ImprovDr.com

Game Library: “Prologue”

This resilient improv frame can serve equally well as a handle, short-form game, or as a device housed within a long-form structure. Prologue utilizes a spoken narrative introduction to set the wheels of a scene in motion while also giving a little more artistic control to the featured Deviser than may be typical in some improvisational settings.

The Basics

One player assumes the role of the prologuer or narrator. Before the action of the scene commences, they step forward and provide a detailed narrative introduction that establishes the given circumstances (or CROW) of the scenario. This narration may be inspired from an audience suggestion or derive from a personal artistic goal for the scene. Other teammates then craft a nuanced scene that fully utilizes these offered details. In the short-form tradition, the scene continues until it finds a natural ending without additional guidance or interruptions from the prologuer. In a long-form structure, the prologuer (or a different narrator) might then build on the previous scene by offering new narrative introductions or bridges.

Example

Player A volunteers to assume the role of narrating the prologue and steps forward…

Player A: “It can take a while to become accustomed to life in the country with its more leisurely pace and the increased likelihood that you’ll be recognized wherever you go. So, it shouldn’t be a surprise that teenage siblings, Grace and Greg, weren’t feeling particularly in sync with their new rural high-country surroundings. They had promised their parents that they would give this relocation a try, and in their earnest and frayed opinions they had. Or at least, that’s what they told themselves as they stood on the train platform that frosty Monday morning…”

Player A leaves the stage as Players B and C enter and stand on the platform…

Player B: “…I thought it couldn’t possibly be as bad as I had imagined, but I was wrong.”

Player C: “What were Mom and Dad even thinking?! We’re clearly city kids.”

Player B: (with slight panic) “You’ve got the tickets, Grace?”

Player C: (tapping their pocket) “It took me two months to save up for them. These are our freedom.”

A local, Player D, enters from a distance, and immediately recognizes them…

Player D: “Well, if it isn’t Greg and Grace! Shouldn’t you two be in school…?”

The Focus

A well-delivered prologue can quickly launch a scene and set it up for a dynamic journey. Players should mine the narrative for details both intended and those that may have been almost unconscious, like a unique turn of phrase. Prologue also offers a wonderful opportunity to boldly explore different styles and tones of play.

Traps and Tips

As the scenic component of this game largely demands traditional improv skills and techniques, I will focus here on the more peculiar role of the prologuer.

1.) Offer details. A strong and helpful prologue includes a fair share of nuanced detail. Providing solid CROW (Character, Relationship, Objective, and Where) elements are without question a good place to start as these facets allow the ensemble members to spring to action confidently. Every element needn’t be painted in technicolor, but it’s helpful to go beyond the basics on some level. This dynamic is predicated on the conceit that the prologuer has a particular idea in mind, so you shouldn’t apologize for offering up a few loaded choices. Embrace and savor the role of the scenic deviser! A vague or overly deferring prologuer essentially defeats the purpose and promise of the game.

2.) Provide inspiration. In addition to providing a launching pad, an effective prologue should inspire the company. It shouldn’t be exclusively prescriptive, telling the company what you want to see, but should also strive to unlock the creativity of your fellow improvisers. I liken it to an ellipsis: there is an innate sense of promise or lurking potential. A dynamic prologue, subsequently, should feel a little incomplete. Rather than instruct the players explicitly step-by-step how to proceed, it suggests an interesting way to begin trusting that your fellow improvisers will take the story ball and run with it in playful and surprising ways.

3.) Suggest mood. I’m a fan of not only establishing some strong who, what, and where ingredients but also using the prologue to offer up or model some sense of mood or style. Run-of-the-mill improv scenes don’t always afford such an opportunity to take a moment and set a tone right up front so it would seem a real waste not to fully exploit this aspect of the device. The narrator can embody or establish a strong stylistic choice or genre in their own initial delivery, or offer up some narrative guideposts for the improvisers to embellish. From the example above we could lean into a modern fable energy, an after-school special filled with hyperbolic warning, or perhaps even a Rod Stirling Twilight Zone vibe.

4.) Consider mystery. This may be a personal preference, but regardless of the overarching mood, I think a little mystery in the prologue can go a long way. Introductions that include a rich or provocative question are likely to ignite the imaginations of the players. Why did the family move into the rural highlands in the first place? Why are the siblings so determined to escape this new home? Has something just happened that was the final straw to break the camel’s back? Don’t feel the need to answer everything in the prologue: a little intentional mystery can go a long way.

