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Game Library: “Death in a Minute”

As I first learned this game during my high school Theatresports days, Death in a Minute would certainly be in the running for the short-form game I’ve known and played the longest. While you can adjust the titular time limit to suit your own artistic needs, the one-minute challenge demands a heightened level of attention and collaboration on the part of the players as there is really no room to depart from anything other than the Obvious evolving story.

The Basics

A prompt is obtained, such as an indoor location, benign prop, or mundane occupation – you generally want to avoid anything that innately screams “death!” Players then have a strictly timed one-minute scene by the end of which someone or something must have come to an untimely end.

Example

A pillow factory inspires the action. Player A and B begin the scene engaged in a joyous pillow fight.

Player A: “I think this latest batch of pillows is passing the pillow fight test!”

Player B: “I couldn’t agree more. But here’s one more schwack just to make sure.”

Player B happily launches their pillow at A’s head who responds with similar glee. Player C enters as a manager carrying a large tray.

Player C: “Surprise! You have both been awarded employee of the month!”

Player A: (still pillow fighting) “There’s no-one I’d rather share this recognition with!”

Player B: “Nor I!!!”

Player C: “And here’s your celebratory prime rib dinner with all the fixings…!”

Player C starts to cut lavish slices of prime rib with an oversized and extremely sharp knife…

The Focus

Make sure the death is appropriately contextualized and justified. While a previously unmet character could run on at the last moment and have a heart attack, this would be unlikely to resolutely button the story in a satisfying way. Instead, endeavor to take more sequential steps that clearly connect to and build from the prior choices of your teammates. As you’ll quickly learn when workshopping this game, there really isn’t much room within the minute to discard early actions in order to go shopping for something else.

Traps and Tips

1.) The death can occur at any time. While it’s often the case that the death occurs in the closing moments of the scene, this needn’t be your default strategy as the death can, in fact, occur at any time that seems appropriate. There is certainly a value in using this large action as a scenic climax, but the action could also feature an exploration of the consequences of an ill-timed departure. Just be cautious of making the death insignificant or throwing it away as a gimmick. I still remember from my high school days a team that had a member who always started the game by just running onto the middle of the stage and dying before any sense of the scenic given circumstances were established. His fellow players then routinely scrambled to do all the heavy lifting to make some semblance of a scene around his unhelpful dead body. That was over thirty years ago, so even as a novice improviser, I clearly understood that this stock choice punctured the central dynamic of the game.

2.) The death can happen to (nearly) anyone or anything. Another cool feature of the game not to overlook is that the death doesn’t necessarily have to occur to a person. It’s in the spirit of the game for players to explore the death of a relationship, prop, or conceptual theme such as joy or hope. That being said, there are no prizes for concocting a death that is so esoteric that when the lights blackout the majority of the audience has no idea what died (other than, perhaps, their hopes for entertainment.) In the spirit of being obvious, it’s also more than okay for the most likely character who felt an aura of doom swirling around them for the duration of the scene to finally face their comeuppance in the final moments. I’ve noted that “nearly” anyone can die, and while I am loathe to offer any “unbreakable” rules for an improv frame, experience would suggest that it’s an extremely hard sell if harm comes to a child in any way. As this game is almost exclusively presented in comedic venues, such a choice just places an unnecessary ick on the scene. (When I improvised at Walt Disney World’s Comedy Warehouse the only two choices guaranteed to get us into hot water as players were showing drug use or harm to children onstage.) If in doubt, punch up rather than down when it comes to ultimately selecting the scene’s victim.

3.) The death should prove significant (even if it’s a surprise.) When you think about the canon of dramatic literature, deaths are almost always large and climactic events that drastically raise the stakes and emotional energy of a play. Making the death an afterthought, resoundingly anticlimactic, or inserting it as an otherwise inconsequential Canadian Cross might appear ingenious, but these are often just clever ways to avoid committing to an emotional and heightened scene. Yes, it might prove delightful for a character who has been sitting quietly in the background of the featured action to come to a sudden end as they try in vain to capture the attention of their co-workers; but, more times than not, you will be best served by visiting this fate on a character of note. If a surprising death does occur – as can oft occur in the final moments of the scene if a clear option hasn’t emerged – embrace this choice with all your might. For example, while the carving knife might seem like a natural deathly cause, perhaps a player slips on the manager’s stowed tray instead. In most cases, such deaths offer a tilt, revelation, or shift in the power balance. You may only have a few moments to process this adjustment, but this sudden shift is part of the challenge and gift of the game.

4.) The death should clearly land. There are several layers to this observation. On the most obvious level, the audience should clearly know what or who has died and why or how this happened. Ambiguous deaths rarely belong in this game. On a related note, the death should also have a clear finality to it as the game isn’t called Nearly a Death in a Minute. If you have been targeted to die, make sure that you fully take on this theatrical opportunity. I’ve seen many improvisers oddly half-heartedly accept their fate rather than relish it and go out with a dramatic bang! Admittedly, it can feel odd to find yourself at this junction in a scene, but the game is predicated on the fact that a death will be pitched and embodied: it’s off-putting for all involved if you see the victim reluctantly or passively accepting the offer of their downfall. A possible workaround for this can be clearly offering yourself up as the sacrifice so as to empower your teammates to assemble the needed ingredients. If you are not marked to die, make sure you are providing the intended recipient sufficient stage time and focus to enjoy their last moments in the sun. It’s unlikely for a death to feel climactic if it has to compete with a multitude of other busy actions on the stage at the same time.

