Game Library: “Identity Circle”

This exercise has become a right of passage of sorts for my campus troupe, providing members with an opportunity to share and model empathy and vulnerability. I wouldn’t consider Identity Circle as particularly appropriate for younger players or ensembles that haven’t built an initial foundation of trust – Neighbors offers a more light-hearted option for these situations – but conducted with care, this experience can initiate important conversations and discoveries.

The Basics

The ensemble forms a circle. It is important that players understand the tonality and intention of the experience that is about to take place and that nobody is expected to share or reveal anything that makes them uncomfortable or nervous. If you are working in an environment in which you are a mandatory reporter. it is important to remind participants of this function as occasionally intense narratives are revealed. Players are invited to randomly step into the circle and make statements that they hold as true and important. Upon the completion of each statement, other players who identify with the proffered statement may then also take a step into the circle to mark this shared experience or belief. After a moment, players then return to the periphery until a new volunteer steps forward to make a statement.

Example

Players have formed a circle and understand the conceit and tone of the exercise.

Player A: (stepping forward) “I am an only child.”

Several other players step forward to indicate that they connect to this statement. After a moment, they all return to the greater circle.

Player B: (stepping forward) “I don’t have a passport.”

Several other players step forward to indicate that they connect to this statement. After a moment, they all return to the greater circle.

Player C: (stepping forward) “I’m afraid of heights…”

The Focus

Played gently and with awareness, this game can reveal connections, acknowledge differences, and recommit players to the ensemble. Played carelessly or hurriedly, it might isolate, trigger, or alienate group members. The experience both builds trust but also requires that a certain level of trust is already in place. If the exercise is to encourage and model inclusiveness, it needs to be introduced and guided with attention and care. When I play this with my campus troupe there are always improvisers present who are familiar with the spirit and purpose of the game and are able to illustrate the intent by providing help as needed if the material proves challenging or potentially harmful. If everyone is new to the game, I would strongly recommend taking extra time with the setup and preamble.

Traps and Tips

1.) Clearly state the game’s purpose. I know of few other games that equally allow players to remove their social facades and honestly share their lives, fears, and passions with each other. It’s important that everyone is in agreement that what is shared in this moment and the circle remains in this space and does not find its way into casual conversations outside the space (especially with others who weren’t in attendance or in any manner that might resemble gossip). This contextualization can suggest that the exercise will be morose or needlessly bleak, which has not been my experience as a sense of joy or comradery also permeates the event; but, it would be fair to say that as the exercise unfolds that there are often serious and vulnerable revelations and it’s important to prepare the ensemble for this eventuality. At its core, Identity Circle allows the group to safely share what connects and also isolates members.

2.) Gently establish and monitor the tone. While moments of joyful laughter are not uncommon, the exercise generally occurs with a slightly more reverent tone. It isn’t in the spirit of the experience for players to comment on the choices or statements of others with looks of judgment or side chatter. Such behavior will quickly undermine the overall mood needed for the game to offer an honest and meaningful experience. Typically, the exercise should take place in silence; if you are facilitating and hold a position that is unequal to your fellow participants (as is the case when I facilitate this as a professor with my students) it can prove helpful to also have a soft focus so that players don’t feel needlessly observed or scrutinized. I do think it’s important not to merely observe, however, but to also contribute and participate if for no other reason than hopefully dismantling or subverting this perceived power imbalance.

3.) Discourage any coercive behaviors. It’s critical that players do not feel coerced during this activity. If players become uncomfortable, they should feel welcome to step away from the circle, perhaps to return at a later time, or perhaps not. It’s important that players step forward and share facets of their lives or identities that they are comfortable sharing – this threshold will likely vary markedly from player to player and from ensemble to ensemble. Statements should not be used to figuratively or literally out others in the circle or mine for biographical information that fellow players do not want to share. To this end, it’s important for the facilitator to note that players need not step into the circle in response to any statements that cause them distress or discomfort (and players should not signal or gesture to others to do so). Participants should also feel free to internally modify statements in any fashion that best suits them. If someone shares “I am an only child” and someone else feels so estranged from their sibling that they feel like an only child, then it is more than appropriate for them to take a step forward. No one needs (or should) serve as the arbitrator of others’ truths.

