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Game Library: “Inappropriate Behavior”

I first encountered this scenic format at Players Workshop of the Second City but once you become familiar with Inappropriate Behavior you realize just how much this dynamic is a mainstay of sitcoms and comedic movies. Coupled with some strategic Punching Up, the format ignites the action in even more powerful ways and opens up a broader (and less problematic) field of play.

The Basics

I typically teach this with a more sketch comedy approach, providing the players with a quick brainstorming session to determine a basic who, what, and where (or CROW) as this is how I first encountered the structure. If you take this approach, players should select a location or situation that has a clear built-in sense of decorum, and one improviser should volunteer to serve as the outlier. (For what it’s worth, more extroverted improvisers tend to clamor for this opportunity but enabling introverts to take on this role often opens up more gentle and well-paced scenic arcs.) This same basic launching point could certainly be elicited from an audience instead as a traditional ask-for or just discovered in the flow of a long-form piece or open scene. The vignette plays out with team members creating and honoring the societal norms inherent in the foundational locale. The outlier, typically entering a few beats into the scene, gradually infuses the action with increasingly inappropriate behavior that breaches the expected codes of conduct. The choices slowly escalate throwing the other characters into various hues of disarray.

Example

The lights rise on a funeral home with a smattering of attendees sitting quietly. It’s clear that no one knew the deceased particularly well (nor each other for that matter.) The tone is strained but respectful.

Player A: (in hushed tones) “I feel bad that I really haven’t seen much of him in years. It was almost by accident I learned of his passing.”

Player B: (in a similar whispered voice) “He was a very private person. We talked occasionally on the phone, although my life has gotten so busy recently…”

Player C, an attendant, quietly approaches the attendees.

Player C: (quietly) “I noticed you both didn’t have a program.”

Player A: “Thank you so much.”

Player B: “That’s a lovely photo of him.”

Player C: (kindly) “I’m glad you both could make it.”

A slightly disheveled Player D enters the room with a surprising burst of energy…

Player D: (full voiced) “Well, I s’pose this is finally goodbye!”

Player A and B share an incongruous look. Player C approaches D with a program.

Player D: “No thanks. It’ll just end up sitting in my car for months before I throw it away.”

Player B: (whispering as before) “I think that’s his best friend from the living community…”

Player D, despite the full array of open seats starts to squeeze between A and B.

Player D: “Make some room there…”

Player A: (surprised, but pleasant) “Oh, yes, of course…”

The Focus

Enjoy the evolving tension between the social norms and the outlier’s behavior. My example is inspired by a scene I experienced as a teacher while at Louisiana State University that has stayed with me over 20 years later. In particular, I fondly recall the choices of the miscreant character, played by Preston Lorio, who by the end of the scene had straddled the body of the deceased in an effort to change suits with him, much to the chagrin of the other assembled guests.

Traps and Tips

1.) Lay the behavioral groundwork. It’s difficult for the misbehaver to challenge the status quo if these preferred behaviors aren’t clearly and strongly already present in the scene (and inherently understood by your audience). Those playing into the norms should do so robustly. If other characters start to also question the social “rules” in play, especially as the scene begins, it becomes much more difficult for the inappropriate behavior to land and build. For example, if the initial funeral attendees exuded a causal or carefree quality rather than the hushed tones of reverence, then Player D’s entrance would not effectively herald the turmoil to follow. Much of the success of the outlier and, subsequently of the scene itself, lies in the hands of the “straight” or “civilized” characters who model what society has deemed as decorous. Don’t overlook or undervalue the import and potential that emerges from this facet of the scene.

2.) React honestly to etiquette breaches. There is a delicate balancing act when you assume the normative roles: if you ignore the strange behaviors, then you can quickly become irrelevant passengers in the scene; if you take great umbrage at every small departure from established custom, then you can inadvertently squelch the rising action. Seek the middle ground. React honestly while also using the very strictures of the formal scenario to moderate your own character’s choices. If someone starts talking loudly at a service you would certainly notice and react, but this might be with a judging look, nudge to your scene partner, or recommitment to your own whispered quality of speech. Without these subtextual signals the contrast between what is and isn’t expected can become dulled and less impactful.