In Performance

If you are a player in the scene, you can certainly gently work your way up to the prologue ingredients with them finally coalescing for the climax or resolution, but there is also an invigorating power in jumping into the scene with all (or the majority of) the named ingredients already established and in play. This allows the scenic players to get the best of both worlds: the structure and inspiration of the given circumstances, and then sufficient time for freedom and exploration to develop their own discoveries. The prologue example provided above is also on the lengthier side. You can certainly still gain great value from considerably more concise introductions, such as “Siblings Grace and Greg, wait anxiously on the train platform as they try to escape their rural lives…” I’ve used both lengthier and more concise prologue introductions to strong effect in multiple projects such as Lights Up: The Improvised Rock Opera and Variations on a Theme.

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

Connected Concept: Deviser

“D” is for “Deviser”

A helpful term I’ve come to use to describe an improvisational “playwright” or creator.

Faces of the Improvisational Deviser…

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

Related Entries: Dramaturgical Improv Synonyms: Creator, Director, Dramaturg

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

Connected Game: Prologue

Game Library: “Da Doo Ron Ron”

Based on the 1960’s song of the same name made famous by The Crystals, Da Doo Ron Ron provides a worthy example of an energized Decider that I’d particularly recommend if your ensemble contains strong and confident singers.

The Basics

Players form a line on the edge of the stage or its equivalent. An audience member’s name (or really any word can suffice) is obtained that will serve as the inspiration and target rhyme for the song that follows. Ideally, a musician plays a lead in, although you could use a track or sing a cappella. Starting with the player positioned most stage right, improvisers take turns offering a new original rhyme in the rhythm of the song, with the third player providing three quick rhymes in a row during the song’s faster section. Each new verse continues the same AAAAA rhyme scheme until a player stalls, stumbles, repeats a prior offering, or doesn’t manage a rhyme at all, at which point the audience eliminates them with a game show buzzer sound or similar. After each elimination, a new name is obtained, and the process continues until a single winner (or winning team) remains.

If you’re unfamiliar with the song, you can check it out here on YouTube.

Example

Players receive the name “Pete” to inspire the song. The music starts…

Player A:

“I met him on a Monday, and his name was Pete.”

All:

“Da doo ron ron ron, da doo ron ron”

Player B:

“He was so suave he knocked me off my feet.”

All:

“Da doo ron ron ron, da doo ron ron. Yeah!”

Player C:

“He kissed so sweet.

All:

“Yeah”

Player C:

“He dressed so neat.”

All:

“Yeah!”

Player C:

“He was so discreet.”

All:

“Da doo ron ron ron, da doo ron ron.”

The song continues to the next verse…

Player D:

“Standing by Pete’s side I felt so complete…”

All:

“Da doo ron ron ron, da doo ron ron…”

The Focus

In addition to serving as a melodic decider, this game offers opportunities to hone rhyming, charm, and story-telling skills. (Some companies add a “Da do do do,” before each “Yeah,” to add to the musicality.)

Traps and Tips

1.) Clearly set the rhyme. As players (or the host) elicit new names to inspire each re-start, be sure to clearly set the rhyming expectation. In early verses, it’s fine (and perhaps advisable) to shorten a more complex name (Peter to Pete) to set players up for initial success. The first singer of the verse should clearly set this expectation with the first line of the song and end their improvised phrase with the adjusted name or nickname. As the game moves into later rounds, it can prove a playful challenge to accept multi-syllabic names, especially if you need to start eliminating players more quickly. In my current venue, we’ll often use a tough name for the penultimate round and then return to a one syllable offer for the final two players so that there’s a greater chance to get a more finessed final battle!

