ImprovDr.com

Game Library: “Hesitation Speech”

Few improv games actively encourage Over-Originality but several provide an opportunity to sharpen your justification skills in response to unexpected or irregular stimuli. Comedysportz’s Silly Seer and the short-form game Columns (or Pillars) are of this ilk, but I’m particularly fond of the conceit explored in Hesitation Speech as it is a little more unabashedly theatrical and polished.

The Basics

You can package the central device in a variety of ways (I discuss some of my favorites below); the basic strokes are as follows. One character is providing an important or passionate speech, but they aren’t quite up to the task alone and so have enlisted a “speech writer” to feed them assists as needed. During their presentation, the featured speaker pauses at (in)opportune moments, and their assistant quickly provides a random word or short phrase to fill in the blank. The speaker must then immediately accept and justify this disparate offer by weaving it into their narrative. Each hesitation is filled in a similar manner until the speech concludes successfully… or otherwise.

Example

Player A assumes the role of a high school principal and has their assistant (Player B) standing just behind their right shoulder. Other team members have scattered throughout the auditorium to serve as students.

Player A: “Welcome back, seniors! Here at Winslow High, we’re excited to help you launch into the next phase of your career. Now I know you might look at me and think…”

Player B: (in an audible whisper) “Broccoli.”

Player A: “…Broccoli – our principal is trying to serve us up a heaping helping of healthy broccoli that really no one wants. But stay with me. This high school can be the garden of your tomorrow, and your teachers and I can be your gardeners. In no time at all…”

Player B: (in an audible whisper) “Cumulonimbus.”

Player A: “…Cumulonimbus clouds will part, and you’ll be facing a bright future as fully grown learners ready to take on any challenge. This is your senior year! Now I don’t want you to believe everything you’ve seen on television about senior years…”

Player B: (in an audible whisper) “Martha Stewart.”

The Focus

Playful torture (shivving) rests at the center of this game, and you’ll want to balance the give and take between the speaker and their assistant. Too much time between hesitations can reduce the risk and pay-off of the dynamic; too many inexplicable assists can thwart the speaker from gaining any momentum or confidence.

Traps and Tips

1.) Thoughts for the speaker. It helps if there are high stakes for the occasion so that it’s clear that the speaker doesn’t have the opportunity to bale. A strong point of view and character energy will quickly become your best friends, allowing you to frame and justify the oddities likely to emerge from your assistant’s mind. Hesitations need to be clear and strategically placed. If the assistant is left guessing when they are needed, the game will quickly become unnecessarily clunky. Sometimes, a physical tell, such as wiping your forehead or touching your cheek, can add clarity and a quirky character tick. It’s helpful to get a bit of a wind up before introducing the language device. Once the hesitations have begun it’s smart to make sure you have sufficiently justified prior choices (or at least set them up in such a way that you can weave them back into the mix later) before opening the door to several more random additions. Generally, commenting on the oddity of your assistant’s choices too much tends to undercut the game, although seeing the speaker sweat at least a little or throw a panicked look is definitely enjoyable. It’s also strongly preferable to immediately repeat the proffered word or phrase rather than hear it and then gradually work back to it later in your sentence as this latter approach punctures the challenge.

2.) Thoughts for the speech writer. While the speaker may appear to have the more challenging task, good assisting is quite the skill in its own right. If you’ve consciously worked on reducing over-originality in your work, it can prove a little daunting to throw out offers that are just the right kind of random. If the speaker is struggling in a non-entertaining way, consider offering up words that are at least in the correct grammatical form – here’s a noun, just not the noun you thought you were going to get! If the speaker is joyfully managing, throwing out some true non-sequiturs can add to the playful mayhem. Just make sure to adjust accordingly as you see how your scene partner is coping. My strongest advice is to get something out as soon as the hesitation cue has been triggered. Stalling in the assistant position can brutally stifle the action, so it’s preferable to offer up something (even if it might actually be a little more obvious than you would have liked) rather than wait those extra three seconds and have the narrative grind to a complete halt. Depending on the frame, it can also prove delightful for the assistant to have a clear point of view of their own: are they extremely officious, easily distracted, or perhaps even subtly undermining their boss’s agenda?

