Game Library: “Freeze Frame”

Open eyes.

This classic short-form game is clearly dated a little by its very title, Freeze Frame – you may have seen or played similar variants with the name of Slide Show or PowerPoint! In addition to providing a great opportunity to flex your narrating muscles, this playful game blossoms when performed with fearless Justifications.

The Basics

While you can certainly utilize technical components to sell this game, I’d actually encourage a very low-tech approach as it invites the audience into the mechanics of the scene. Typically, one player will serve as the host or narrator with others using their bodies to craft various tableaux. After a brief introduction, the host cycles through a series of these hastily embodied frozen frames, providing narration that justifies each image in a way that moves the story forward. In my preferred rendition, slides are changed by the narrator saying, “Close eyes,” at which point they and the audience close their eyes as the onstage players quickly adjust the image. After a second or two (though not too many), the narrator then says, “Open eyes,” and the tableau players must immediately freeze. It’s important that the teller shuts their own eyes during these transitions (and someone in the audience will nearly always “cheat” to make sure this is happening) otherwise the stakes of the challenge are unnecessarily lowered. If you adopt this method of changing slides – and I sincerely hope you do – it’s helpful to do a very quick dry run of the dynamic with the audience prior to the scene so that they can rehearse (and appreciate) the transitions.

Example

Player A volunteers to serve as the narrator, and the suggestion of “insomnia” inspires their action. The remaining team members strike to the side of the stage as the lights transition and the scene begins...

Player A: (assuming the persona of the narrator) “Welcome everyone to tonight’s frightening tale that is sure to haunt your dreams… that is, if you can get to sleep. Let us enter the world of Insomnia! Everyone, close your eyes.”

Player A and (hopefully) the audience all close their eyes as Player B enters the space and sits downstage center with their eyes wide open and a look of panic on their face. After a few seconds...

Player A: “Open eyes.”

The audience and narrator can now view the image. The narrator, who is positioned at the edge of the stage, turns to assess the image as they continue…

Player A: “It had been a long and fitful night as Paolo laid nervously in his bed. He had spent the last three hours tossing and turning as menacing creaks in an unfamiliar house rattled his nerves. He’d ignored the warnings he’d read on the hotel’s webpage, dismissing them as efforts to add intrigue to the rickety old estate. But now he was starting to wonder. Close eyes.”

Everyone (except the posing players!) close their eyes once more. Player B (Paolo) stands pressing himself against an imaginary wall, while Player C enters and slumps down on the floor.

Player A: “Open eyes.”

Everyone does so as Players B and C freeze if they have not done so already.

Player A: “As his eyes adjusted to the darkness, it was then that he saw her silhouette in the shadows! The fright made him leap to his feet. An elderly woman gently whispering incomprehensible sounds sitting in the middle of his bedroom floor…

The Focus

Seek to balance strong storytelling with surprise. If the tableau players are too random (especially initially), the narrator can struggle to craft anything of value or meaning. On the other hand, if the posing improvisers are too “helpful” (that is, they defer completely to the elements already established by the narrator), the story can feel too “easy.” It’s part of the fun to see the narrator visibly challenged or a little thrown off by an image; however, it can quickly become less fun if they appear completely overwhelmed from the get-go and unable to anchor their story in anything solid.

Traps and Tips

1.) Share the work. The narrator in this game inarguably has some heavier lifting in general as they strive to make sense of the various images, but the game suffers if it becomes completely one-sided. Posing players certainly have agency and the ability to craft dynamic choices that can radically change the direction and energy of the story. Strong and imaginative tableaux feed and inspire the narrator; if posing players assume a lackluster attitude, this can quickly sap the game of its creative spark. Well-timed playful mischief (or shivving) is a wonderful gift, as are images filled with intensity and emotion. With some generous guidance from fellow “posers,” Freeze Frame can also incorporate volunteers, which can prove helpful if you’re playing with a smaller ensemble or are looking for new ways to include your audience.