2.) Watch the rhythm and articulation. If you are rhythmically challenged, you’ll want to spend some time drilling the tempos and timing of the underlying song as this game will quickly go off the rails if players are inconsistent. Nervousness can tend to make you rush through your offer or push to the shared “Da Doo Ron Ron” refrains in a way that upends the rhythm: rely on those more musically inclined in your ensemble (and hopefully the musician if you have one) to clearly set and maintain these elements. If you struggle with the timing, err on the side of fewer words as attempting to cram effusive meanderings into the allotted time will usually spell disaster. Fewer words will also encourage stronger articulation, which is another key element. Punch that final rhyme word: you’ll want to make sure the audience and fellow players can hear it to enable both enjoyment and eliminations. There can be an understandable inclination to retreat into your head a little in this game as you search for an unused rhyme, so make sure you’re giving full attention to the line endings of your fellow ensemble members too.

3.) Relish the “third person” struggle. While you could certainly break up the faster section of the song into three consecutive singers, this moment of intense challenge elevates the playfulness and danger of the game. When you land in this position, enjoy that undeniable panic. The audience will love you if you make it through with some sense of grace and applaud you if you ultimately succumb after a valiant effort. As players are eliminated, strive to rotate who will land in this position in the next round. If I’m facilitating this game, I’ll tend to restart the song with the player in the line immediately after the person who just went out, but sometimes I’ll deliberately mix that up especially if someone keeps landing in this more difficult position or one team is over-featured in terms of remaining players.

4.) Honor the frame of the game. Audiences can prove reluctant to initially eliminate players, especially if they are particularly charming or playful, so you may need to encourage this from the stage. A player who deviously gets away with a slant rhyme, homonym, or repeated word can add some spice if it happens once but remember that the game is designed to eliminate players so ultimately you want to give the audience permission to do so. To this end, make sure you clearly set up the pertinent list of infractions when you introduce the game: stalling, stumbling, not rhyming, repeating a rhyme, or getting out of rhythm are my standards. If players are delightfully but frustratingly excelling, that’s when you can also add additional rules such as no slant rhymes. Accepting eliminations with great exuberance and good will also goes a long way to empowering your audience to play along.

5.) You can play this as a non-elimination game, too. I don’t see this done as often as I’d like as Da Doo Ron Ron makes a charming stand-alone musical game as well. It’s typically sung with four verses that chart how a couple in the audience met. The game is set up with a brief interview of a willing couple where you elicit both people’s names, where or how they met, and perhaps a couple of words about each of them. Their story is then retold through song. The first verse talks about the first audience member, typically using their name or nickname as the AAAAA rhyme. The second verse follows the second person and uses their name in a BBBBB rhyme. For the third verse you construct a CCCCC verse (often using their meet location or similar as the rhyme), and you end with a DDDDD verse ruminating on their future together, ideally culminating in an apropos target rhyme set up by the first singer. If you’re playing on a four-person team, you can split up that challenging position so that the fourth player takes the third rhyme in the faster section or just let the first position rotate through the team as it will.

In Performance

As players become increasingly comfortable and successful with this game, you’ll want to crank up the challenge by increasing the song tempo each round (this is the downside of using a track which will make this adjustment unlikely). It also adds an exciting level of impressiveness when each rhyme also further develops a common story thread. If you’re playing this a cappella, I’d strongly recommend that you put your stronger singers at the front of the line so you can start off on a firm footing, and eliminated singers should probably continue to sing the unison sections from the wings to give the song more gusto.

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

Connected Concept: Decider

“D” is for “Decider”

A Decider is a typically short-form performance game that ultimately results in a “winner” for the purposes of the greater structure.

Decidedly Detailed Decider Dynamics…

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

Related Entries: Caller, Hosting, Shape of Show Synonyms: Tie-Breaker, Warm-up

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

Connected Game: Da Doo Ron Ron

Game Library: “Should’ve Said”

I imagine this short-form game might be in the running for the title of “Game Known by the Most Different Names.” I’ve been playing it for many years now as Should’ve Said so that’s my preferred nomenclature. It’s typically an audience favorite and provides a helpful mechanism for quickly making unfiltered choices or pitching Curve Balls under pressure.

The Basics

My standard way for introducing this game is to note that someone is going to be gifted a “bell of second chances” which enables them to briefly rewind the scene to allow players a second crack at making a new choice – wouldn’t that be lovely in real life! This function is usually taken on by the host or a caller from an opposing team. A scene is then performed punctuated by bell rings that prompt players to quickly offer an alternative to their prior line of dialogue.

Example

A scene begins in a pizza kitchen as Player A and B are hurriedly working their stations.

Player A: “Brad should have predicted this rush what with the big game tonight!”

