“C” is for “Curve Ball”

Adding a little dash of randomness or mischief to a scene as an investment for future play and discovery.

Pitching Your Curve Balls

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

Related Entries: CAD, CROW, Justification, Reincorporation, Shelving Antonyms: Obvious Synonyms: Mischief, Randomness, Surprise

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

Connected Game: Should’ve Said

Game Library: “Angel and Devil”

Angel and Devil shares a lot with the similar subtext-focused game Conscience, but here the internal voices are literally pulled onstage in dramatic fashion. The resulting playful tension offers a uniquely dynamic pathway to unlock and encourage Culpability and risk-taking.

The Basics

A team of four is optimal for this game, with two players serving as “regular” onstage characters and the others embodying the angel and devil, respectively. These latter personae should loiter behind either shoulder of the scene’s protagonist for the duration of the action, each spurring them on to either laudable or dubious behavior. Other characters should not hear this internal debate. Often, the scene will culminate in the protagonist clearly overcoming or succumbing to a temptation.

Example

The scene is set in a jewelry store. Player A assumes the role of a soon-to-be engaged shopper, with B as the store clerk and C and D serving as A’s Angel and Devil.

Player B: (pulling out a tray of rings) “…and then this is our premium line of rings for those who want their love to go that extra mile.”

Player A: (equally as impressed as sticker shocked) “These are truly beautiful.”

Angel: (to A) “Now these truly represent your love! Worth every penny!”

Devil: (to A) “This is a big commitment… just for one person…”

Player A: “May I have a closer look at that ring in the middle?”

Player B: “I see you have excellent taste. This is a custom setting unique to our store.”

Devil: (to A) “Custom means pricey. Flirt a little with the clerk. You might get a discount.”

Angel: (to A and Devil) “Don’t soil this poetic moment with haggling!”

Player A: (awkwardly) “It’s almost as unique as you are…”

Player B conspicuously flashes their own wedding band…

The Focus

This game allows you to bring a character’s internal struggle to the forefront of the action. The resulting tensions can theatrically infuse familiar premises and tropes with new life and possibilities.

Traps and Tips

1.) Seek balance. It’s easy for one element of this game to dominate if you’re not particularly aware and generous. By design, focus will heavily swirl around the protagonist, and you’ll need to give them sufficient time to hear, process, and then act upon their internal thoughts. The angel and devil should seek to balance their suggestions with the greater scenic needs. In the example above, I’ve modeled a pretty heavy use of the subtextual device to give a sense of the logistics, but this rhythm might be better suited to a little later in the scene. By the culmination of the game, it’s not uncommon for the internal voices to full out argue with each other, but seek restraint initially so that you have somewhere to build. Supporting characters, such as our jewelry store clerk, benefit from some extra awareness and kind focus gives from their teammates in order to make sure they don’t completely become passengers in the scene.

2.) Seek build. The concept of an internal “devil” can potentially push players into dark content quickly, so it’s helpful to think of this voice as pointedly mischievous or cheeky as opposed to outright evil. There’s probably nowhere to build, for example, if the devil’s first prod is to kill the store clerk upon learning the price of the rings (and that’s just an icky choice in general). Similarly, the angel should leave some ambiguity or cracks in their argument or, at the very least, allow the devil sufficient room to maneuver. Playful devilish coaxing into trouble will go a long way in juxtaposition to the angel’s efforts to remain unstained and virtuous. The more reasonable the nudges to naughtiness seem, the more likely it is that the protagonist will deploy these tactics in the scene, which ultimately should serve as a primary goal of the devil.

3.) Seek action. I’ve partnered this game with the concept of culpability as the scene lights up when the protagonist allows themselves to explore a wide array of tactics and choices, some of which are clearly “good” and others which are less so. While there is certainly a theatrical value in the verbal sparring of the inner voices alone, this dynamism becomes magnified when the central character embodies these tensions. If the angel always wins with their morally sound advice, the scene will likely march on to a rather predictable outcome. While the devil need not win all the time, at least strategic victories are likely to throw the character and scene off its equilibrium in delightful ways. Offering concrete next steps (as opposed to purely theoretical musings) serves as a central way for the inner voices to heighten and privilege the action.