2.) Help the narrator. There are some tried and true strategies that can assist the narrator as they work to launch a promising story. I advocate for an empty stage initially so that they have a little time and space to set a tone and style. It can also prove helpful to gently pace your entrances: this allows the narrator to clearly assess and define each addition so that there isn’t confusion as to “who was playing the giraffe again?” Four or five bodies in the first tableau can prove overwhelming, especially if there is no clear area of focus or connection. When a few players hold back, they also have a better chance of being able to recognize what the evolving story might need and then being available to embody that choice at the appropriate time. I have seen this game played effectively with scores of players in every image, but such an approach tends to privilege a series of loosely connected justifications – “Who are all these people at the party?” – as opposed to a more elegantly crafted narrative and rising action.

3.) Embrace your character. It’s common practice to retain character endowments provided by the narrator, so if you’re cast as the protagonist (Paolo) you’ll play this role for the duration of the piece (and in this case will appear in most – if not all – of the images). Lean into and enjoy these endowments: it’s a rare gift for many of us to create a character purely through our physical choices. As is the case with any improv scene, if you wear your character lightly, you’re less likely to challenge yourself or forge dynamic relationships with your teammates. It can be easy to inadvertently “approximate” your physical poses rather than compose them with significance and weight. Expend energy. Similarly, if you are in the role of the narrator, don’t overlook the potential for fun character work here as well. The preamble or introduction, in particular, is a great place to establish a point of view that can, in turn, help you when the story elements or justifications prove elusive.

4.) Take a risk. There are many seemingly helpful performance strategies that will actually diminish the inherent risk and playfulness of the game. If the narrator provides lengthy or predictable “close eyes” durations, fellow team members are less likely to jump to quick and unexpected decisions. Those forming the tableaux can also have a tendency to plan too much given the chance: while it’s wise to have a general sense of what your partners are doing as you make your choice, don’t be hesitant to just make your own independent and bold pose, especially once the story has found its footing. Conferring too much tends to reduce the likelihood of exciting accidents. If the narrator only gives a second or two between poses, this tends to keep things dynamic. Also be wary of the narrator diffusing the challenge by essentially describing exactly what they want as the next image (“Let’s see the ghost appear from the closet and attack Paolo”) as opposed to more broad setups that encourage players to make their own big decision (“And then Paolo heard a noise…”)

5.) Explore different contexts. Freeze Frame is wonderfully resilient as a short-form conceit. You can tell a traditional story, provide a series of images as part of a lecture, or recount a family holiday based on old, rediscovered photographs (among many other options). I’ve seen it work well with two characters sharing the narrative duties, often providing contrasting points of view on the topic or event. There’s also a great value in considering how you “cast” your audience as well: perhaps they are disinterested college students, or rambunctious kindergarteners, or esteemed colleagues at an annual conference. With a little care and clear framing, the audience can become more fully involved in the unfolding action beyond the simple but pleasing device of opening and closing their eyes. A small shift in the context or conceit of the game unlocks dynamic new stories and potentials. I’ve woven this device into a Greek tragedy long-form as well with strong results – as seen in the image above!

In Performance

Yes, this game certainly works with an able technician bringing the lights up and down (with the narrator cueing the adjustment with “Next slide” or similar) but trust me that there is surprising value in having the audience just opening and closing their eyes along with you. I like the agency this gives. Some will enjoy having the opportunity to peek behind the scenes and watch the players scramble to move from pose to pose. For those who embrace the device, there is something oddly pleasing about the simple magic of the images transforming on cue. This approach also has the added advantage of keeping the players (and perhaps audience volunteers) safe as they move around a lit stage; when you use technology there is always an awkward tension between creating true blackouts and allowing some ambient light so that improvisers aren’t in jeopardy of crashing into each other.

Close eyes.

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

Connected Concept: Justification

“J” is for “Justification”

Combining ideas in pleasing and perhaps surprising ways.

Justifying as a Source of Creative Strength…

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

Related Entries: Accepting, Commandment #1, Curve Ball, Offer, Postmortem Antonyms: Blocking, Bulldozing, Commenting Synonyms: No Mistakes, Weaving

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

Connected Game: Freeze Frame

Game Library: “Bell’s Kitchen”

Several of the long-form formats I’ve devised for my current campus troupe utilize an almost Brechtian device in which scenes are briefly introduced by another player who pauses the prior action with the ringing of a bell. This tradition evolved for numerous reasons – primarily to help jumpstart scenes with a clear and concise gift – and has become a unique and defining characteristic of my work in this academic venue. Bell’s Kitchen emerged as a workshop exercise to polish this technique of pitching dynamic Initiations that can quickly launch scenes into promising territory. I can’t take credit for the delightfully “punny” name, although unfortunately, I can no longer recall which long-since-graduated troupe member first coined it.