5.) The death can benefit from time warnings. Though it might be a stretch to consider this a “called” game, the performance definitely benefits from strategic time warnings. One minute is much shorter than you might expect, and as this time restriction is in the game title it is foreseeable that someone in the audience will be keeping at least a loose eye on the time as well: if the game meanders into a second minute players really aren’t meeting a fundamental challenge of the piece. In rehearsals, time warnings are helpful to encourage scenic efficiency and deliberateness. In the above example, players have probably used up 20 to 30 seconds already so the death is not that far away and will need to use something already in play – a pillow, the prime rib, the carving knife… If a caller offers “30 seconds,” now everyone will hopefully be on the same page that a potential target needs to emerge quickly in order for the scene to conclude. During a performance, there’s also something innately dramatic about hearing the numbers decrease as the unknown death looms closer and closer.

In Performance

For such a compact little game, Death in a Minute has a great deal to offer in terms of necessitating that players work in one unified direction, encouraging the heightening of energy and scenic stakes, and demonstrating that following the most obvious path as it emerges before you will likely lead to success. There is an interesting tension between the game’s overt comedic intent and the somber subject matter, so you’ll want to walk this path knowingly and joyously by avoiding needlessly controversial or darker hues. This format doesn’t easily ally itself with complex social commentaries or statements: there just isn’t time.

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

Connected Concept: Obvious

“O” is for “Obvious”

Trusting that your organic or Obvious choice will be interesting enough. Most view such an attitude as the antidote to heady cleverness.

Obvious Pointers…

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

Related Entries: Commandment #9, Curve Ball, Material Antonyms: Cleverness, Over-Originality Synonyms: Emotional Truth. You

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

Connected Game: Death in a Minute

Game Library: “Get Them To…”

This exercise so clearly demonstrates the importance of Objectives that I use it in both my scripted and improvisational classrooms. Get Them To… pits characters against one another in their efforts to obtain their true – albeit random – desires.

The Basics

Players work in groups of three. Prior to the exercise, each player is given a random objective or want from the coach or instructor. (Generally, it works fine just to have the other two players hum while covering their ears and looking away so as not to hear their teammates’ prompts.) Once each player has their scenic need, a location is obtained that doesn’t needlessly hamper the characters. For example, if one character is fighting to have another sit on the floor, the scene shouldn’t be placed in a zero-gravity locale! Players improvise a scene in this known environment in which they must actively strive to have another onstage character fulfill their secret want. If a character is clearly successful, they may simply utter “Thank you” once their goal has been met and then leave the action. A caller may prove necessary to quickly determine if more ambiguous actions adequately fit the bill. A time limit is provided (two minutes or so works well), and the scene continues until this time target has been reached or everyone has achieved their want. Players may deploy any tactic they see fit other than physically forcing fellow players to their will or putting others at the risk of harm.

Example

Player A has been (privately) provided with the objective of getting another player to shake their hand in the course of the scene. The trio accepts a supermarket as the initial prompt. Player A approaches B as the scene begins.

Player A: “I’m terribly sorry that you’ve had such a bad experience shopping with us today.”

Player B: “I really have come to expect much better service from this establishment.”

Player C: (assuming the role of a child, to Player B) “You said we were only going to be a minute. Can we go home now?”

Player B: “Just a moment sweetie.”

Player A: (opening a mimed door) “Why don’t you step into my office. I’m the manager, Ms. Feliciano, and it’d be my pleasure to help resolve this.”

Player A extends their hand…

The Focus

Players should fight strategically to obtain their provided objective. The exercise thrives when players deploy a wide range of tactics. It can be tempting to discuss possible strategies prior to seeing the exercise in action but allow improvisers to discover the various ways to “win” in realized moves rather than discussed theory.

Traps and Tips

1.) Assigning the objectives… I have a well-worn list of possible objectives that I use (I’m wary to share it here for fear my students will read them!) Generally, it’s helpful to provide a variety of objective types – perhaps a physical need (someone needs to give you a drink of water), a verbal need (someone needs to thank you for a job well done), and a curve ball or less likely need (someone needs to provide you with directions to the nearest gas or petrol station). In many ways, it doesn’t really matter what the objectives are so long as they need another player to complete them. For this reason, you wouldn’t want to assign a goal of “you need to sing a song” or similar as that objective can be satisfied without the aid of another character. One of the lovely lessons of this game is that seemingly random needs can actually inspire dynamic choices and action when we actively require something from our scene partners.