3.) Thoughts for the frame. I’m a fan of leaning into a high stakes or crucial moment as the prompt, such as a wedding toast, political debate, or mayoral announcement. According to your venue and stylistic preference, you can either leap into the game with just a brief explanation or compose a scenic preamble where we see the featured speaker enlisting the help of their aide. The first approach works well in avowedly short-form contests, while the latter feels a little more scenic or narrative. It takes a little focus fenagling, but you can also utilize this dynamic with more than one speaker, each with their own dedicated assistant, or possibly even have two assistants – one over each shoulder of the protagonist – alternating in a angel and devil kind of relationship. Make sure that the hesitation assists are well articulated and audible for both the character and the audience: there’s the cumulative pleasure of first hearing the impossible challenge and then seeing this impossibility incorporated into the text. And be on the lookout for the games that bubble up within and around the established format. There is a lot to mine in the relationship between the speaker and their aide, and unintended patterns frequently emerge in the aide’s utterances that can be joyfully exploited.

In Performance

I feel obliged to confess that the elegance of this game is a little easier to describe than deliver! The speaker and assistant need a rather deep rapport and trust to execute the mechanics of the game in a way that elevates rather than impedes the narrative. And yet, I still find myself drawn to this challenging dynamic as it involves such a high wire act of active listening, fearless risk-taking, and fierce justification. If your company has members inclined towards Over-Originality, it also provides a constructive outlet for this generally to-be-avoided tendency.

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

Connected Concept: Over-Originality

“O” is for “Over-Originality”

Looking for the most peculiar choice when a simpler and more connected one would do.

Why Be Over-Original When You Can Be…

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

Related Entries: Commandment #9, Curve Ball, Offer Antonyms: Obvious, You Synonyms: Cleverness, Randomness

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

Connected Game: Hesitation Speech

Game Library: “Stop and Go”

Stop and Go enables players to explore a full range of potential physical and verbal Offers. It serves as a fast-paced warm-up that fosters a greater sense of awareness and ensemble.

The Basics

Players scatter around the workshop space, and one player begins by assuming the focus or energy. While this player explores the space, everyone else should adopt a soft freeze, making sure that they do not accidentally compete for attention in any way.

Phase One: The three phases of the game closely resemble those of the more stationary Focus Ball exercise, which you can review here. (If you are returning to this exercise after playing it successfully on numerous occasions, you can usually leap to the third iteration.) In phase one, focus is moved exclusively through “gives” that are initiated by the player currently in motion. They can transfer the focus to their designated target through a clear physical choice (tagging them gently on the shoulder) or verbal offer (calling out their name). When a player is in focus, they should explore the space and play however they see fit, just being mindful of others’ safety and that they don’t allow the energy to become lethargic or unclear. Continue passing focus exclusively through confident “gives” until everyone in the ensemble has had at least one opportunity to play.

Phase Two: Generally, this phase organically continues from the first, with the facilitator merely noting that focus exchanges should now occur in the form of “takes.” There should still only be one player holding onto the focus at any given moment, but during this phase they must retain this focus until someone else in the group initiates an unambiguous physical move (they just start running) or verbal initiation (they begin whistling). Once focus has been successfully shared, the new player continues joyfully playing in the space until a new improviser decides to become the center of attention. In the event that more than one player is competing for the focus, players should quickly defer to the bigger energy or take. This round should also continue until everyone has had a chance to don the hat of the energy taker.

