly call out from behind the door.

Player B: “Can you let me in, Amanda?”

Player A: (without skipping a beat or changing their tone) “I left it open for you!”

Player B doesn’t really like the sound of this – how long has their door been left unlocked? They enter and cautiously stow their bag upstage right.

Player A: “I’m making us a snack!”

Player B: (on edge) “What is it?

Player B moves now to the stage right edge of the couch as A responds.

Player A: “Fondue… it’s your favorite.”

Now in the land of infatuation on the couch, Player B smiles.

Player B: (kicking off their shoes with delight) “I thought I could smell it in the hallway.”

Player A has assembled some nibbles on a platter and happily carries it to the couch, although as she enters the frustrating zone, she notices B’s discarded shoes on the floor…

The Focus

The more you invest in shaping the location, the more your characters will have motivations to move around the space, and the more likely this staging will trigger dramatic emotional changes.

Traps and Tips

1.) Draw your boundaries. Make your areas as distinct and clear as possible. If players and the audience are unable to easily discern which characters are in which areas, then the game will become muddied. If you’re so inclined, marking the boundaries with twine or chalk proves particularly effective, although be careful you’re not creating a tripping hazard in the process. There’s also an art to eliciting and assigning the various emotions. Avoid placing moods that are too similar in adjoining zones (or largely synonymous emotions in general) as much of the entertainment comes from the sudden and stark emotional shifts.

2.) Set the scene. You can lay a lot of helpful groundwork by giving thought as to your location and how to arrange your playground pieces. (A location serves as my preferred scenic prompt for this reason.) Heed Spolin’s advice and quickly establish several paradigmatic set pieces – whether these have real stand-ins or are purely conjured. Placing the couch, for example, over two emotional zones, provides the backdrop for a promising game later. Doorways or points of entrance should be thoughtfully placed as well and clearly in the territory of a particular energy.

3.) Justify the emotions. Obviously, characters need to justify each sudden shift in their emotional climate. Emotions needn’t all be played at their most extreme level immediately, and justifications shouldn’t be purely verbal in nature either. Player A’s dancing while cooking is likely as effective an embodiment of joy as anything they might just proclaim. Especially if you find yourself inhabiting one zone for a lengthier period of time, make sure you explore different facets or shades of the required feeling.

4.) Justify the staging. It can be tempting just to wander to the area of the stage that allows you to take on the emotion that you most want to play in the moment – and a little of this strategy played aptly will serve you and the scene – but aimless strolling or just leaping inexplicably into new areas without any pertinent motivation soon becomes tiring to watch. Hence, the import of a well-designed set. Use the various furniture pieces to provide rationales for your movement. Without the door, couch, and counter, our roommates would start in a nowhere land. As new furnishings and props are added – A’s snack platter, B’s bag at the door and shoes on the floor – new opportunities will arise to playfully move the characters through the space.

In Performance

Be on the lookout for insidious wimps: stubbornly staying put in the same spot even when the action would naturally have you move, or, on the other extreme, casually passing through all the zones repeatedly so you don’t have to really dig into any emotional truth or intensity. Take the risk of just using the stage as you would in any other scene, crafting interesting stage pictures while engaging in relevant actions or activities. Then, when you find yourself in a new zone, the audience can revel alongside you in your struggle to figure out why your mood has now changed. If you always engineer these moves, the danger and payoff of the scene unfortunately decline markedly.

I first encountered Zones as an emotional game, and this provides the foundation for the version I’ve described above. The conceit can also readily house other playful categories such as styles, time periods, animal essences, and status configurations. The mechanics remain largely the same, as does the usefulness of a well-etched location. There’s also a fun language-centric variant, Speak, Grunt, Shut Up, that you can check out here.

Cheers, David Charles.
www.improvdr.com
Join my Facebook group here.
Photo Credit: Tony Firriolo
© 2023 David Charles/ImprovDr

Connected Concept: Where

“W” is for “Where”

The last ingredient of CROW, a scene’s Where includes all of the perceivable elements of the location.

Where It’s At…

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Related Entries: Character, CROW, Environment, Levels, Objective, Space Objects, Stage Picture Antonyms: Talking Heads Synonyms: Location, Locale

Cheers, David Charles.
www.improvdr.com
Join my Facebook group here.
© 2023 David Charles/ImprovDr

Connected Game: Zones

Game Library: “Four Square Relationships”

Players explore one persona from four different relationship perspectives in this character-building exercise.