3.) Give the outlier room and permission to play. Connected to the above thought, it can be tempting (and logical) to want to quickly shut down the odd behavior of the designated social deviant. This is another complex dynamic. Yes, by the scene’s conclusion the outlier might become expelled from the scene or outnumbered by a growing chorus seeking civility. As the scene takes its first steps, however, it can prove challenging for the misbehaver if they are met with immovable obstacles representing the status quo. If Player C as the attendant immediately and sternly calls security to have Player D removed, then the scene could soon evaporate or become bogged down by inactive negotiations. Instead, provide room and opportunities for the “different” character to explore. Once they find a promising trajectory, it’s not uncommon for the scene to heavily favor them in terms of stage time in a technical sense (they may take on nearly half the dialogue, for example) but players shouldn’t overlook the power and contribution of strong reactions and emotional presence. It’s generous for the outlier to return this focus favor by delaying their initial entrance a little as this gives others room to establish their own games and given circumstances before the train inevitably starts to derail.

4.) Use the curve of absurdity. If this term is unfamiliar, you can read a little more about it here, but in short it advocates beginning our scenes close to reality and then gently ramping up the level of unexpected behavior. One of the reasons the inspiration for my example scene has stuck with me all these years later is that the team so carefully let the absurdity of the story grow with each move. When you’re marked as the inappropriate behaver it can prove tempting to hit the stage with your strongest and most egregious choice right from the get-go, but this will rarely give you anywhere to climb. Rather, start with small breaches of etiquette: Player D could have entered yelling but instead just used an everyday vocal quality which is enough to be seen as different. Similarly, they didn’t lie on the floor or immediately go and sit in the coffin but broke norms by not sitting at a suitable distance from the other attendees. Especially in situations where the audience is not privy beforehand to the dynamic in question, they need to learn the game as it unfolds, and the final larger-than-life moves must be earned.

In Performance

Played with astuteness this game will say as much if not more about the “normal” and expected behaviors as it does about the choices of the social misfit. I hesitated to use the funeral example as on the page it can appear as if the scene is making fun of grief or loss whereas in performance it emerged quite clearly that the target was the suffocating pomp and impersonal nature of many Western funeral traditions. If the funeral was a truly tragic affair, the scene would have quickly felt inappropriate in all the wrong kinds of ways. Hence the import of displaying some care in selecting the event or facet of social life that you want to depict through this warped satiric mirror.

Cheers, David Charles.
www.improvdr.com
Join my Facebook group here.
Photo Credit: Tony Firriolo
© 2022 David Charles/ImprovDr

Connected Concept: Punching Up

“P” is for “Punching Up”

Understanding that not all jokes are created equally and that the targets of our performances should be carefully and smartly chosen.

Choosing Our Comedic Target…

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Related Entries: Archetype, Comedy, Inclusiveness, Material Antonyms: Punching Down Synonyms: Awareness, Responsibility

Cheers, David Charles.
www.improvdr.com
Join my Facebook group here.
© 2022 David Charles/ImprovDr

Connected Game: Inappropriate Behavior

Game Library: “Ritual Scene”

There is no room to hide in Ritual Scene, and players must commit one hundred percent in order for the game to land. Performed without full Presence, or with an air of apology, the central dynamic is likely to flounder or whimper away. When attacked with gusto and relish, the results are often surprisingly invigorating and breathtaking!

The Basics

Players acquire a mundane or everyday activity or chore to inspire their scene, such as washing the dishes or combing your hair. This simple action then provides the roadmap for an epic scene that heightens the task into the grandest and most august of rituals. Generally accompanied by larger-than-life music or a suitably dramatic soundtrack, players break down the action into its constituent elements, making each moment deeply significant and theatrical. Language, if used at all, is featured sparsely or with the emotional intensity of a chant or summoning.