2.) Encouraging the play… If the players (characters) stop fighting for their desires in the scene or lose interest in the pursuit, the audience will very quickly follow suit. There is certainly no one “correct” way to play the game – characters may aggressively charge towards their need from the first moment of the scene, adopt a stealthier approach and bide their time, or assume any variety of tactics between these extremes. However, if players give up or relentlessly repeat the same unsuccessful tactic again and again and again, the resulting scene will quickly fizzle into lethargic stagnation. Especially with novice players, it may prove helpful to sidecoach or nudge them into new choices and actions. Mundane or dull repetitive tactics are unlikely to capture the audience’s imagination: this is another important lesson that transcends the particular site of this game.

3.) Enjoying the risk… As the fear sinks in that successful players are able to leave the scene – thereby reducing the likelihood that remaining players can achieve their goals – it can become common for scenes to become blocking parties as no one wants to inadvertently release another from the action. Savor the delightful risk of embracing others’ ideas. It’s important that players practice good improv etiquette, honoring the realities and choices of their partners, but players needn’t succumb to actions that are not in their own best interest. If Player B senses that Player A is angling for a handshake, it is well within the spirit of the game for them to find socially acceptable alternatives and excuses for avoiding this gesture at all costs. But it is much more entertaining for everyone involved if these evasions do not consist of blatant blocks or denials. Justify your choices and rebukes in ways that still sustain the energy and reality of the scene: “I’m sorry, I’d love to shake your hand, but I’m recovering from a terrible cold…” Just as is the case in real life, characters have no obligation to fulfill their partner’s wants, but they do need to accept the world in which these choices are emerging – this would be a third critical discovery from the game.

4.) Unpacking the strategies. The audience finds such delight in these scenes as they are “in the know” and can see the hidden maneuvers that might not be readily apparent to those within the action. I’ve found it helpful to take a moment after each scene to examine what was experienced. On occasion, all three players might end the scene with their objectives met, but it’s much more common for the majority to remain unsatisfied as the time limit is reached. It’s important to note that it is similarly common for characters not to ultimately obtain their desires in a theatrical action and that this, in no way, diminishes the power and purpose of pursuing strong objectives. It can prove insightful to ask the onstage players what they believed their partners were fighting for and to invite the audience to celebrate particularly noteworthy tactics. As you cycle through multiple scenes, players tend to build a greater awareness as to what might be motivating others’ actions, usually so that they can thwart them and increase their own odds of success! This heightened awareness of what others are doing is yet another great takeaway from the exercise.

In Performance

I love the learning curve that this exercise typically provides. What works in one scenic iteration will almost invariably prove unsuccessful in the next as players take on this new knowledge and suspicion. Tactics are ever evolving and won’t translate from one situation to another wholesale: players must continue to work at the top of their intelligence and not just mimic what may have worked before. It’s also revealing that even the most random of objectives – someone needs to offer you a seat – can result in breathtakingly dynamic and engaging scene work. Characters, then, that self-select desires that are more organically and intrinsically linked to the dramatic arc – someone needs to pay for your family’s dishonor – are even better equipped to chart energized and provocative paths.

This blog marked my 200th blog entry! If you’re looking for a particular game, strategy, or term, check out the search function here, or consider acquiring The Improv Dictionary here. And thanks for visiting the ImprovDr!

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

Connected Concept: Objective

“O” is for “Objective”

The “O” of CROW, a character’s Objective refers to their desire or goal. Without such a motivating force, players can tend to just wander aimlessly through the action without a north star.

Earmarks of a Strong Objective…

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

Related Entries: Character, Conflict, CROW, Relationship, Where Antonyms: Obstacle, Passivity, Stasis Synonyms: Desire, Goal, Need, Want

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

Connected Game: Get Them To…

Game Library: “Pop-Up Story Book”

Look no further if you’re searching for a short-form game that can exercise your Narrative muscles while also stretching your literal muscles a little too! Pop-Up Story Book offers a lively frame for creating a delightfully theatrical story. You’ll just need a wide and recently mopped stage space!

The Basics

One player serves as the storyteller while their remaining teammates become the characters “trapped” in the pages of an oversized story book. The mechanics of the game are similar to Freeze Frame (which you can read about here) with the notable exception of the image transitions. The game begins with the narrator introducing today’s story (probably inspired by an audience elicited title) as they stand to one side of the performance space. One or more other players pre-set themselves by lying on the floor as if they are squeezed between the pages of the book. When the narrator is ready to begin, they jauntily zip across the stage (usually starting from stage left), and mime turning an enormous page as they go. When the narrator passes any waiting actor, they immediately spring to life and assume a static pose as if they were a cardboard cutout. From their new perch stage right, the narrator now provides the first step of a story that fully justifies the poses of their teammates. When they are ready for a new image, they stroll back across the stage, thereby signaling any standing actors to once more lie down in preparation. (At this point, any player waiting in the wings can roll onstage to prepare for the next image, or an onstage actor wishing to leave the action can roll offstage and out of sightlines.) Once more, the narrator dashes stage right, turning the giant page as they go, and any stowed player quickly springs up to form a new pose. In this fashion, the narrator moves through multiple tableaux – justifying each one as they go – until the story reaches a natural conclusion. Narrators can also deploy “pull tabs” (discussed below) to briefly animate the current image.