4.) Seek a clear objective. Explore a strong objective as the central character as this will activate and inspire the internal struggle. A possible objective for the above example could be “To secure the best possible ring at a price that isn’t going to break the bank.” With this goal in mind, the protagonist and their consciences now have a clear aim even if the angel and devil are focusing on different parts of the need: the angel desiring “the best possible ring” while the devil endeavors to secure “the least painful price.” Knowing your greater want also helps the protagonist assess the choices being pitched by their thoughts. Holding onto your objective will also typically provide a clear ending when we learn if the protagonist was successful or not in their pursuit. For a more in-depth consideration of composing evocative objectives, go here.

In Performance

The central conceit of Angel and Devil can push familiar characters and conceits to new heights. The dynamic also has a delightful resilience and ability to evolve organically. I’ve seen angels and devils abandon their initial “subject” in disgust or dismay, exchange roles halfway through a scene, or move to the shoulders of another character deemed more amenable. Be wary of entering the scene with the intent of pushing one of these dynamics to the forefront as it will tend to read as forced but remain vigilant for ways the central tensions may evolve or morph. This premise also works well as an interesting scenic handle in a long-form piece if you’re open to styles beyond run-of-the-mill realism.

In Gorilla Theatre we’ve explored a related version of this game where the two internal voices move to microphones at the side of the stage and adjust the scenic parameters through scene painting and endowments in their efforts to sway a character’s behavior. Either the devil or angel will be voiced by the director (depending on their specific theme or frame). This iteration has shown great promise as well.

If you’re a newer reader and want to catch up on some of the most popular blog posts, check out my “Top Reads” here.

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

Connected Concept: Culpability

Top Reads

ImprovDr.com is entering its fifth calendar year and rapidly approaching its 350th blog entry! I’ve reached back into the ever-growing archive of posts and identified the most popular entries with the widest reach. There’s been some shuffling and a few new entries advancing to the top five spots. Handy hyperlinks included for your convenience!

Here are the top five Game Library entries:

And here are the top five contributions from my current “A” to “Z” series:

As always, you can go here for the Game Library, or here for the most up-to-date info about the future of the “A” to “Z” index of improv terms and concepts, or here to search the data base.

And just for fun, here’s a cool map from WordPress that shows where readers live and connect!!!

Here’s looking forward to more improv and spontaneous musings!! Thank you for your readership and support.

Cheers, David Charles.
www.improvdr.com
Join my Facebook group here.
Photo Credit: Tony Firriollo
© 2024 David Charles/ImprovDr

“C” is for “Culpability”

Accepting responsibility as a character for behavior or choices that might, at first glance, appear unsavory or require you to reconsider their moral compass.

The Gains of Culpability…

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

Related Entries: Ambiguity, Commandment #5, Emotional Truth, Vulnerability Antonyms: Bulletproof Synonyms: Change

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

Connected Game: Angel and Devil

Game Library: “Conducted Freeze Tag”

Freeze Tag is a ubiquitous improv warm-up and exercise, and it’s likely that you’ve played it on multiple occasions if you’ve been improvising for any length of time. Conducted Freeze Tag provides a nice variation that can refresh the basic concept, and when paired with the concept of CROW this iteration also offers a fast-paced way to rehearse the process of effectively establishing these core scenic components.

The Basics

Players form a line with their backs to the performance space. A caller situates themselves to the side of the stage where they can readily see the action. Two players begin, inspired by an audience prompt, and improvise the first steps of a dynamic scene. When players are in an interesting physical position, the caller announces “freeze” and calls in or out players by name. Those entering the playing field should assume the exact stance of the player they are replacing. Once in position, a completely new scene begins that justifies the current poses in a different and interesting fashion. Players who have been tagged out return to the back line, awaiting the caller to bring them into the action once more.

Example

With their teammates standing behind them, Player A and B assume the field and begin a scene prompted by the suggestion of “birthday present”.