Phase Three: Once everyone has successfully explored giving and taking offers, the facilitator can signal the third round, which involves players using either method at whim. It’s important, however, that there is still one uncontested player exploring the space at any given moment and that the exercise does not devolve into a free-for-all where no one is certain who is in focus. Players should continue to playfully explore the playing field and new ways to share, quickly addressing any ruptures when they occur and ensuring that everyone has ample opportunities to contribute. As participants become more comfortable with the logistics of the exercise, there is a lot of fun to be had with conjuring the full range of offers imaginable.

The Focus

In addition to just serving as a nice energetic warm-up, this game also provides an opportunity to explore exchanging offers in a low-stakes environment. Subtle and nuanced focus gives and takes can thrive when the ensemble keeps their attention sharp and the initiator’s intention leaves little room for doubt. Played with confidence and attack, the exercise will prove delightful.

Traps and Tips

1.) Enjoy the sunshine. Don’t forget to play. When you have the focus and are moving around the space, fill this time with abandon. As is the case with all improv exercises, the game won’t thrive if approached with lethargy. When you make an offer to others in the group (as gives or takes), make sure you are doing so from a place of collective joy. Don’t let someone who is struggling under the burden of prolonged focus remain in the spotlight unnecessarily long if you have the power to kindly take the attention from their shoulders. When you are thrown the focus, grab it with delight and seize the opportunity to explore.

2.) Avoid focus dissipation. I’ve partnered this exercise with the concept of offers as it underscores the importance that improv choices need to be resolutely given and received in order to assist in the creative endeavor. Be wary of having the focus just disappear. This can tend to happen if a player in focus just suddenly stops without an accompanying directed give. It’s important that all of these exchanges are energized and deliberate so as to avoid any unnecessary confusion. Similarly, players should be careful not to accidentally introduce movement or noises that might be misinterpreted as “moves” in the game.

3.) Push your boundaries. If you find yourself more comfortable with one form of offer over the other – and most improvisers tend to have a clear preference – challenge yourself to explore the opposite side of the game. If you love assuming the role of leadership and holding onto the focus, consider playing with an eye towards greater patience and generosity. Alternatively, if you tend to shy away from the spotlight, enjoy this opportunity to unapologetically take up some space. And keep your eye out for organic games that emerge within the greater event. While I wouldn’t encourage seeking a narrative per se, enjoying recurring relationships and patterns are all definitely part of the fun, too.

4.) Elevate the ensemble. This is really a standing note for all improv warm-ups and exercises, but be sure to pursue energies and discovered games that unite rather than divide the ensemble. No one wants to feel overlooked or ignored, especially in the rounds where they are dependent upon another for their turn with the focus. Subgames – where a small subset of players keep going back to each other – can quickly take as much from the experience as they give if such dynamics sideline or marginalize others. If someone isn’t blossoming under the attention of the focus, then an attentive ensemble should quickly extend a helping hand to relieve their fellow player from any undue stress. Yes, this exercise provides ample opportunity for personal growth as players increase their comfort and range when it comes to giving and receiving offers, but the pleasant experience of the ensemble as a whole should also be front of mind.

In Performance

If you’re working in a new space or folding in new company members, this warm-up provides a helpful way to collectively explore the present energies and potentials. Especially as participants take larger risks – throwing focus over large expanses or communicating transfers with the subtlest of gesture – Stop and Go serves as a palpable reminder that even the simplest of improv tools can have countless dynamic applications and variations.

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

Connected Concept: Offer

“O” is for “Offer”

An Offer is the smallest improvisational unit. It is an idea put into motion, a single move in a game or story, an instigating action or instinctive response, or one proverbial brick given to assist in the creation of the larger improv edifice.

Surveying the Vast Terrain of Offers…

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

Related Entries: Advancing, Assumption, Endowing, Extending, Justification, Physicality, Specificity, Verbal Skills Antonyms: Stasis Synonyms: Choice, Initiation, Move

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

Connected Game: Stop and Go

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!

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

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.

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

Connected Game: Pop-Up Story Book