4.) Allow the rhythms of the exercise to emerge organically. This may be more of an issue when you have improvisers in your group who have experienced Identity Circle before, but sometimes there can be a tendency for “returners” to push the experience too quickly into heavier material that can alienate those who are taking their first steps. While, as noted above, no one should be coerced to share if they do not wish to do so, the likelihood that more reserved or introverted members will feel inclined to participate declines precipitously if you do not allow sufficient time for some simpler (or even trivial) statements: the activity undoubtedly benefits from some room for “I love dogs” and “My favorite color is red.” The ensemble needs to find its footing and sense that trust is present and growing before embarking into more vulnerable terrain. Once the exercise has been established, it can then be helpful to have “returners” who understand the ebbs and flow of the game offer up slightly more personal statements if the exercise has floated on the surface for a problematically long amount of time.

5.) Be prepared for residual and a slow transition. With a group of sixteen to eighteen, this exercise will often take 45 minutes to an hour or more, and it doesn’t lend well to then suddenly plunging into scene work or other rehearsal business afterward. It can prove difficult to find an “out” as some players find the dynamic liberating and may subsequently have a lot of import to contribute. Side-coaching should be sparse and exclusively structural (if used at all) but I’ve found sharing a statement to the effect of “I feel ready to conclude this game in another 2 minutes” or similar is a gentle way of sounding out the needs of the group while nudging them to an ending if it’s appropriate or needed. It’s not unlikely that some (or many) players might be a little stirred and in need of some support, or space, or both. I’m often struck by some rather intense themes of isolation and loneliness that tend to emerge, for example, and it’s not really appropriate nor healthy to unlock these feelings and then carelessly release everyone back into their private bubbles. I’ll program this at the end of a rehearsal for that reason, allowing for sufficient downtime to tend to those who need some extra attention. Also, be aware that you may not be the person someone wants to connect to in this moment, and that’s more than okay.

In performance

I fear that this description and coaching suggestions might make this game feel a bit dark or risky so I think it’s important to note that my company actively requests it now that it has become a known part of our annual training tradition. Yes, it certainly has sad or intense moments, but it can also prove affirming, joyful, and cathartic. In this sense, it is very much allied with improv traditions in the healing arts such as Playback Theatre and Sociodrama. I would just caution that if this is new territory for you as a facilitator or troupe that you exert care and thoughtfulness as the experience often proves surprisingly vulnerable and raw.

Cheers, David Charles.
www.improvdr.com
Join my Facebook group here.
Photo Credit: Scott Cook
© 2021 David Charles/ImprovDr

Connected Concept: Inclusiveness

“I” is for “Inclusiveness”

A commitment to increasing the reach of our art and work together.

Questions to Consider on the Path to Inclusiveness…

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

Related Entries: Ensemble, Groupmind, Improvisation Antonyms: Cliques Synonyms: Yes, And…

Cheers, David Charles.
www.improvdr.com
Join my Facebook group here.
© 2021 David Charles/ImprovDr

Connected Game: Identity Circle

Game Library: “New Choice”

New Choice provides a wonderful example of the variability and immediacy of Improvisation and its essential spirit. I know this format primarily as a short-form game, but its central conceit could easily serve as a rehearsal device in most spontaneous modes of play and creation (and some scripted ones too, for that matter).

The Basics

One player (often the host or member of an opposing team) acts as the caller for the scene. As players craft an original story, they are interrupted sporadically by the caller who asks for a “new choice” (or perhaps a series of new choices). Players craft alternative offers until a “satisfactory” idea has been found and the scene continues forward.

Example

Players obtain the offer of a “surprise birthday party,” and as the lights rise, the audience discovers Players A and B hanging up decorations.

Player A: (grabbing one end of a long banner and stepping up onto a chair) “The room is starting to take shape! Can you help me with this sign?”

Player B: (rushing over) “Of course! You’ve been such a huge help! My sister is going to be sooo excited. She’s never had a surprise birthday party before…”

Player A: (looking at the sign) “Are you sure you got the right sign? This says, ‘We’re sorry to see you go…'”

Caller: “New choice for the sign.”

Player A: “…This says ‘Congratulations on your twins…'”

Player B gasps with dismay.

Caller: “New emotional choice.”

Player B: (giggling) “That’s just a running family joke. She’s going to love it!”

Player A: “I don’t know if I’ll ever fully understand your family…”

Player B: (finally fastening the banner) “There. That looks fantastic.”