Example

The team explores the ritual of “brushing your teeth.” The scene begins with an empty stage as players begin a steady and ominous percussive drumming that is soon joined by the improvising musician.

Player A is the first to enter the space. With their hands aloft, they present an imaginary basin, and with great ceremonious precision, they slowly march until they are center stage. Here, they place the basin down in full view and then slowly walk backward until they finally drop to their knees in a deep bow.

From the opposite side of the stage, Player B now enters with a heavy water jug. They display it to Player A, the audience, and then to the heavens before making their stately procession to the stowed basin. Once they arrive, with a flourish of music and percussion, they raise the jug and, in a sweeping motion, fill the previously empty basin. As Player A did before them, they then back carefully away and lower themselves in a prostrate position.

As the music swells once more, Players C and D now enter simultaneously but from opposite sides of the stage, one holding the toothbrush, the other the toothpaste tube...

The Focus

This is a great game and exercise for exploring heightened stakes and developing an organic but unified sense of style. In lieu of a traditional story, the game thrives on breaking down the simple steps of the proffered action and using these as the beats of the dramatic arc. Give each moment its due and sell it for all its worth.

Traps and Tips

1.) Slow it down. Rituals, whether secular or sacred, treat each moment with care, and there is typically very little superfluous or insignificant movement. Make every offer and choice deliberate and meaningful. Elevate or celebrate the tools or elements needed to complete the assigned task and don’t rush to the ending. Most tasks could be reasonably completed rather quickly; by embracing their ritualistic qualities or potentials, these actions should now feel almost operatic. This format provides a rare opportunity to really indulge and extend.

2.) Break it up. Don’t throw away the theatricality of ceremonial staging, prop reveals, and protagonist arrivals. In the toothbrushing example, the scene has probably been nearly a minute without the toothbrusher even arriving, and this feels completely in the spirit of the game. The story in a ritual scene really is little more than the sequential steps of the task, so the audience is far less interested in what is going to happen than they are in watching how it all unfolds. Part of the scene’s effectiveness, then, is exploring and exaggerating the little rituals that are familiar and making them delightfully strange and new again.

3.) Honor what has come before. Aim to play with the same movement vocabulary and sense of style. If the first entrance is walking-down-the-wedding-aisle slow, then be cautious of upending this choice through carelessness. Ritual innately invites repetition and parallel actions. Just as is the case with more traditional language-based scenes, look both for the deliberate offers and also the delightful accidents that can be accepted by the judicious mind and woven into the fabric of the grand event. This also keeps the scene fresh and avoids the risk of just recycling a short list of tropes while replacing “toothbrush” with the next object du jour.

4.) Give it all you’ve got. Much of the reward of this premise resides in the stark juxtaposition between the banal prompt and the operatic treatment. Avoid undermining this fun with needlessly pedestrian or undersold physical work. One improviser taking on a deadpan energy or air of commentary in an effort to be different, or just as a means of remaining personally safe, makes it so much more difficult for their teammates to keep the game building towards a scenic crescendo. Without fully present players, the scene will rarely flow; when everyone rows in the same direction, the ritual can take on a life of its own.

In Performance

If you are a more verbal-centric improviser, Ritual Scene encourages a whole different style of play that can prove truly liberating. Language can have a place, but I’ve found that chanting or keening more opaque sounds (or perhaps just simple singular words) adds powerfully to the piece. If you are more movement-centric, then this game likely has your name written all over it! Enjoy.

Cheers, David Charles.
www.improvdr.com
Join my Facebook group here.
Photo Credit: Tony Firriolo
© 2022 David Charles/ImprovDr

Connected Concept: Presence

“P” is for “Presence”

The difficult to describe but immediately recognizable quality of an improviser who exudes confidence, focus, and a sense of belonging.