Player A begins by leaping out of a box…

Player A: “Surprise!!!”

Player B: (shocked and in disbelief) “Chris!? But you said…”

Player A: “I know, I know. I just wanted you to think I had to be out of town. I couldn’t miss my girlfriend’s 30th birthday, could I?”

Player B: (taking A’s hands) “I can’t believe you! I would have cleaned up our apartment a little if I’d have known…”

Player A: (reaching back into the box) “Not on your birthday! And there’s more…”

Player B: “A puppy..!”

Caller: “Freeze. Player C in for Player A.”

Player C turns around and runs to replace Player A who is holding up the “puppy.” Upon being tagged out, Player A quickly moves to join the line and turns around.

Player C: (in a panic) “Doctor, my hands just won’t stop trembling…”

Player B: (unfreezing) “I can’t believe I’m actually seeing my first case of this rare skin allergy. My colleagues won’t believe this…”

The Focus

Concentrate on players successfully executing a clear CROW in the first few lines of their scene work. If a scene struggles to define these elements, let it breathe a little until it does. While I’m framing this game through the conceit of CROW, I would offer that this is a good philosophy for calling Conducted Freeze Tag in general as it privileges clear storytelling and initiations rather than just hitting a laugh line.

Traps and Tips

1.) Some traditional strategies… Typical Freeze Tag norms apply, such as encouraging strong and vibrant physical choices to inspire new freezes and scenes, avoiding vignettes that are too similar in their primary ingredients especially if they are back-to-back, and giving the incoming player first crack at establishing the new premise. Players can have a tendency to “smudge” their physicality which decreases the challenge and finesse of the game, so make sure everyone does their best to assume the exact position of their surrogate as the tag occurs, and that these positions aren’t immediately dropped or ignored as the new scene starts up. It’s certainly okay to squirm a little before the next idea ignites (this is part of the fun after all), although I’ll warn players that if they wait too long, they’re allowing the audience to come up with their own ideas which isn’t ideal as now your eventual choice is competing with others’ imaginations. If you’re looking for an additional challenge, it’s a rare occasion that a “twister scene,” dance or yoga lesson, or some sort of super glue accident doesn’t make it into the mix, so do your best to avoid stale tropes such as these!

2.) Some caller finesses… It’s helpful to start the game with a series of two-player scenes where only one player is substituted with each “freeze” call. This allows everyone a little time to warm up and offers a clear focus as to who is likely to initiate the next vignette. Once a strong rhythm has been established, other possibilities include replacing both players at once with two new members from the awaiting line, or increasing (and decreasing) the cast size by selecting new players to join the frozen scene – “Player D in for Player A and Player E join the scene…” The more participants, the greater the likelihood for confusion which can certainly be part of the charm and struggle of escalating the dynamic in this fashion. It’s good form for the caller to try to give players roughly equal performing time if this is viable, although there can definitely be value in leaving a particularly playful or successful improviser in the hot seat for multiple vignettes in a row. And if one player is standing in a relatively neutral or bland pose, it’s helpful to trade out their partner instead.

3.) Some player pitfalls… One of my favorite features of this variant is that players are unable to observe the prior scenes, which (at least in theory) doesn’t allow them to predetermine how they’ll start the next vignette. Similarly, when players are able to call their own freezes and entrances, they can have a tendency to wait until they feel they’ve solved the game’s “riddle” of what should come next or perhaps just avoid the danger of the whole affair altogether by remaining silent in the back row. Conducted Freeze Tag prevents these tactics and keeps the risk of the exercise high – it’s important not to undermine this with needlessly meandering or glacial entrances from the actor bank. Physical ability willing, players should turn around quickly as soon as they’re named and dash onto the playing field, taking just a brief moment to assess any gestural or facial nuances before tagging out their target. Encourage this sense of rush as it has the added performative advantage of letting the audience experience the true surprise (or panic) of each entering player. Incoming players can also feel an undue pressure of having to pitch the entirety of the new premise when, in reality, they just need to offer a starting point – one facet of CROW, for example – that is informed by a justification of their discovered pose. Don’t under-estimate the potential contributions of the awaiting teammates.