Player A gingerly gets down from the chair to look at the room.

Caller: “New dismounting choice.”

Player A quickly remounts the chair and then leaps off it (safely) with balletic finesse…

The Focus

New Choice reveals the playful disposability of improv, and players should strive to quickly rebound from one choice to another as they are challenged to concoct new pathways for the scene. This game will often enable well-worn premises to arrive at surprisingly fresh and unpredictable conclusions.

Traps and Tips

1.) Establish the conceit. It is certainly possible for the caller to merely provide the titular side coaching phrase of “new choice” (and I’ve seen the game played successfully in this manner) but I like adjusting this prompt as the scene develops. It’s helpful for the audience if the first few calls remain somewhat simple, such as “new dialogue choice,” but as the action takes off, you can adjust the prompt significantly to serve the needs and foibles of the action. It’s more than fair game to offer several “corrections” in a row, especially if the first change feels safe or too similar, and in these cases it can prove more efficient just to use the simpler “new choice” variant for subsequent do overs. But, as is always the case, make sure the audience (and players) have had a chance to learn the game before attempting particularly challenging finesses.

2.) Enjoy the variety. This frame provides a joyful variety of potential adjustments, so avoid merely returning to the same one or two variants again and again. Yes, it’s helpful to perhaps start with asking for dialogue changes, but you can also invite new emotional, staging, delivery, and motivational tweaks, as well as even more substantial resets such as having performers offer whole new relationships, characterizations, props, and plot points. When I’m assuming the role of the caller, I’ll often challenge myself not to return to a prior category if I can avoid it just to encourage my own sense of discovery and creativity. The game shouldn’t become about the caller, but there is room to really open up less typical scenic pathways and discoveries if you remain open to new ways of applying this device, and you always have the failsafe as the caller of just prompting a second or third attempt if you’ve inadvertently led the scene astray.

3.) Don’t overwhelm. As a player, seek conciseness and clear gives and takes between your fellow improvisers. If the scene assumes a frenetic tone right from the beginning – or is overcrowded with characters competing for focus – you are setting yourself up for an almost combative dynamic with the caller who will likely need to interrupt the action just to cue shifts. Similarly, when you’re serving as the caller, make sure you are providing sufficient room for established choices to breathe and grow. Nearly any choice could invite an adjustment, so exercise self-control and judgment, especially at the top of the scene where  needlessly resetting core story components could undermine the foundation and potential of the scene. Let helpful choices stand whenever you can, trusting that there will be many other opportunities to upset the apple cart just around the corner.

4.) Leap then justify. Played fearlessly, the central conceit of this game can provide such a gift to the scenic players. When you are the focus of the caller’s adjustment, don’t overthink the “why” but rather just grab a new approach and sell it. Allow yourself to be surprised alongside your audience as this is the richest gift of the game. If you’re asked to assume a new emotion, or staging choice, or greeting ritual, launch yourself fearlessly at a new option and then figure out why your character might behave in such a way or how this behavior connects to your greater goal and the scenic arc. The game loses much of its charm and danger if you justify an offer before it makes it to the stage rather than after you have delivered it with bravery and gusto. Get yourself into delicious trouble knowing that, ultimately, your teammates and the caller are there to help you if you really get yourself into a jam!

In Performance

This short-form game is very similar in terms of its inner workings and central conceit to Should’ve Said (it’s worth checking out those game play pointers here)  This variant, however, allows for a wider array of adjustments and re-sets which I greatly enjoy as a player, caller, and audience member.

Cheers, David Charles.
www.improvdr.com
Join my Facebook group here.
Photo Credit: Scott Cook
© 2021 David Charles/ImprovDr

Connected Concept: Improvisation

“I” is for “Improvisation”

Spontaneous and collaborative play.

Five Improvisational Values…

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

If this topic intrigues you, a digital copy of my full dissertation is available online here. It includes a strong bibliography and timeline although these reflect what was available in print in English in 2003 and the world of improv (and the internet) have changed greatly since then!

Related Entries: Audience, Groupmind, Long-Form, Punching Up, Short-Form Antonyms: Repeatability Synonyms: Spontaneity

Cheers, David Charles.
www.improvdr.com
Join my Facebook group here.
© 2021 David Charles/ImprovDr

Connected Game: New Choice

Game Library: “Good, Bad, Worst Advice”

This interview-based game that I know as Good, Bad, Worst Advice promotes strong characterizations, clear points of view, and insightful steering on the part of the Host.