Attributes of the Present Improviser…

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Related Entries: Abandon, Change, Commitment, Focus Antonyms: Absence, Distractedness, Passenger Synonyms: It (as in, they have “it”)

Cheers, David Charles.
www.improvdr.com
Join my Facebook group here.
© 2022 David Charles/ImprovDr

Connected Game: Ritual Scene

Game Library: “Word at a Time Crime”

Players must work together closely to overcome the inherent challenges posed by Word at a Time Crime. This game shares a great deal with other word-at-a-time short-form formats, but its utilization of narrative and predisposition towards action make it a particular fitting pairing with Postponing as there’s little time to waste if the scene is to make it satisfyingly to the finish line.

The Basics

A non-violent or petty crime is obtained and two players volunteer to serve as the featured criminal. They link arms (or connect in a way that is comfortable) and narrate their actions in a word-at-a-time fashion, taking extra care to speak in the first-person singular. Other team members populate the scene as characters or obstacles, adding complications for the narrating criminal and engaging in dialogue as the scene requires. The scene may incorporate a strict time limit to add urgency, and the story culminates in glorious success, abject failure, or some interesting combination or alternative to these unequivocal results.

Example

Players A and B are working together as the criminal and are given the prompt of “stealing a garden gnome.” They put their arms around each other’s waists and begin the scene crouching on the ground. Player A, with their outer hand, is holding a mimed flashlight and scans the horizon as the criminal begins to crawl, all-the-while narrating.

Player A: “Crawling…”

Player B: “on…”

Player A: “the…”

Player B: “neighbor’s…”

Player A: “lawn…”

Player B: “I…”

Player A: “quickly…”

Player B: “eyed…”

Player A: “their…”

Player B: “pesky…”

Player A: “garden…”

Player B: “gnome.”

Both players have begun slithering awkwardly on the ground, retaining their physical connection as best they can, while Player A continues to direct the flashlight. Character C quickly assumes the role of the porcelain gnome by adopting a suitable pose. Their narration continues…

Players A and B (continuing to alternate one word each) “Your… days… of… watching… my… every… move… are… over… little… man!”

As the criminal lunges towards the gnome, Player D can be heard from offstage.

Player D: “No, something has definitely triggered the motion sensor in the front yard. I’ll be back in a second, sweetie.”

Players A and B frantically look around for somewhere to hide and leap behind an imaginary bush…

The Focus

Imposing a one or two minute time restriction on the game serves well as it pushes players into action and discourages long criminal preambles or planning sessions. Despite the language restriction, players should make strong verbal and physical choices trusting that their fellow players will join and justify anything that is unclear or clumsy. When the criminal encounters other characters, the paired persona should utilize word-at-a-time dialogue as well.

Traps and Tips

Many of the core features of this game resemble Double Speak so those tips (which you can read about here) apply to this short-form game too. The significantly unique quality is the narrative device so that serves as my primary focus for this entry.

1.) Avoid passive language. The criminal will quickly discover the hindrance of passive or intellectual verbs. If they “thought” or “decided” rather than “lunged” or “climbed” the scene often becomes bloated and inactive. Use your words to spur action and discovery rather than to muse and reflect. Even if you are utilizing a rather silly or mundane crime as your inspiration, imbue your language with intensity and conviction. Embrace the delightful turns of phrase and unanticipated details as they emerge.

2.) Avoid just talking. It’s foreseeable that the language restriction will create communication challenges so don’t rely on your words alone to advance the story and give it interest. Make assertive physical choices that define the space in dynamic ways. Why walk if you can slink? Why open a door if you can kick it down? Why just grab the gnome if you can meticulously place it in a custom-built bag with an intricate locking mechanism? Do your best not to rush through or approximate complex actions but rather savor the challenge of completing these with your scene partner. Furthermore, craft environments that will provide suitably rich physical playgrounds and opportunities rather than stand idly in the void.