Example

The team acquires “The Lonely Alligator” as the title for their story. Player A dons the role of the narrator and pre-sets themselves stage left while a fellow player (B) lies down on the stage in preparation. The remaining players stow themselves in the wings.

Player A: (to the audience) “I’m so glad to see so many familiar faces at today’s reading session with Librarian AraBella! Is everyone ready to visit the everglades?”

Player A encourages the audience to assume the role of children, and some react with fitting excitement.

Player A: “I’m excited to read today’s story that is all about a lonely alligator. Let’s look at the first page…”

Player A mimes turning an oversized page as she jogs from stage left to stage right. As she does so, Player B jumps up and assumes the titular role, their arms extending before them to represent giant jaws.

Player A: (assessing the image as she continues) “It had been a strangely hot summer, and all the creatures in the everglades were particularly weary, and particularly moody, especially one irritable alligator by the name of Allie that lay quietly in the waving tall grass…”

Player A moves downstage of the image signaling a page turn is imminent and begins to walk stage left as Player B (Allie) lies back down and another player (C) quickly rolls onto the stage. Player A grabs another imaginary page edge and runs across the stage as Players B and C assume new frozen positions.

Player A: “On sweltering days such as these, Allie the Alligator always turned to her trusted friend, Bella the Pelican” (justifying Player C’s bird-like demeanor.) “Though the two animals seemingly had little in common, they both shared a distaste for the scorching summer sun, and Allie liked to cool herself beneath the great bird’s wings.” (Looking to the audience) “Let’s see Allie enjoy Bella’s shade…”

Player A steps into the image and pantomimes grabbing a giant pull-tab. With a self-provided creaking sound, Player A pulls and then retracts the tab three times, causing both frozen players to sharply shift their positions and then return to their original poses three times as well. Player A then steps back to the side of the image…

Player A: (as she moves in front of the image once more so that the onstage players can drop to the floor) “Let’s see what happens on the next page…”

The Focus

Concentrate on the give and take between the narrator and those crafting the images. Ideally, both the verbal and physical components of the game will work together to inspire a cohesive (although potentially unpredictable) story arc. There are several critical physical conceits that need polish in order to elevate the game’s entertainment value – clumsy staging will quickly diminish the charm and effectiveness. On a simple but important level, you need to have performers who are comfortable and able to safely and joyously roll around the stage and leap up and down. If this level of attack is of concern, you might want to consider a related format such as Freeze Frame instead.

Traps and Tips

1.) Practice the logistics. While I’ve endeavored to paint as explicit a picture as possible of the needed techniques and tempos, it’s unlikely this game will soar without some focused workshopping and, frankly, some spaces just aren’t conducive to the heightened physicality that the game demands. Make sure that tableau players are able to roll on and off the stage without necessitating collisions and bumps. There should also be ample room for the narrator to clear these transitions downstage of the commotion. When executed well, the transitions between pages can look quite simple, but in reality, there are a lot of moving pieces that need to be in alignment. The narrator needs a set pattern for striking prior images (generally walking downstage of the image from stage right to left) and then a clear prep for turning the next page (spryly jogging from stage left to right while holding the lip of the imaginary page.) Tableau players need to drop quickly on the first cue, and spring to life with an unequivocal physical choice on the second. None of this is particularly challenging, but it typically takes a few rotations for it to become second nature for the company. For this reason, this format isn’t a great choice for a team thrown together on the night that has never workshopped the basics of the game together.

2.) Pull-tabs need predictability. Firstly, don’t feel the need to insert pull-tabs into every page; in fact, there is a great value to holding off on this element a little until the story has found its footing. (I’ve used one on my second page in the example above so as to provide a walk-through of some of the finesses but in performance I’d usually wait until the third page or later unless the team has stumbled upon an image that simply demands animation!) There is some pull-tab etiquette forged in the improv trenches that I would highly recommend. As the narrator, it’s extremely helpful to verbalize a clear intent for the pull-tab, even if you’re not pitching a specific choice. To clarify further: which characters (all, some, or one?) are you hoping to see in action, and how does this connect to the story at hand. Phrases such as “Let’s see Allie defend her territory…,” “Let’s see how the panther responds…” or “Let’s enjoy the couple and their celebration” offer clear clues to your teammates. This is particularly important if you’re hoping to break up the stage picture into two or more isolated pull-tabs. Narrators should provide a clear verbal cue (I use a creaky floor-board type sound) that has a distinct pull and then release energy so that actions can be matched to this tempo accordingly. Often, posed players won’t be able to see these cues, so a distinct verbal offer is key. Making three such cues in a row provides a helpful template and establishes a norm even if you decide to break this later in the scene. It can also prove tricky in terms of staging for the narrator during these moments: I like the conceit of stepping slightly into the image when you’re cueing the tab device, and then at least briefly returning to the narrator’s perch stage right afterwards so that you don’t accidentally muddy the signal for everyone to drop to the ground between page turns.