In Performance

While you could drop the stated necessity of clearly establishing CROW before freezing scenes when playing Conducted Freeze Tag in front of an audience, I’d offer that these parameters tend to help the game in general. Yes, an inspired quick run of one-liner scenes utilizing and justifying a similar pose can heighten the fun, but there is also a clear opportunity to stretch our scenic muscles built into the DNA of the structure which would be a shame to waste, especially if you’re using the game as a company warm-up. I also think it’s preferable that the audience wishes that scenes could continue because they were so rich with potential rather than feels relief when each clumsy and ill-defined scenario is mercifully edited so that something new can begin!

If you’re looking for another fun variant on this theme, check out Blind Freeze Tag here, or Environmental Freeze Tag here.

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

Connected Concept: CROW

“C” is for “CROW”

A handy-dandy acronym that refers to four helpful scenic building blocks (Character, Relationship, Objective, and Where) that can form a strong foundation for joyful play.

Building Your CROW Foundation

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

Related Entries: Character, Objective, Relationship, Where Antonym: Cartooning, Vagueness Synonyms: Given Circumstances, Initiation, WWW

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

Connected Game: Conducted Freeze Tag

Game Library: “Laugh and Go”

Laugh and Go serves as a rather metatheatrical game as the audience gets to see the increasing chaos of various players trading in and out of roles. Some level of Corpsing (or breaking) looms as almost inevitable, although a performance absent of this quality can prove quite breathtaking. I first encountered this game at Sak Comedy Lab, where it became a regular offering in our Gorilla Theatre shows.

The Basics

A suggestion that (at least seemingly) leans towards a more serious topic serves as the inspiration for the scene. The game is often playfully introduced as an exercise in dramatic acting, and the audience is notified that if any of the players should elicit a laugh during the performance they will be immediately replaced by another member of the company. The scene begins, and as promised, any significant laughter cues an actor swap with someone entering from the wings who then immediately picks up the action from exactly where it left off. As the scene continues, and the onstage cast grows, swaps may occur between onstage players as is deemed necessary and enjoyable.

Example

Inspired by “bullying,” Players A and B begin a scene as a parent and teenage child. Player A enters the family living room to begin, masking their face.

Player B: “You’re home a little late, Alex.”

Player A: (sheepishly) “I’m just going to go up to my room.”

Player B gets off the couch and approaches…

Player B: “Is there something wrong? Let me see your face…”

Player A pulls away abruptly, garnering an unanticipated laugh from the audience.

Caller: (announcing) “Alex.”

Player A leaves the stage, and their exact position is then assumed by incoming Player C.

Player C: “It’s nothing. I don’t want you to make a big deal about it…”

Player B: (insistently) “Let me see it, Alex.”

Player C slowly turns to reveal their face, and B recoils a little too dramatically in horror. The audience laughs...

Caller: (announcing) “Alex’s parent.”

Player B is quickly tagged out by Player D…

The Focus

Much of the joy of this game comes from the collective struggle of trying to hold it together: keeping track of the story details and character mannerisms, playfully honoring the seriousness of the context, knowing which player is embodying each character at any given moment, and struggling to retain personal composure in the face of it all.

Traps and Tips

1.) A caller is your best friend. My experience with this game would suggest that an attentive caller can make a world of difference in terms of how the scene builds and lands. From the stage, it can be challenging to distinguish an isolated giggle from a more pointed audience response – or perhaps identify which player was the primary source of the pertinent reaction. A dedicated caller can quickly pause or assess the action and make these decisions in real time, unequivocally naming the offending player, as in the example above. When the scene launches, the caller can also judiciously choose to ignore individual audience chuckles or insincere guffaws. The inherent stops and starts of the game may cause focus challenges, so this helpful steering hand can go a long way to maintaining a satisfying scenic trajectory. Onstage improvisers can assist in this regard too: once a call is made, it’s important to immediately honor and execute it (even if you’re inclined to throw a little shade as you slink to the side of the stage).