3.) Avoid prolonged conversations. Word at a Time Crime can move between descriptive first-person narrative and dialogue with other characters – which is “normal” for the partner but also constructed in a word-at-a-time fashion for the criminal – but be cautious of not allowing sufficient space for the criminal to return to their narrative device. Brave narration serves as the center piece of the format so supporting players should be mindful that the criminal needs ongoing opportunities to craft narrative asides. Supporting players can certainly quickly set the scene to provide context for the criminal, but it’s generally wise to let this titular character have a little free rein initially so that they can find and strengthen a word-at-a-time rhythm.

4.) Avoid imbalance. I refer to the supporting players in this game as the “To Make Matters Worse Squad” as their main function is to playfully pitch challenges to the protagonist. If an obstacle becomes too difficult or too omnipresent, the criminal can find themselves stumped without any path forward. For example, while Player D could come out and check their lawn, remaining on their well-lit porch for the remainder of the scene would probably prove unwise. Assuming the role of important props (such as the gnome), providing environmental elements (lawn sprinklers), or sound effects (a lightning bolt), are other helpful ways teammates can contribute. It doesn’t ultimately matter if the criminal succeeds or fails, but the crime shouldn’t feel so impossible that they are discouraged from making any progress towards their goal.

In Performance

And speaking of things to avoid, I actively avoid violent or physical crimes in the set up as they can just make a rather silly game feel unnecessarily icky. If you are uncomfortable with the crime frame altogether you can easily substitute it with a prompt calling for a physical problem to overcome – instead of “stealing the coins out of a parking meter” the word-at-a-time character might need to “escape from quicksand” or “rescue a beached whale…”

Cheers, David Charles.
www.improvdr.com
Join my Facebook group here.
© 2022 David Charles/ImprovDr

Connected Concept: Postponing

“P” is for “Postponing”

Postponing or deferring the scenic action is a prevalent form of improvisational procrastination.

I’ll Get Around to Giving This a Clever Title Later…

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Related Entries: Commandment #6, Commandment #8, Waffling, Wimping Antonyms: Abandon, Advancing, Leaping Synonyms: Inaction

Cheers, David Charles.
www.improvdr.com
Join my Facebook group here.
© 2022 David Charles/ImprovDr

Connected Game: Word at a Time Crime

Game Library: “Best and Worst”

I provide this offering as more of a ritual or exercise than an improvisational game as Best and Worst allows everyone in the ensemble a brief opportunity to reflect on their efforts at the conclusion of a more facilitated Postmorterm.

The Basics

Players sit in a circle and one at a time (either in sequence or a random “popcorn” style) share a best and a worst moment from their performance.

Example

Player A volunteers to share first.

Player A: “My best tonight was that I hit the stage with energy and attack even though I was coming from a stressful workday. I’m particularly proud of my well-timed entrance in the high school cafeteria scene. My worst was I let my excitement get the better of me a little in that last scene and I know I talked over a couple of my teammates.”

The Focus

As improvisers grow in their craft it becomes increasingly important to be able to self-diagnose habits and tendencies that are either opening up joyful play or that might be hampering personal or ensemble growth. I’ve found that some players bristle at the “best” and “worst” nomenclature (preferring something less pointed) but I’ve found that this language also reminds everyone that improv is process and that there is always room for celebration and improvement.

Traps and Tips

1.) Best practices as the speaker. Seek specificity in your shares. Saying “I had a good show” or “I didn’t do anything right tonight” is far less helpful than narrowing the scope of your observation to particular choices and moments. Make sure personal bests and worsts are also reflecting on the choices of the current speaker and are not used as opportunities to correct or critique others: “My worst was when no-one let me speak as the janitor in the second scene.” Contributions should also be provided in earnest. Yes, there are some performances when we might feel that we were the lead balloon at the party, but upon closer reflection there is always something worthy of celebration. It’s not really in the spirit of the exercise to give a throw away comment just to get it over and done with. For larger groups I’ve had some success with also doing “best and worst in ten” where players have a gentle cap of ten words for each observation. Those that need more than this limit happily take the time they need, but this approach also encourages and trains brevity which is a great gift during note sessions.