3.) Justify for inspiration. Underneath the rather pleasing staging bells and whistles, Pop-Up Story Book is a justification game at heart. It’s helpful to launch the game as the narrator with a strong sense of character and style but be sure to truly elevate and embrace surprises and gifts that should invariably come from the tableaux. So, while it may seem helpful to frame each new page with clear directions – “Let’s see Allie venture into the everglades and then stumble upon her arch enemy the panther devouring its prey” – such choices, especially if this heavy-handedness becomes the norm, will greatly impinge upon your teammates’ ability to shape the action. The other side of the coin is that tableau actors need to fearlessly leap into strong and dynamic poses. There truly isn’t time to consult with other players as the page turns, so part of the appeal is seeing how disparate (desperate?) choices become incorporated by the narrator. Physical players should also be sure to balance helpfulness with a little playful mischievousness. Once Allie has been established, for example, it won’t typically prove helpful to have this character disappear for multiple pages in a row. But it could be joyful to suddenly see this character in an inexplicable pose. Just don’t let a little joyful torture or shivving scuttle the story needs.

4.) Enjoy the unique presentation. Pop-Up Story Books tend to appeal to younger readers, and so this reality provides a common frame for the game. Savor the opportunities such an approach affords. Endow your audience and encourage their involvement when and if it feels appropriate. Play with language and storylines that might appeal to a younger demographic (even if you’re doing so with a satiric or more knowing wink). Explore a narrator persona and narrative devices that can maximize the potentials of this more youthful genre. When you’re playing an evening of short-form, scenes can all start to feel a little alike in terms of content and approach; including Pop-Up in the mix can really add a different texture, especially when the physical players truly attack their roles with excitement and playfulness. There is something ridiculously magical about watching improvisers roll all over the floor – and perhaps each other – in their efforts to honor the conceit of the ludicrously oversized story book. If these mechanics are executed with a sense of jadedness, much of the spirit and appeal of the game is quickly lost.

In Performance

This game provides rich opportunities for the exploration of narrative as the storyteller must pleasingly and instantaneously combine unexpected elements in a way that utilizes the images and charts a journey of note. As this format is a little technically complex, many of my pointers have focused on best staging practices. I’ve referenced an earlier Game Library entry several times in this description, Freeze Frame, and it’s definitely worth visiting this post here for additional narrative pointers as both games draw from a similar creative well.

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

Connected Concept: Narrative

“N” is for “Narrative”

The story or storytelling elements of an improvisational production.

Qualities of Strong Narrative…

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

Related Entries: Advancing, Bulletproof, Extending, Hosting, Long-Form, Looking Backwards, Shape of Show, Specificity Synonyms: Storytelling, Structure

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

Connected Game: Pop-Up Story Book

Game Library: “Name Circle”

Just as Names are critical components of our scenic work – offering insights and details for each original characterization – so too are they important in our workshops and rehearsal halls. Most processes start with some form of “getting to know you” exercise, especially if you’re working in a newly formed ensemble. As is likely the case with most instructors, I’ve made a point of collecting and adapting Name Circle warm-ups so as to keep my own repertory fresh. These activities routinely serve as great icebreakers, energy boosters, or simply drills for gaining comfort with the names of your fellow players. I’m breaking with tradition a little and including examples and pertinent tips alongside each of the nine variations as each one provides slightly different opportunities and challenges.

The Basics

The group forms a circle. And one player begins…

Version One – Adjective Actions: Player A takes a step into the middle of the circle and introduces themselves by providing an adjective (typically that shares the first letter of their name, their given name or nickname, and an exaggerated gesture. Once completed, Player A steps back, and the rest of the group repeats the three elements – adjective, name, and gesture – with gusto and full attack. Players can tend to make the smallest, least committed gesture possible, especially if you are working with newer performers, so encourage abandon and full commitment. After all, “no one looks silly if everyone does it!”

Player A: (steps into the circle) “Hi, I’m delirious David!” Player A performs an outlandish sweeping bow and then steps back. The rest of the group then takes a step forward and mirrors the introduction.

Version Two – Original Acronyms: Player A steps forward and provides an on-the-spot acronym that utilizes each of the letters of their first name in sequence. The challenge is markedly more formidable for those who go first (as those later in the circle will invariably start to solve the riddle a little beforehand). This doesn’t necessarily matter, especially if everyone is playing this warm-up together for the first time, but if you’re looking to also stretch players’ verbal or risk muscles, you could have players state their names and then provide an acronym for a random word provided there and then by the instructor or coach. At the conclusion of each acronym, players can chime in with a welcome to the speaking player in return or perhaps physicalize the probably absurd statement. Be wary of well-intended players offering up solutions if others are struggling (unless it’s a true move of desperately sought-after kindness) as a little struggle is built into this dynamic that rewards bravery over perfection.

Player A: (steps into the circle) “Hello, I’m David and I Delight At Vicariously Inspecting Daffodils.” The group responds with an enthusiastic “Hello David!” and all begin to pantomime examining flowers…

Version Three – Passing Names: This works best as a review of names or following a round of quick introductions. The first player, A, begins the process by clapping towards another random player, B, and clearly saying their name. Player B now continues the process by selecting someone else randomly across the circle and claps towards them with this new player’s name. Players continue passing the focus in this fashion, clearly stating each other’s names with energy and conviction while simultaneously striving to make sure that no one is excluded. Seek a steady rhythm and encourage players to risk getting a name wrong rather than leaving someone out of the mix, especially if you’re early in the process of getting to know each other. When such missteps occur (and they nearly always do), the player in question should just quickly share a correction and then keep the energy moving. More significant stumbles for this or any of the following variants can be met with boisterous applause (a great tradition for dealing with fumbles in general) and then a reinvigorated restart. Also, make sure that the claps don’t become too loud, or they will start to obscure the accompanying names.