The Basics

You’ll generally need four improvisers for this scene: three will assume the roles of experts or guests – typically sitting on stools or similar in a line – with the final team member serving as the host. It’s helpful to acquire a topic or theme, such as home improvement, college life, or public transportation. The three guests each assume the stature of an expert or pundit on the topic: the first offering “good” or sound guidance, the second providing “bad” or questionable thoughts, and the third sharing the worst advice of all. The host provides various questions – moving focus between the three candidates – allowing each to express their varied thoughts on the established topic. The scene usually begins with a brief preamble from the host, followed by character introductions. It’s also helpful for the experts to physically position themselves in “descending” order across the stage and for the questioning to generally follow the titular order as well.

Example

The scene continues based on the topic of “dating” after the host has established the premise and the characters are known…

Host: “…Which brings us to our next audience question. What words of wisdom do you have for someone keen to make a good first impression on their date? Seth?”

Player A: (“good” with an almost saccharine level of intense sweetness) “An excellent question. First impressions are crucial when you’re dating, so I’d recommend taking that extra moment to put on something that makes you feel like the best version of yourself. Pamper yourself a little, play your favorite music while you’re getting ready. Let your date see you at your very best.”

Host: “Excellent advice. What would you like to add, Kristen?”

Player B: (“bad” with an air of slight indifference) “Look, I want to be real with everyone. I think it’s a mistake to make a date feel like a job interview. Be comfortable, really comfortable. It’s easy to like someone who is on ‘their best behavior,’ but you’ll really know if the relationship has any potential if they like you as you really are, sweatpants and all.”

Host: “An interesting approach. Has that been working for you?”

Player B: “Well I don’t like to brag… and on an unrelated matter, if anyone out there is interested, come and see me after the recording…”

Host: “Well, okay! And Akin, how about you?”

Player C: (“worst” sitting in a slouchy posture with a beer and an esoteric demeanor”) “Would you repeat the question? I was checking out the audience…”

Host: “Of course. How do you make a good first impression on a date?”

Player C: “Impressions. What exactly are impressions? But leaving your mark, so I’d strongly advise that you write your name and number on everything you can so that everywhere they look, they will always remember you…”

The Focus

Clicking into a point of view or attitude helps so much in this game as it gives you an immediate take on the question even if your perspective continues to evolve and tighten as the scene continues. If you don’t thrive in or particularly enjoy formats that tend to expect us to “bring the funny,” this character-based approach can really make a difference as the humor will develop from your behavior as opposed to your quick wit. This advice also applies to the host who shouldn’t feel the need to be “neutral” in their facilitation.

Traps and Tips

1.) “Good” advice. The host should generally start with the guest occupying this position, so in some ways, your primary responsibility is to set the tone and introduce the conceit of the game. With a slightly quirky point of view, it’s often almost enough to just answer the prompt at face value or with a slight edge or tilt. I’ve found that a lot of the playfulness of this role can come from their reactions to and interactions with the other two guests, although exercise caution in not bogging down the sequence too much. There can also be value in offering up a satire of good advice by pitching replies with a level of exaggeration that might reveal interesting tensions or assumptions in commonly held “wisdoms.”

2.) “Bad” advice. Each subsequent guest should be sure to find their voice based on the choices established by their teammates (hence the importance of a quick introductory round.) To this end, be cautious of mining material or assuming a perspective that aligns too closely with either of the other guests. In some ways this position can prove to be the trickiest in that you don’t want to be too bland (something “good” can do with a wink) but you also don’t want to be too interesting or inappropriate (which is the terrain of “worst”). Finding this balance becomes easier as you develop a sense of where others are going, but it’s good etiquette to at least take a moment to assess the third expert’s energy as the scene begins so that you can move in a different direction if you initial instinct was similar. Seek generosity as the “worst” expert can have the weight of landing the climactic punchline or perspective.