2.) Best practices as the listeners. Above all else, really listen. Don’t feel tempted to chime in and respond to everyone else’s reflections. There are a handful of exceptions to this rule. If someone is being terribly hard on themselves, it’s in the spirit of the ritual to send them some love or support. Also, if you’re leading the company, it can prove appropriate to sometimes carefully use these shared thoughts as broader teaching moments: perhaps someone has articulately expressed a challenge that others have encountered as well, or a player might inadvertently pitch a “best” without seeing that there may have been unintended consequences. (Tread lightly in this second scenario.) Astute players can also use this exercise as an opportunity to support their fellow improvisers down the road by helping them overcome prior barriers or lean into professed strengths. If someone’s worst, for example, is that they didn’t step up and start a scene again, a mindful teammate could facilitate such an opportunity in the next performance.

3.) Best practices as the non-performers. In my campus troupes and productions, we’ll often have players rotate into offstage roles such as house management, lighting, or sound improvisers. If they have participated in a creative role, they may well have a best and worst from this perspective. In other situations, this may be less likely or just less insightful. In these cases, we’ve developed the custom of letting players who were primarily observing the performance offer up a company best and worst such as “Everyone did a nice job tonight cheating out and being seen. I think we still need to think about stage pictures in general though as we had a lot of standing and talking scenes.” Unlike a personal best and worst which should focus on the individual, these play better when they are broader strokes and don’t single out players for critique. (If someone had a rough night, though, a little extra praise here is often a nice touch.)

4.) Worst practices to avoid. If you’re working in a larger ensemble hearing from everyone can take a little while. Make sure players aren’t sending unintentional (or intentional for that matter) signals of impatience or disinterest. Phones and technology should be stowed away, for example, and body language should remain open and engaged. It is vulnerable to share a worst in particular, and fellow company members should avoid dogpiling onto the speaker in agreement or judgment. Every now and again a player might also try to fly under the radar and not participate. This can be tricky to address as you don’t want the exercise to become coercive and there may be a weightier issue at play that might invite a private discussion. But, whenever possible, encourage players to add their voice. If they’re in a post-show funk, committing to sharing a moment of success can help ameliorate the situation at least a little.

In Performance

Sometimes long nights or performance logistics might make an in-person Best and Worst unfeasible. In such cases I’ve utilized an online approximation – although I will openly confess that I like this much less. It’s helpful to clearly articulate the expectations and ground rules if you find yourself deploying this approach: the written word doesn’t always convey nuance well and so participants should be extra careful that their observations focus squarely on their own efforts and not the choices of others. The last thing you want is a long thread of comments that feel like everyone is throwing shade at their fellow players. We’ll often deploy more experienced players as “boosters” who respond with shout-outs and encouragement as needed. It’s also crucial to set and hold to a firm participation deadline as the efficacy of the ritual degrades exponentially as the performance starts to fade into your rear-view mirror. Of late I’ve also explored with my campus troupe an “ick” check as part of the in-person process too which is a more deliberate moment to just make sure choices or material hasn’t brushed anyone in a negative way that warrants attention and address. We strive to do this before our Best and Worst just so it’s given the time it needs and, if it’s a complex discussion, doesn’t become the last taste of the evening.

Connected Concept: Postmortem

“P” is for “Postmortem”

The common improv practice of discussing the successes and stumbles of a performance after its completion.