Player A makes a clear gesture (usually a soft clap) across the circle to Player B and says “Dwayne.” Player B (Dwayne) then shifts the focus and claps towards Player C and says “Ciara”…

Version Four – Rhythm Circle: The group softly begins a rhythm (not too briskly at first) that consists of two thigh slaps followed by two finger snaps. Once this tempo is steady, Player A begins sending around an evolving exchange of player names by saying their own name twice (on the thigh slaps) followed by their intended recipient’s name twice (on the finger snaps) This newly named player has now been tagged and should strive to immediately repeat their own name twice on the next two beats, followed by a new player’s name twice on the two finger snaps. Larger groups tend to increase the tempo (and volume) through excitement, so strive to keep it at an even keel, especially as the game is being taught. If the name passes are falling wildly off the rhythm, slow it down and prompt a re-start. Should the ensemble find comfort in the logistics, you can then introduce a second syncopated sequence that passes around the circle with your own name twice on the snaps and your intended partner on the thigh slaps (but this will almost invariably grind things to a halt if you were already struggling with the base model!) When a player is tagged at the same time in both sequences, they should avoid passing them both on the same beat thereby erasing the syncopation. This can be achieved by the player in question either pausing for two snaps or slaps between their offers (“David, David, Dwayne, Dwayne, pause, pause, David, David, Ciara, Ciara”) or omitting their own name between the two tags (“David, David, Dwayne, Dwayne, Ciara, Ciara”). If this strategy feels opaque, it will make much more sense the first time it is called for, I promise!

Player A: (on the established rhythm) “David, David, Dwayne, Dwayne”

Player B: (on the established rhythm) “Dwayne, Dwayne, Ciara, Ciara”

Version Five – Marching Tags: I have to confess that I probably play this one too much, but it tends to quickly increase the energy and focus in the space while also reinforcing names. Similar to version three above, players now add movement to the process: Player A says their own name twice and then repeats the name of another member of the group, B, while walking towards this selected player. Player B then accepts this “tag” and vacates their spot in the circle by repeating their own name twice and then the name of another random player, C, while walking towards them. Avoid tagging players to your immediate left or right as it tends to bunch up the exercise in unhelpful ways and be sure to make each focus pass energized and clear. As players become comfortable with the general conceit and flow, you can generally add new chains into the mix, which necessitates even more deliberate focus gives and articulation. I’ll initiate four or five new threads by the end of the game as this tends to give a dramatic energy boost and some delightfully climactic chaos.

Player A: (leaving their spot in the circle and walking towards Player B) “David, David, Dwayne, Dwayne…”

Version Six – Decaying Pass: This one has a few stages and requires a little more time. The first round, similar to version one above, requires each player to introduce themselves by saying their name twice with an accompanied and repeated gesture that is unique and dynamic. It’s particularly important that gestures are not too similar to others already in the mix. Players should take care to closely observe and then repeat everyone’s first choice as these become the foundation of the game. For round two, players now pass the focus around the circle by first repeating their own name and gesture twice and then that of their intended recipient. This new player responds by echoing their own name and movement twice and then that of a new player in the circle. After everyone’s name and physical action has been suitably burnt in a few times (make sure no one is accidentally omitted) the ensemble can move to round three where players no longer repeat their own name and gesture when they are tagged but rather just perform twice the name and gesture of the new player in the sequence. Round four consists of abridging the tag even further, and now players drop the verbal component completely and merely pass focus through the use of the established repeated gestures. And if you have the appetite for a fifth round, players can then half the gestures of their intended recipients, so now each motion is only performed once and in silence. Each new round should ideally increase the tempo and attack of the exchanges without them becoming needlessly frantic or ill-defined.

After all the players have established their names and gestures, Player A begins round two by saying “David, David” with two outlandish bows, followed by “Dwayne, Dwayne” (Player B) and their established action of two disco points to the ceiling. Player B continues the game…

Version Seven – Torture Names: I wouldn’t recommend this one at all for an initial name circle salvo, but it can be a playful refresher for a more established group. Focus is moved around the circle with clear claps and stated names (as in version three above). However, now when Player A claps towards Player B, they must say someone else’s name in the circle (Player C.). Player C has now, in fact, been tagged (not the person Player A was clapping towards), and they must now clap towards a new player in the group, D, while naming yet another different player, E, the latter of whom then continues the game. This can be a bit of a mind melting warm-up as players need to, on some level, almost separate their listening and observing skills. I’ve also played it where the person who is clapped towards continues the chain (as opposed to the named player) but for reasons a neuroscientist might have to explain, it doesn’t seem to have the same effect or challenge.