3.) “Worst” advice. This role can simultaneously feel both the most frightening and the most exciting. There is built-in permission for “worst” to go off the rails a little (although this isn’t a must), and such a stance can provide a great energy that the others have to playfully wrestle. Make sure that you are “reading the room.” Worst advice isn’t synonymous with offensive or ugly advice. In fact, I would offer that this is the trap of this final position as there are so many gateways into terrible advice: naivete, passion, narrow mindedness… Finding a playful (dare I say likable) quality can frame the mischievousness in a more palatable manner, which (ironically), then allows you to push boundaries a little further. Often, this role can become the engine of the scene, so make sure you’re throwing the focus sufficiently to your teammates for them to continue their own games as well.

4.) “Host” advice. There are a lot of the traditional hosting functions involved in this role, such as defining the premise, modeling the rules, and moving the focus between the various players. Chief amongst these duties is facilitating the scenic arc and helping the guest characters find their unique perspectives in a way that serves the greater scene. Give characters sufficient time to define themselves in the opening moments of the game as later material is likely to develop more effortlessly and land more successfully if this groundwork has been laid and the audience “knows” the gist of each persona’s deal. Some side conversations with the host can help in this regard; but, be cautious of slowing the momentum down too much. Some hosts like to gather questions from the audience: be aware that this practice might not give you a good build or organic escalation, and you might need to do a little polishing. And while the game usually benefits from moving predictably from “good” to “bad” to “worst,” don’t become married to this order, especially if the fun or funny has unexpectedly developed elsewhere. If a character is on fire and “worst” is struggling a little to find their angle, there’s no reason not to shuffle up the order.

In Performance

A little warning from the trenches that this game can expand considerably, especially if everyone is in their stride. I vividly recall hosting the form as my first offering of the night in a Gorilla Theatre show where each director gets a cumulative time limit of fifteen minutes for all their scenes. We were having so much fun basking in the characters and relationships (one of the guests ended up being endowed as the host’s disaffected teenage child) that I ended up accidentally using over twelve minutes on my first scene alone – although it was worth it!

Most improvisers will have an innate preference for one of the four positions above but as each role truly offers up a unique set of lessons, take the risk of rehearsing or rotating into the other positions as well. The “worst” position can feel the most glamorous, but I’ve thoroughly enjoyed playing as the other two guests as well. In fact, if you consider yourself a more aggressive improviser, assuming an earlier guest spot can help you to cede some control for the joy of your teammates and the betterment of the scene.

Cheers, David Charles.
www.improvdr.com
Join my Facebook group here.
Photo Credit: James Berkley
© 2021 David Charles/ImprovDr

Connected Concept: Hosting

“H” is for “Hosting”

The complex and vital skill of serving as an intermediary between the stage and auditorium (or improvisers and audience).

Hosting Hats…

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

Related Entries: Caller, Ensemble, Shape of Show, Sidecoaching Antonyms: Audience Synonyms: Conductor, Director, Emcee, Improviser, Joker, Referee, Umpire

Cheers, David Charles.
www.improvdr.com
Join my Facebook group here.
© 2021 David Charles/ImprovDr

Connected Game: Good, Bad, Worst Advice

Game Library: “Heightening Circle”

Here’s a helpful exercise, Heightening Circle, to promote small and connected steps as we explore the concept of Heightening.

The Basics

As the title suggests, players form a circle, and one player volunteers to go first. This player offers up a simple sentence, often a personal brag or observation, such as “I bake great cookies.” The game now moves around the circle with each sequential contributor heightening the dynamic a little, so the second player might offer,”I bake great organic cookies.” This process of gentle amplification continues until the exercise reaches a natural conclusion. The process can then be repeated with a new prompt as needed to make sure everyone in the group has an opportunity to participate at least once.

Example

Player A: “I got a good night’s sleep.”

Player B: “I got a good restful night’s sleep.”

Player C: “I got an uninterrupted and rejuvenating night’s sleep.”

Player D: “My children slept in late and I got a great uninterrupted night’s sleep…”

The Focus

I like how the stripped-down focus of this exercise allows players to consider the connection and magnitude of their additions. It can result in some understandable headiness, but it’s a good opportunity to rehearse the critical skill sets involved in recognizing and joining improv games.