2.) Start with sincerity. Although it is almost a given that the sincere or serious suggestion will likely have collapsed in on itself by the scene’s completion, it shouldn’t become a fait accompli. In the opening salvos, earnestly dig into your acting reserves and strive to perform without a comedic wink or expectation. Arguably, this is how you should really play the whole scene, but it is of particular import as the scene makes its first steps as you need to establish and honor the central conceit and give the story a solid foundation for the madness that will likely follow. Invariably, the audience will laugh – typically at something minor and unexpected. Allow this first prompt to occur in its own time and way. If you look for or crave the laughter, the scene will suffer for it.

3.) Give the scene room to grow. While there will always be earnt exceptions, this game works really well when you start with two characters on stage (or one player soon joined by a second). The tight focus of one staged relationship makes it easier to establish some strong personality traits that others can pick up and mirror later and generally allows a more solid scenic foundation. Tag outs during this early phase should be crisp and clean so the audience can easily grasp the logistics involved. Once you have three or four characters on stage, this will usually necessitate players to switch with each other (as opposed to trading out with someone waiting in the wings). This dynamic is definitely bracing and exciting, but if you get there too quickly, the game of the scene may have nowhere to go.

4.) Try to hold it together. If (when) corpsing does occur, it lands more effectively if players have done everything in their power to keep their act together. Almost all the elements of this game conspire against the players maintaining their composure, between the stark contrast of material and staging, and the sudden casting changes and audience interruptions. If players become inclined or tempted to almost cue the audience’s laughter, the game’s conceit and integrity will degrade in the process. (For example, while it’s helpful to have clearly distinctive characters to make them easier to track, overly broad or gimmicky choices can unnecessarily serve as spoilers.) When the scene reaches its typically chaotic climax, you may have little ability to keep it together, but the audience will certainly relish your efforts to do so!

In Performance

If you’re working in an overtly comedic short-form tradition, the “now we’re going to perform a serious scene” construct of Laugh and Go can add a delightful new hue to the night while simultaneously garnering you some big laughs and full-throated audience involvement. The format also works equally well as a team or all-play game. Remember, don’t rush to the perceived finish line; rather, savor each silly slip and chuckle along the way.

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

Connected Concept: Corpsing

“C” is for “Corpsing”

Breaking the reality of a scene by laughing at your plight (as the player rather than as the character you’re theoretically embodying).

Keeping Life in Your Corpsing…

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

Related Entries: Commenting, Mugging Antonyms: Emotional Truth. Synonyms: Breaking

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

Connected Game: Laugh and Go

Game Library: “Sculptor Pairs”

If you’re familiar with Augusto Boal’s work, this exercise will strike you as familiar as it draws from his theatrical explorations. Sculptor Pairs encourages more vulnerable embodied communication and, subsequently, invites a candid consideration of personal boundaries and issues of Consent. You can use the game as a stand-alone icebreaker, ensemble builder, or as a leaping off point into more physically dynamic and emotionally connected play.

The Basics

Players, divided into pairs, select an appropriate area to serve as their workspace and nominate someone to serve as Player A and Player B respectively. The facilitator provides a prompt to spark the exploration, such as a personal relationship, emblematic location, or provocative theme. Player A serves as the first sculptor and should imagine a detailed image inspired from their own life that they would like to craft. Standing approximately three feet away from their subject (Player B) they should use gestures and hand movements to animate and adjust their partner’s position into the imagined and desired pose, all the while working in silence and without actually making physical contact. Player B should endeavor to translate these instructions as best as they can while remaining open to (silent) feedback and adjustments. Once Player A is happy with the details of the pose, they should then step into their created image and complete it with a self-selected position of their own so that the image now contains both bodies in combination. If their image requires physical contact, they should first seek verbal permission from their partner – “can I put my arm around your shoulder?” When everyone has completed their tableaux, the leader may move focus from one image to another (with players relaxing when they are not being observed) so that the ensemble has a chance to view and discuss the work of their peers. Reverse the roles and repeat.

Example

Player A and B are exploring the relationship of siblings.