Player A: (while clapping towards Player B “Dwayne”) “Ciara.” Player C (Ciara) continues the sequence.

Version Eight – The Snake: This is a favorite iteration, but I’m not exaggerating when I say that it can easily take 60 to 90 minutes if you’re working with sixteen or more players. Round one begins as Player A turns into the circle and stands opposite Player B. Both players greet each other (shaking hands, a high five, or whatever works in your company culture) while saying and repeating their names. Each player then provides a brief factoid or truthful experience – something that they are comfortable ultimately sharing with the whole group. After this exchange, Player A continues around the circle to Player C and repeats the introduction process of sharing names and completely different brief facts – each new pairing should be sure to share two new pieces of information. Once Player A has moved several players down the line, Player B follows behind, greeting first Player C, then D… This continues with each following player replicating the pattern of their predecessor. Eventually, Player A will make it to the last player in the circle (Player L for our example) and will then fold back into their original place. Round two overlaps in that as players meet for a second time (so Player B has just talked to Player L and is now faced again with Player A). Now, improvisers no longer introduce themselves but rather repeat each other’s names and the original factoids they shared when they first met (if they can!) Players continue to return to their original spots in the circle with Player L being the last to weave around the whole group in sequence. Round three commences once everyone is back in the circle, having had two brief moments with everyone else, first providing names and an original fact, and then striving to repeat them. The final round consists of players taking turns stepping into the middle of the circle with an energized announcement of “Let’s meet [player’s name]!” Other players on the peripheral then randomly chime in with the host of facts that they can recall about the featured improviser. This process continues until everyone has been introduced in this celebratory fashion. This iteration requires a greater willingness to share and risk than merely providing a goofy gesture but will also forge richer and more unexpected connections.

Player A: (turning to Player B and greeting them) “Hi, I’m David.”

Player B: “I’m Dwayne.”

Player A: “Hi, Dwayne.”

Player B: “Nice to meet you, David.”

Player A: ” I’m the third of four siblings and have two sisters and a brother.”

Player B: “I have been a vegetarian since I was eight years old.”

Version Nine – Categories:

This is a nice amplification of the third game above and starts in much the same fashion with players passing names around the circle (to their correct owner) with a directed clap motion. Once there is general comfort with this first step, a new category can be introduced with players first sequentially offering up their fact before then using these words to shift abs pass focus. In this manner, the group might share astrological star signs, birth cities, favorite hobbies, and the like. Some words might hold true for multiple ensemble members, which is foreseeable and fine, but will require especially strong and clear focus passes so as to avoid needless confusion. Old categories may then be reintroduced and shared simultaneously (perhaps with the improviser who offered the idea serving as its shepherd and captain). Alternatively, players may also just shift between categories at will, so A may use B’s name, only to have B use C’s star sign, who, in turn, passes the energy to D with their favorite color. In either case, it’s important to give each new category sufficient time to be memorized by the group before raising the hurdles higher!

Player A: (in round one while pointing towards B) “Dwayne.”

Player A: (in round two while pointing towards B) “Ares.”

Player A: (in round three while pointing towards B) “Canberra.”

In Performance

Just in case it doesn’t go without saying, be mindful of the specific needs and abilities of your group. Some of these exercises are more boisterous than others (Marching Tags tends to have folks bumping into each other a little). Others may be a little more challenging if several players share the same name.

If you’ve a favorite name game that you’re willing to share that isn’t featured here yet, I’d love to keep this list growing. You can post it below or email me the details here.

New to ImprovDr.com? You can check out other improv games and exercises here, or explore the “A” to “Z” series of improv terminology and techniques here.

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

Connected Concept: Names

“N” is for “Names”

Naming people, places, and objects in our spontaneous creations provide detail and endless avenues for further exploration and discovery.

What’s in a Name…?

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

Related Entries: Character, CROW, Endowing, Inclusiveness, Relationship, Specificity Antonyms: Gagging, Pimping, Vagueness Synonyms: Details

Connected Game: Name Circle

Game Library: “Tag-Team Song”

Some of my favorite musical improv moments have been collaboratively crafted as a Tag-Team Song. It’s an accessible and dynamic frame for combining original Music and lyric that, when played with finesse (or just joyful abandon) proves itself time and again as an audience favorite.

The Basics

This game is often introduced as a combination of tag-team wrestling and music. If it’s available, a microphone is placed center stage with the team of improvisers standing ready behind. As original music begins – inspired by an audience suggestion – one player steps forward and begins to sing. A unique song follows with players periodically tagging each other out and picking up the song narrative from exactly where it left off, be it mid-sentence, mid-word, or mid-sound!