The Basics

Players are randomly divided into two teams, which form parallel lines facing each other. The first player from each line steps forward into the battle arena and stands in front of two bells placed on small blocks or stools. A caller provides an inspiring ask-for, such as “parents,” “beach,” or “co-dependence.” Players alternate ringing their bell and then providing an original narrative lead-in for a scene that is explicitly connected to the provided suggestion. The two competing players continue offering new possibilities back and forth until one of them commits an infraction (such as needlessly stalling, repeating the essence of a prior narration, or failing to clearly use the ask-for in question). The triumphant player earns one point for their team; both competitors then rejoin the end of their line so that two more teammates can enter “Bell’s Kitchen…”

Example

Player A: “Siblings, Mark and Kylen, fight over the television remote…”

Player A and B step forward representing their two teams; the caller provides the category of “siblings,” and the players start ringing in...

Player B: “Katherine doesn’t expect to see her older sister Cailin when she’s called to the principal’s office…”

Player A: “At the hospital, Brian sees his baby brother through the glass for the very first time…”

Player B: “Twins Alex and Lauren get radically different looks at the mall salon…”

Player A: “Things go awry between siblings Travis and Pete when there is only one slice of pizza left in the box…”

The Focus

Take risks, seek specificity, and embrace the need to ring the bell before you have an idea formulated. Often, the most intriguing ideas bubble up from “nothing” once players have expended those concepts that were pre-loaded or familiar.

Traps and Tips

1.) Enjoy the competitive element, but keep it in check. While the competitive frame adds playfulness and stakes, be mindful that it doesn’t warp the larger intent; namely, to encourage brave and instinctual scenic frames. If someone is new to the exercise, by all means, give them a re-start or a do over if they fumble right out of the gate so that they have a chance to find their footing. The greater goal is to nurture a skill set not to thwart growth.

2.) Use prompts pertinent to your peculiar needs. I generally rotate between relationships, locations, and theme words when we explore this exercise as these are all elements that we use frequently as sources of inspiration in our long-form pieces (and that we need to rehearse defining with nuance and variety). You could certainly also brainstorm genre-specific initiations, (song) titles, or character objectives… The frame can easily accommodate a wide array of different inspirations.

3.) Establish infraction criteria (and apply them with playful joy). Stalling or struggling to verbalize an offer quickly often provides the most obvious cause for elimination, but depending on your greater goals you can also call out verbosity, lack of clarity, failure to obviously use the prompt and the like… As players become more confident and experienced we sometimes introduce additional criteria just to keep the game moving, such as no character name repeats or no using the prompt in the same way or with the same energy as a prior bell.

4.) Encourage both strong content and form. The excitement of this game can tend to manifest itself in rather frenetic deliveries that would be problematic in front of an audience. This is of particular concern in my campus work as this narrative introduction device is used as is onstage. To this end, I encourage players to deliver their ideas – no matter how odd they may become – with confidence and poise. The gift of these initiations will largely be lost if the intended players (and audience) are unable to hear and comprehend the nuances of the speaker’s intent. And it’s also just good practice to really sell your ideas regardless of how well they are formed when they emerge.

In Performance

Played with carefree attack, this exercise also serves as a helpful reminder that one suggestion (especially those that might feel stale or overdone) can inspire an almost endless multitude of unique starting points. This improv drill can also easily be adjusted to explore second or third steps in a scenic progression by having two players present a “first scene” and then having other members of the ensemble belling in possibilities for the next iteration. Similarly, rather than narrating the first move you could certainly adapt the game to involve delivered first lines (as opposed to narrated descriptions) that established the given circumstance through the use of character-based dialogue: “Mark, mum said it’s my turn to get to choose what we watch. Stop hogging the remote…”

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

Connected Concept: Initiation

“I” is for “Initiation”

An improv move or offer, or in the context of this entry, the first significant idea that lights the fire of spontaneity.

Strong Scenic Starts…

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

Related Entries: Ask-For, CROW, Offer Antonyms: Button Synonyms: Launches, Starting Scenes

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

Connected Game: Bell’s Kitchen

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