Thoughts on Giving Notes… and Thoughts on Receiving Notes

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Related Entries: Acting, Commandment #10, Consent, Ensemble, Rehearsal Etiquette, Sidecoaching Antonyms: Check In Synonyms: Debrief, Feedback, Notes

Connected Game: Best and Worst

Game Library: “Rashomon”

This improv format is inspired by the classic 1950s Japanese movie of the same name that looks at one event from multiple character Points of View. I know Rashomon as a short-form replay game but, as the source material amply illustrates, the concept certainly has the legs to be expanded into a fuller-length improvisational piece as well.

The Basics

Players improvise a “base scene” prompted by an audience suggestion, such as an important event, dramatic location or pivotal relationship. This first scene, while considered “neutral,” actually provides the basic frame and details for everything that follows. At the completion of the scene, the players then replay this action but now filter it through the point of view of one specified character at a time. While the general “beats” of the scene should remain the same – as is the case for most replay formats – the details are now adjusted to augment and reflect the chosen character’s experience. Time permitting, the scene will then be replayed from the perspective of some (or ideally all) of the original featured characters.

Example

Player A, as an addled parent, escapes into the lobby bar of an urban hotel. Players B and C are two unattached and unencumbered singles, flirting casually over their over-priced drinks. The bartender, Player D, idly pushes their cloth back and forth on the bar as much to pass the time as to actually clean. As Player A collapses onto a stool, Player D notices their dishevelment.

Player D: “You look like you could use a drink…”

Player A: “That’s just one thing on a long list of what I need!”

The Focus

The logistics of this game can be a little tricky to wrap your mind around if you haven’t explored the basic premise and helpful strategies beforehand (which I strongly advise). Rashomon provides an excellent lesson in crafting clear and strong points of view as the game demands that characters are not merely floating aimlessly through the base scene. This notion of shifting the narrative focus also resonates with several performance strategies in the healing arts which reveals the potentials of this frame to enrich a wide range of venues and improv modalities.

Traps and Tips

1.) Plant the seeds. If you don’t establish at least the inkling of an interesting character point of view or attitude in the base scene, the resulting replays can become quite the struggle. This isn’t a good scene to play casually with low stakes and minimal attack (mind you, few scenes do well with this deadpan approach). As I’ve demonstrated in the example above, characters should hit the stage hot with some energy or potential deal, even if this changes considerably as it combines with the ideas of other teammates. In addition to having some sense of your own deal – “I’m an overworked parent who craves the simpler days of my youth” – make sure you also keep an eye out for the deals of others as this is equally important for the later replays. Early scenic choices should exude emotional intensity while keeping specifics largely in the subtext rather than text. If you are too explicit in the first iteration there will often be nowhere new to go down the road. This might go without saying but just in case it doesn’t, players who don’t appear in the base scene can’t easily contribute to the reenactments, so if you elect to remain in the wings, make sure your teammates have built a promising improv edifice that doesn’t need you. If you do pop in for a brief Canadian Cross or nudge, also be aware that it’s in the spirit of the game for your perspective to become the focus of a replay too, so have something in your pocket.

2.) Don’t get caught in the weeds. Part of the delightful contract of replay games is that the foundational elements of the scene should generally remain intact. If Player A enters the bar, is served by the bartender, interacts with the young couple B and C, receives a phone call from their babysitter, and then orders a double to drown their sorrows, these basic pointers should frame everything that follows. That is not to say that the nuances, dialogue, and action might not change considerably – and in fact one hopes that they will – but keep your foundational parameters in mind as you play, deviating from them out of strength rather than from a fuzzy recollection. Extremely verbose scenes can prove challenging for this reason: consider action that is rich with emotion instead. As players scroll through the new replays, it’s important that they work toward a common end. If the bartender’s original subtext was that they are overworked and everyone takes them for granted, try to establish this game quickly and clearly in their reenactment so that everyone can elevate this particular point of view. Perhaps Player A originally responds with “I’d like a gin and tonic” but now this becomes “I’d like you to solve all my problems, but I won’t tip you well.” If your character is featured early in the scene, it helps the whole team if you make a brave move that others can then mirror (hence the import of paying close attention to the first scene so you have a sense of what others might have been pitching).