Player B: (putting yet another pizza into the oven) “And yet, he’s conveniently not in the store tonight.”

Player A: (rolling out some more dough) “That’s soooo Brad.”

Player B: “Well, at least we don’t have him barking orders at us all night…”

The Caller rings the bell

Player B: (flirting) “Well, at least I’m here with you…”

Player A: (with an eye roll) “Alright now, we’ve talked about this…”

Player B: “I’m just saying I enjoy your company.”

Player A: “I know what you’re saying…”

The Caller rings the bell

Player A: “I recognize that look…”

The Caller rings the bell

Player A: “I know where Brad keeps his secret stash of liquor…”

The Focus

In addition to encouraging players to take risks and embrace surprise, Should’ve Said can also help push characters to action and out of bland scenic patterns or ruts.

Traps and Tips

1.) Use the bells for good. The game certainly benefits from the appearance that the caller is torturing the players with their bells, but as I’ve discussed here strive to deploy the bell device in a way that builds and elevates the scene rather than rushes it towards improv oblivion. An attuned caller can mess with the players while also serving as a sidecoach, gently and playfully nudging players away from blocking or inactivity. Bells should ultimately heighten the joy and assist in the storytelling efforts of the team. Specifically, don’t erase a strong scenic choice if you know leaving it in play will help the players in the long run.

2.) Pace the interruptions. Most games benefit from some iteration of the advice, “play the scene first and the game second.” Ringing the bell multiple times in a row right as the scene begins doesn’t really let you build the dynamic later and may undermine a sound CROW and foundation. Give the players room to establish the central premise. Not every fun offer needs a bell: I’d argue the audience can quite enjoy seeing the caller weighing the option to bell and ultimately deciding to let the choice stand. It’s likely (and preferable) that you’ll be ringing the bell more at the end of the scene than the beginning, so it’s helpful to start a little sparsely.

3.) Embrace the change. As a player within the scene, be cautious of wimping when you are cued to change your line. This often takes the form of essentially repeating your prior choice (so “I love you” becomes “I love you so much”) or paraphrasing it in such a way that the meaning doesn’t really change (so “I love you” become “You are just so perfect for me”). If I’m operating the bell, I will nearly always cue another change when I see these moves as they don’t really honor the contract of the game. Player A does this a little in the example above when they only mildly change “I know what you’re saying,” to the quite similar “I recognize that look.” Using some parallel structure, on the other hand, can prove quite appealing: “I know what you’re saying,” morphs two bells later into “I know where Brad keeps his secret stash of liquor…” Players can sometimes fall into a pattern of explicit opposites as well (“I love you” becomes “I hate you”). This honors the general spirit of the challenge but can feel uninspired or predictable if it becomes a crutch. In these instances, a curve ball may be in order!

4.) Track the live choices. As the content of the scene can change radically from moment to moment, tracking current choices stands as a unique challenge of Should’ve Said. Avoid referencing or reincorporating offers that didn’t survive the gauntlet of the caller’s bell. This may happen inadvertently and can certainly add to the fun of the game, especially if the caller plays along and bells in a correction. While there are exceptions to every rule, generally trying to deliberately pull back prior dismissed choices feels a little against the spirit of the game although I must admit I’ve seen this work on occasion when it feels like a player is joyously toying with the caller and if everyone involved is on the same playful page.

5.) Risk. Ultimately, take the risk to just blurt out the next thing that is top of mind, trusting that the caller will serve as a safety net if it’s needed. The clumsily constructed choice assembled in the furnace of the moment will often land more strongly than the carefully constructed and delayed response. Let the audience see and delight in the struggle. Offer that seemingly random curve ball that will require some clever justifying further down the road. On a related note, be cautious of appearing to “cue” a bell as a player within the scene. If it looks like you’re setting yourself up for the bell, then you’re stealing the caller’s agency in a way that undermines the inherent risk at play.

In Performance

No matter what you may call this game, there’s a reason it is such a perennial short-form favorite: the audience experiences the unfiltered joy of immediate reactivity and creation as players scramble to assemble a coherent story from a muddle of possibilities.

Consider exploring my Game Library entry on New Choice here which takes this same conceit up a level.

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

Connected Concept: Curve Ball

“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

“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

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.

Connected Concept: CROW