Traps and Tips

1.) Work in the same direction. As you make your way around the circle, be sure that players are all building the narrative in the same direction. The first comment might be intended as complimentary or self-deprecating, but as is typically the case when heightening and launching scenic games, it’s actually the second and third moves that are most critical. If the second player decides to amplify the bragging quality of the initial statement, when this is echoed by the third, then the trajectory of the game has now been set. Be wary that players don’t accidentally invert or negate these paths as they become clear. This heightening concept can also apply to different facets of the statement that are viewed as fruitful for investigation – what kind of cookies do you bake, which superlatives best describe your efforts, who has bestowed accolades on your culinary creations? This specific focus may shift and evolve as the narrative expands and morphs (although it can prove helpful to play in one field at a time).

2.) Leave room for those that follow. It can be helpful as you play the exercise to keep in mind the improvisers that will follow and to consciously leave room for their musings as well. This can certainly become more difficult as the build nears its zenith, but if the first move goes from “good night’s sleep” to “the best night’s sleep of my life” then we may already only be one or two moves away from the natural conclusion. On a simple level, this patient and generous approach requires careful listening and not pre-determining your offer well before the narrative gets to you in the circle. In the spirit of taking small steps, look for the most inspiring clue in the player who has just gone. If the ensemble is clearly suffering from pre-planning, you can thwart this trend by having players throw the focus randomly across the circle to another improviser after each new contribution.

3.) Prioritize the journey. I think it’s a fun challenge and in the spirit of the exercise to see just how many steps you can playfully accomplish based on each new starting point. It can prove difficult to keep our competitive spirits at bay, and this game resembles one-upping and one-downing games where this unchecked instinct is equally problematic. Keep the focus on playing together towards a common goal rather than on any one individual’s success or cleverness. Look for the subtle or modest move rather than the seemingly impressive leap. Even in my example above, pacing the game can feel like a bit of a struggle, which is exactly why this exercise is worthy of some attention.

In Performance

Do your best to keep out of your head and in the space so that each offer clearly demonstrates a close connection to those before. And don’t be afraid to add simple, small, and obvious heightening steps!

Cheers, David Charles.
www.improvdr.com
Join my Facebook group here.
Photo Credit: Tony Firriolo
© 2021 David Charles/ImprovDr

Connected Concept: Heighten

“H” is for “Heighten”

Making a choice or scenic element more important, dynamic, or energized.

Taking Heightening to New Heights…

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

Related Entries: Accepting, Extending, Game of the Scene Antonyms: Commenting, Deadpan Synonyms: Stakes, Urgency

Cheers, David Charles.
www.improvdr.com
Join my Facebook group here.
© 2021 David Charles/ImprovDr

Connected Game: Heightening Circle

Game Library: “Oscar-Winning Moments”

Oscar-Winning Moments is essentially a short-form delivery system for Handles! It’s silly, unpredictable, and provides a great vehicle for trying out new dynamics in your scene work.

The Basics

One player (often a member of an opposing team or the emcee) serves as the caller for the game. An original movie title traditionally serves as the ask-for and inspires the resulting scene. Players perform excerpts from this unique award-winning film and, at regular intervals, are interrupted by the caller who assumes the airs of a film critic. The caller announces “Freeze” and then explains why the next moment won accolades, pitching a playful handle in the process. Once this artistic feat has been witnessed, the caller dramatically whispers “Oscar” (ideally in a microphone), and the players return to the regular action of the movie. Generally, three Oscar-worthy moments are featured before the scene culminates.

Example

Players improvise excerpts from the original Western “A Bouquet of Bullets.” The action begins with Players A and B lying on the ground during a stake out...

Player A: “And you’re positive that this is where the cattle thieves are hiding?”

Player B: “I followed them here and saw it with my own eyes, Sheriff.”

Player A: “And they didn’t know that they were followed?”

Player B: “I did everything just like you showed me, Sheriff.”

Player A: “And you rounded up the rest of our posse and told them to meet us here?”

Player B: (pausing) “Well, I knew I forgot something, Sheriff, and I just figured out what it was…”

The Sheriff throws the deputy a dirty look.

Caller: “Freeze. This next moment won the Oscar for the most intense whispered apology.”

Player A: “I gave you three measly jobs, deputy…”

Player B: (with increasing whispered intensity) “Look, I realize I’ve just gone and let you down, Sheriff, and I won’t pretend that you haven’t been like a parent to me. There’s nothing that you could say that could possibly make me feel any worse than I already do right now. I know you’ve put your trust in me. And I know this ain’t the first time I’ve let you down. I also know it probably won’t be the last time I let you down… But I’m trying, Sheriff, and I’ll keep trying as long as you keep letting me try. I am sorry that I can’t live up to your expectations…”

Caller: (dramatically) “Oscar!”