Player A takes a moment to determine the essence of a relationship image and stands a few feet away from Player B. Player A gestures for B to grab a chair and sit in it and they do so. After pointing to one leg and then the other, B understands to sit cross-legged in the chair. Placing an imaginary head in their hands, Player A re-positions B’s head so that it is leaning back a little and then recommends a more joyful expression by modeling it on their own face. With an additional move, B’s arms eventually are adjusted, one sitting on their left thigh, the other holding something that the subject assumes is a drink of some kind.

Player A steps back and assesses the image and tweaks the angle of B’s head with a hand motion.

Player A: “Is it okay if I touch your hair?”

Player B nods and A now enters the image as a presumably older sibling brushing out B’s hair with an expression of care and laughter. The picture is complete.

The Focus

Concentrate on the depth and success of the silent communication, the subtle ways that sculptors are able (or unable) to craft their intent, and the process through which both players can find joy and comfort working together on something that can innately feel a little intimate or vulnerable.

Traps and Tips

1.) Contextualize the prompts. This exercise works well to plumb the depths and shades of our own lived experiences, and I would recommend setting it up with this more personal focus (rather than just making pretty pictures). Relationship prompts work well as a starting point as they tend to more readily spark our imaginations. Be sure to acknowledge that everyone in attendance may not have the same or any experience with a given prompt. In the case of siblings, for example, it would be completely in the spirit of the game to model the absence of a sibling (perhaps with the artist not entering the frame) or an image that captures the desire of what a sibling would have felt like. Similarly, if you’re tackling juicy themes, I always allow the inversion of the proffered dynamic if this is the sculptor’s instinct (so “justice” becomes “injustice”) as this attitude encourages a rich diversity of tableaux. At the end of the day, it’s highly preferable that the resulting image is personal and meaningful rather than fictive and empty.

2.) Honor the silence. There is something potentially unsettling about conducting this exercise in silence especially if you are accustomed to leaning on your verbal acuity. Embrace this way of working as it demands and unlocks for many a very new way of communicating with our scene partners. Avoid the temptation to settle at a generic approximation of your intended image and fight to realize the specific details that you view as important. This might require taking a completely different gestural approach if your initial attempts prove clumsy.

3.) Celebrate the creations. If you’re dealing with large archetypes or themes as the prompts, you’re likely to create a complex and engaging gallery of images. It’s worth taking some time to unpack the threads that emerge. Are there widely held experiences that are reflected across multiple images? Do some tableaux effectively model unexpected tensions or delightful differences? What specifics are clearly being communicated to the audience or might inspire a subsequent scene? Are there any unintended messages or physical elements that hamper the perceived artist’s intent? Discussion between rounds also affords an opportunity to assure that participants are appropriately accepting the challenges of the exercise while also feeling seen and heard.

4.) Consider a next step. I’m so often struck by the amazing variety and specificity of images crafted with this technique and how much we can communicate without uttering a single word. While there is certainly no need to move these moments into scene work, this can serve as a logical next step, especially if you’re looking for ways to craft richer scene openings that aren’t purely reliant on dialogue to get the ball rolling. Pairs can be given new individual prompts to inspire a brief sculpting session prior to beginning a more traditional scene, or after exploring a series of different prompts could elect to use a favorite to adopt as the lights come up on the action.

In Performance

While you are perhaps unlikely to incorporate the sculpting device per se into your scene work and initiations (although, why not?), hopefully the trust, specificity, and heightened physical awareness gleaned from this exercise will infuse your process. If your company struggles to represent a certain category of relationships or themes, this dynamic also affords a mechanism for slowly breaking it down in rehearsal to enable greater awareness, understanding, and comfort.

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

Connected Concept: Consent

“C” is for “Consent”

Recognizing that our choices onstage have repercussions and that our art should foster a welcoming spirit where boundaries are acknowledged and respected.

Consent Before, During, and After the Show

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

Related Entries: Commandment #1, Postmortem, Questions, Speaking Your Truth, X-Rated Antonyms: Carelessness Synonyms: Boundaries, Permission

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

Connected Game: Sculptor Pairs