The Basics

A team of five is used with one player serving as the central protagonist and the remaining four waiting “offstage” at the primary compass points (north, south, east, and west). Each area and its corresponding player is assigned a specific type of bond: I tend to use familial, love, work, and spatial. Familial consists of blood bonds or similar such as a parent, sibling, or child; love refers to meaningful relationships that are chosen like a significant other, best friend, or crush; work refers to connections forged through employment or educational settings and includes fellow co-workers, classmates, or supervisors; and spatial bonds reflect those that are created through proximity, activities, and shared locations, such as a neighbor, fitness instructor, or supermarket clerk. Four vignettes are then performed, in no particular order, where the compass performers initiate and endow connections on the central protagonist.

Example

Player A serves as the protagonist. Player B (familial) begins a scene as A’s grandparent, welcoming A into their home for their monthly dinner and a game or two of cards. Player C (love) initiates the second vignette as A’s former significant other, returning one last box of discovered property at a favorite restaurant. Player D (work) continues as a struggling colleague who A has been instructed to mentor on the factory floor. Lastly, Player E (spatial) assumes the role of A’s hair stylist – and unofficial counselor – during a regular session. Each scene lasts several minutes before finding a natural button that is then accepted and edited by the new entering player.

The Focus

The featured player (A) should explore the contrasting facets of their character as revealed through four starkly different relationship energies. If participants are accustomed to Wearing Your (Their) Character Lightly, the experience should encourage a more grounded and multidimensional creation.

Traps and Tips

1.) Logistics. Taking on the role of the protagonist provides a powerful opportunity for growth. Whenever possible, I’ll publicly model the dynamic once in front of the group and then have smaller teams all privately explore the premise, ideally rotating everyone into the hot seat position. Watching too many iterations tends to put players in their heads and can introduce the pitfall of comparison: how can I make my choice even more original than my peers? Such a mindset can inadvertently encourage improvisers to dismiss obvious and grounded choices in lieu of needlessly original ones. Frankly, there are only so many options that belong in each category – spatial can particularly prove to be a stumper – and players shouldn’t think twice about exploring a previously seen relationship in a new and honest way. Unobserved rotations helpfully decrease these pressures.

2.) Tone. Beware of the bulletproof protagonist. If each new vignette merely facilitates another opportunity for cerebral commentary, then old habits will just remain firmly entrenched. It’s in the spirit of the exercise for the “compass” player to make the first few moves in order to establish their endowment intent. The protagonist should give a little generous space to accommodate this process, responding honestly and emotionally rather than immediately assigning buckshot “facts.” Once the most basic foundation has been laid, however, the scene should quickly settle into a more even-handed give and take. Compass players should enter with a rich gift to jumpstart this process but not feel the need to micromanage the outcome. Protagonists should embrace pitched chances to change or reveal heretofore unseen shades and energies.

3.) Material. The basics of this game can obviously be retooled to serve a variety of ends, but I find it useful to think of the resulting scenes as parts of one introductory act rather than an improvised play in totality. When approached with this later mentality, players will often rush to make connections and deploy callbacks. This, in turn, can overly and unintentionally favor the first vignette with subsequent characters feeling the need to keep that initial story building. When all four compass players view their offers as equal starting points, removing any pressure to construct one unified arc, the protagonist becomes much more well-rounded and diverse. By all means, incorporate or reference shelved ideas when they are pertinent but relieve yourself of the responsibility to connect all the dots in one linear narrative.

In Performance

Endowment Circle (here) provides a fast-paced and larger scale exercise that similarly invites character complexity. Subsequently, this earlier entry offers helpful workshopping tips and techniques for the current offering, too. Both exercises powerfully investigate the notion that people are not one thing but rather shift in subtle and not-so-subtle ways based on their current situations. Characters tend to feel and appear lightly worn when they lack this situational complexity.

While I’ve provided one grouping of relationship types, these bonds or energies can change to suit other training needs. If you’re struggling with caustic conflict, for example, each compass point could be assigned a contrasting positive energy to infuse into the relationship, such as pride, passion, loyalty, and tenderness. Or each scene could incorporate a distinct mantra, essence, or staging challenge…

Cheers, David Charles.
www.improvdr.com
Join my Facebook group here.
Photo Credit: Tony Firriolo
© 2023 David Charles/ImprovDr

Connected Concept: Wearing Your Character Lightly

“W” is for “Wearing Your Character Lightly”

If someone observes that you are Wearing Your Character Lightly, they are encouraging you to dig deeper and find more grounded truths in your work.

In Search of Snugger-Fitting Clothes…

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Related Entries: Drama, Love, Material, Vulnerability Antonyms: Culpability, Emotional Truth, Subtext Synonyms: Cartooning, Commenting

Cheers, David Charles.
www.improvdr.com
Join my Facebook group here.
© 2023 David Charles/ImprovDr

Connected Game: Four Square Relationships