Player A has sat up with a startle.

Player A: “Look, there’s the ringleader coming out on the porch. I guess we’re going to have to take care of this ourselves. Now hand me my gun…”

Player B: “…About that…”

The Focus

Leap into the scenic fire! This game rewards fearlessness, playfulness, and joyful mischievousness. It’s also a great opportunity to flex your style muscles as an improviser and explore some dynamics and handles that are outside of your typical comfort zone.

Traps and Tips

1.) Commit. When played bravely, you really don’t know what you’re going to get as an improviser in this scene. There’s more than a chance you may be pitched something a little peculiar or ill-formed, especially if the caller isn’t just walking through the paces. Take the risk to throw yourself fully at the challenge with a good faith effort to understand the caller’s intention. Sell the dynamic even (especially) if it’s a little odd or imprecise. Embracing strong emotions, character points of view, and the scenic style can help greatly when the handle itself feels a little unreachable. The caller should ultimately have your back and can always edit the “Oscar moment” as a quick hit if need be. The audience will appreciate your commitment and goodwill if they see you giving your all even (especially) if it doesn’t quite land.

2.) Share. A little generosity goes a long way in this game. When played with joy and fearlessness, there can be an unintended consequence of clutter as the handles are introduced. Make sure players are diligent and deliberate with focus in these moments and don’t just start randomly launching ideas into the scene: when the handles are enticing this can be an understandable temptation. Keep telling and sharing the story through the lens of the game. The caller can help in this regard by sharing the improv wealth and pitching various “moments” to specific characters – at least initially. This gives the team a clear launching point and will hopefully allow everyone an opportunity to have a chance in the hot seat. Using clear terms, such as “monologue,” “duet,” or “group number,” can also help by providing a clear expectation so that the team has the advantage of all starting on the same page.

3.) Discover. While it is good to have some potential handles in your pocket as the caller, avoid approaching the game with an inflexible agenda. Discovering unique handles that react to, frame, and elevate the current action is the challenge and gift of the structure. Instead of having specific handles in mind, I find it helpful to have broad categories to guide me when I’m serving in the caller role. I offer some potentials in my handle post here, such as language, characterization, and physicality. Using these or similar prompts to inspire your choices guarantees some variety while also keeping you open to the ebbs and flows of the story. Furthermore, when the caller honors their instincts, they are also more likely to utilize the inherent offers from their fellow improvisers in the scene.

4.) End big. I’ve found that the rule of threes tends to fit snugly with this game (unless you have an unexpected quick hit in the mix), so generally, the scene ends as the third Oscar-winning moment culminates. It is useful to offer up a larger energy for this final act of virtuosity. If you have access to a live musician or sound technician, challenges that incorporate music, dance, or an “epic” style tend to land well. If the team has been struggling, it’s also a good time to pitch to strength so as to maximize the likelihood of a strong out. I’ll typically avoid calls of this ilk earlier in the scene so as to keep this option open even if I ultimately elect to go in a different direction. It can make the game a little wonky if you start with “the Oscar for the most unexpected show-stopping musical number” and then are unable to provide increasingly impressive dynamics to follow. Making the last call a moment that can eventually incorporate the team as a whole also makes sense.

In Performance

I like the porousness of this short-form game and that the caller is emboldened to think outside the box. Other called games can tend to fall into repetitive patterns if you don’t mindfully avoid them. Enjoy the fact that there is room to experiment with new handles. Assume that some of these will live and die in that moment, never to return to the stage again. Jump back up on the horse with joviality and let the audience relish these struggles alongside the successes!

Cheers, David Charles.
www.improvdr.com
Join my Facebook group here.
Photo Credit: Scott Cook
© 2021 David Charles/ImprovDr

Connected Concept: Handle

“H” is for “Handle”

A playful addition or overlay that offers a new challenge or point of concentration to the team.

Getting a Handle on Handles…

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

Related Entries: Caller, Game of the Scene, Long-Form, Short-Form  Synonyms: Hoop, Overlay

Cheers, David Charles.
www.improvdr.com
Join my Facebook group here.
© 2021 David Charles/ImprovDr

Connected Game: Oscar-Winning Moments