3.) Water others’ gardens. One of my favorite features of this format is that it requires players to heighten the points of view of their teammates in order for the replays to flourish. Improvisational philosophies often stress tending to our own deals, at least initially, and this structure palpably reminds us that games only thrive when we all play them together. When you cycle through the replays, the heavy lifting generally falls on the shoulders of the characters and players who aren’t in focus as they are responsible for selling the narrative shift. In many ways the featured player primarily serves as the “straight” character responding honestly to others’ choices while maintaining the established trajectory of the original template. While I recommend hitting this shift in perspective quickly and clearly, don’t drown the new protagonist in a tsunami of well-intended suggestions; rather, build and complicate the story one patient step at a time. The replays specifically benefit from making sure the focused character has sufficient time to receive and process each new move, hence the import of not creating a needlessly frenetic baseline. If in doubt, it proves helpful to ask yourself “how does the featured character perceive me or my actions” as you adjust the tonality and delivery of your dialogue. Players B and C who may have been just mildly annoying originally with their youthful entitlement, now might feel their passions are being brutally extinguished by those who have no place in a hip hotel bar when we experience the world through their eyes.

4.) Pick the ripest crops. Every character needn’t have a turn in the focus hot seat although this can become the expectation depending on the way you introduce the game and the rhythms of your particular performance. Admittedly, there is certainly something innately satisfying about getting to glimpse into everyone’s head at least for a moment. If you’re new to this game or the base scene feels a little underdeveloped, grab an easier character as your first focal point so that you (and the audience) have a chance to warm into the central dynamic. (Deploying a caller can also steer the selections based on what they feel was landing well which takes a little pressure off the cast to make split second decisions when they may not have a good sense of the bigger picture yet.) If a character feels marginal either in terms of their scenic function or, frankly, their ability to land a definitive point of view, you could either skip them or strategically place them in the middle of the replay pack. I’d just advise not leaving them until last in case there really isn’t much to harvest: you don’t want a stumbling reenactment as the final taste of the scene for the audience. Characters that are occupying similar or parallel functions, as is the potentially the case with the younger bar goers above, can also combine into one replay, especially if time is a consideration. Ideally, keep a character whose implied game has the strongest potential for your curtain call as it can be a little off-putting when the replays burn brightly initially only to fizzle when the game finally reaches the finish line. Often it can prove delightful to save the most featured character – likely Player A in our bar scene – until this last position for that reason, although I will confess that I’ve also seen strong teams slay by putting the most minor character into this final slot as well.

In Performance

Rashomon has sadly fallen out of my own rotation a little as it requires some focused rehearsal time to get a grasp on the logistics at play, and the game (as is the case with most replay formats) requires sufficient room to expand which makes it difficult to program when strict time constraints exist. However, I value this game as much for what it teaches about subtext, points of view, active listening, and elevating the choices of others as I do for the results it can garner on the stage. Don’t become disheartened if you feel a little stumped or clumsy in your first efforts: the mechanics of the game can put you in your head initially. Perspectives (an earlier Game Library entry you can find here) can serve as a helpful prequel if you’re looking for a user-friendly way to warm-up your improv brain for this particular challenge.

Cheers, David Charles.
www.improvdr.com
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Photo Credit: Tony Firriolo
© 2022 David Charles/ImprovDr

Connected Concept: Point of View

“P” is for “Point of View”

This phrase – sometimes abbreviated to POV – refers to the specific way your personae approach the world, their primary attitude or “deal” if you will.

Find Your Point of View By…

This is just a taste of this entry/concept. Go here for more information.

Related Entries: Comedy, Emotional Truth, Game of the Scene, Love, Objective, You Antonyms: Passenger, Passivity Synonyms: Deal, Perspective, POV

Connected Game: Rashomon