Example

An original title is obtained, “It’s a lot to ask,” and the improvisational musician crafts a stirring introduction with an up-tempo country feel. The players stand behind the situated microphone, and as the music segues into a new verse Player A self-nominates and begins…

Player A: (singing)

“When I wake each morning and I see you lying there
With that glowing face and flowing auburn hair…”

Player B tags A out as they deliver their last word and steps up to the microphone…

Player B: (singing)

“And you gently breathe, I feel each cool caress
I can’t help but ask myself, could I love you…

Player C tags in…

Player C:

“…less.
I haven’t slept one moment all through this dreary night,
Kept wide awake as you tumbled…”

Player A:

“…left and right.
Snoring louder than the bells of the hunchback,
I used to sleep soundly but now…

Player C:

“I’m an insomniac!
It’s a lot to ask, I tell you,
To roll around our bed in vain…”

Player B:

“It’s a lot to ask, I tell you
To live in this glorious pain…”

The Focus

It’s critical that singers and the musician are working closely together and picking up on each other’s cues and instincts. Even (especially) if the song becomes up-tempo, it can prove helpful to start more gently – perhaps even with a freer rhythm – so that everyone can begin on the same page (or sheet of music!)

Traps and Tips

1.) Tagging best practices. Clean and well-timed tags are critical for the joy and success of the song. Players should be wary, on the one hand, of tentative taps that may be missed or unclear for the singer and other waiting players. On the other hand, overly aggressive tags that more closely resemble slaps could throw off the singers or cause injury. Tags need to unequivocally signal that you’re about to sing so that the current performer can quickly clear the space for you. If you have a tendency to loiter or hover (perhaps weighing when to go in) this can prevent others from entering or stall the song if the active singer assumed you were good to go. For flow, it can prove helpful for exits to move in the same direction so as to avoid traffic jams, or players can make their tags gentle pushes to nudge the leaving player to safety. Also, look to gently build the frequency of the tag outs as the song builds. It’s part of the fun for it to look like players are eagerly awaiting their turn at the microphone, but it’s hard to establish the song initially if tags are coming every third word.

2.) Structure is your friend. Although this game certainly benefits from strong singing voices, players with modest experience and ability can also find success, especially if everyone leans into the song structure. Creating clear verses, a repeated chorus, and perhaps a bridge that breaks up the routine, provides a helpful template to elevate your storytelling and lyrical efforts. This also empowers the improvising musician to help if everyone has agreed upon clear structural markers. In some show formats I’ll actually deploy a director or conductor who can help by recognizing and signaling these benchmarks. A simple and memorable chorus, specifically, can serve as a real song-saver as it provides a home base to return to if the narrative goes astray or players lose each other (or the accompaniment) a little.

3.) Try some target rhyming. My entry on rhyme (now in The Improv Dictionary here) deals with this technique more fully, but this format provides some unique opportunities to set each other up for strong end rhymes. Players have a little more downtime and can step forward when they feel inspired which isn’t always the norm in musical improv games (although, it should be noted, that players should also be hyper aware of when a fellow player is running dry and step up to save these teammates from the microphone.) Target rhymes – or saving the better theme-connected word for the payoff – provide strong lyrical punctuations and can also gift fellow players dynamic tag moments: this was the intent with the “hunchback” set up for “insomniac” in the example song. The heavy lifting certainly resides in the set up so it can be kind to share this responsibility amongst the team especially if everyone has a similar comfort level and proficiency.

4.) Hold onto your point of view. It can be easy to emphasize the technical and structural aspects of this musical game and overlook the fact that, at its core, it is really an opportunity to craft a strong story. More often than not, singers assume the same point of view and character as opposed to having the “voice” of the story shift with each subsequent tag, although this can serve as a legitimate approach too. I find it useful to allow the first singer sufficient space to establish a clear angle into the narrative and material. If tags come too quickly it’s much less likely that everyone will have processed the specific tonality or objective of the song’s protagonist. The point of view may shift or develop as the song unfolds – a bridge is a particularly good moment to explore a sudden tilt or discovery – but the song will typically struggle if players aren’t in agreement on the story fundamentals. If our singer is tortured by their lover, for example, reversing or resolving this attitude will likely herald the end of the song so such a move shouldn’t be made accidentally or lightly.

5.) Sell your ending. Most Tag-Team Songs end in a very similar way in terms of the structure which isn’t accidental as it just works. While the body of the song should consist of single voices tagging each other in and out, it’s become a best practice in most of my home venues for everyone to join in for the final word or refrain. Hopefully the song has created a recurring and recognizable chorus or hook as this allows greater confidence if everyone “knows” the climactic lyric. If your company includes strong singers, this is also a great time to add a little harmony or embellishment. The image above shows such a moment from a Gorilla Theatre performance at Sak Comedy Lab.

In Performance

As you become comfortable with the logistics of this game there are so many ways to add new layers. Be on the lookout for discovered games within the song or tags – perhaps one player always grabs the target rhymes but does little else, or the same singer always cues the chorus with increased gusto each time. I’ve also messed with this frame with some frequency as a Gorilla Theatre director. Sometimes I’ll have one player deliberately undermine all the beautifully set-up rhymes in a Bad Rap kind of way or have a point of view that directly opposes that of the protagonist. That being said, the base model is rather delightful in and of itself.

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

Connected Concept: Music

“M” is for “Music”

A wonderful way to enrich your work and generate new ideas, moods, and moments.

Releasing Your Inner Muse-ic…

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

Related Entries: Rhyme, Verbal Skills Antonyms: Emptiness

Connected Game: Tag-Team Song