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Leaping forward in the story in a lurching or inelegant fashion that tends to erase the current scenic elements already in play.
How to Keep Your Story on the Same Page…
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Related Entries: Advancing, Erasure, Over-Originality Antonyms: Small Steps
Cheers, David Charles.
www.improvdr.com
Join my Facebook group here.
© 2021 David Charles/ImprovDr
Connected Game: Shared Story
Most of the status games in my stock derive one way or another from Keith Johnstone’s critical work and writings on the topic, and Status Swap is certainly no exception. As we seek Change and dynamism in our scene work, this type of exercise can provide a helpful and motivating template. You can also easily adapt the central conceit to explore other forms of “swaps” such as emotions, animal essences, or physicalities.
The Basics
Generally played in pairs (perhaps with some additional players on standby to support as needed), one player is assigned as the “high status” character in the scene (holding the most “power” or sway), while the other assumes the role of the “low status” character (holding little such social capital). By the conclusion of the scene, players must have facilitated an exchange in the status configuration so that now the high status character holds the lower status and vice versa.
Example
Player A has assumed the role of a high-powered CEO and “high status” while Player B is the new company intern and “low status.” It is apparently company policy for the CEO to meet all new hires, and so Player A has been joined in their impressive office by a seemingly anxious Player B…
Player A: (pointing out the window) “…and that new wing should be completed in just a few more weeks.”
Player B: “You’ve really created an astounding company here.”
Player A: “But just twenty years ago, I was in a similar position as you right now…”
Player B: “Oh, I don’t think I could ever accomplish anything quite like this.”
Player A: “Software development is an ever-evolving field. You never know where the next million – or billion – dollar idea might come from.”
Player B: “You’ve certainly made the most out of your breakthrough all those years ago. You don’t worry that all of this might be made obsolete by the next great idea…?”
Player A: (a little thrown off) “Well, that’s why I hire the best and brightest, such as you!”
Player B: “I was just a little surprised on the tour to see that you’re still heavily investing in traditional manufacturing procedures. Everything we were exploring in my doctoral program points to quantum computing as the way forward…”
Player A: “Quantum computing…?”
The Focus
There are many ways that the status or power exchange can occur (as discussed below), but make sure this challenge remains at the center of the scene. You can also be strategic when assigning initial roles and statuses. Players who typically resist change or ceding the high ground may find giving up their power in the scene particularly disconcerting, and so might benefit from at least initially experiencing the game from this orientation. While players who prefer assuming low status might find some discomfort in the high status role, I find that they are generally more willing to allow their status to change as the scene demands.
Traps and Tips
1.) Don’t conflate rank and status. I consider this idea more fully my expanded Status entry (now housed in The Improv Dictionary) but be wary of assuming that social rank and status are necessarily one and the same. As this exercise explores, status is in reality quite fluid, and while the CEO is likely to normally hold the higher status position, particularly when they are ensconced in their high rise office, their occupational rank may stand in contrast with their relational capital. This scenic dynamic can benefit from beginning in the “traditional” status configuration (the boss is high, the intern is low) as this allows a more dynamic and potentially unexpected adjustment, but there is certainly also great value in starting with less expected configurations and watching the CEO find their way back to the top of the pecking order.
2.) Explore different initial status gaps. A CEO with an intern innately offers a pretty substantial starting status divide, but this distance is another fruitful area of exploration. You could begin with a relationship that would suggest a stark status contrast and then adjust this in the backstory or given circumstances right from the top of the scene. Perhaps the intern is the CEO’s child or parent, or both characters have long been best friends, or are currently head-over-heels in love spouses. On the other end of the spectrum, it’s also exciting to explore initial starting points that instinctively suggest a closer status distinction, such as a CEO and CFO, or an intern and their peer who has been with the company for just a few months. Such configurations invite gentler scenic work and subtler “swaps” that open up a new level of playful discovery.
3.) Pursue different swapping rhythms and dynamics. As players explore various scenarios and journeys, also be on the lookout for different ways in which the status can effectively switch. I’d caution against discussing these possibilities prior to getting on your feet and playing the game in favor of recognizing this variety and celebrating it as it organically emerges. There is a marked difference, for example, if the status swap occurs swiftly and suddenly in essentially one large move or choice, as opposed to a more measured and patient approach where the exchange is gradual and incremental. Similarly, the scene will feel rather different if there is a status inversion in the closing moments as a “rug pull” as opposed to as the result of a bold choice in the opening dialogue. There is no one right strategy to pursue but rather a multitude of approaches that can unlock powerfully diverse potentials.
4.) Embrace and justify the switch. Just in case this doesn’t go without saying, make sure you are consciously and actively embracing the status switch as it emerges (even if the character is seemingly resisting it). The first step in this journey might be unintended or small, so it’s important that players are mining the scene with an attitude that the process of changing status could be triggered by almost anything. In fact, I’d offer that the more riveting scenes tend to be those where the players don’t aggressively offer tilts but rather recognize their potential from the organic flow of the action. It will also prove less satisfying if the ultimate status inversion is not appropriately justified: sure, someone could just flip their status at the end of the scene, but as is the case with all improv, it’s more about the process than just leaping to an intended outcome. (To this end, it’s also innately less powerful if players enter the scene with a pre-determined mechanism for switching their status that they work towards regardless of what other fruitful potentials emerge.)
In Performance
I’ve presented this dynamic as a training exercise, but it is certainly stage worthy either as a declared frame or as a more subtly discovered game. It tends to work best if you focus on one central relationship, but other players can certainly support the action with strategic and generous side support. In long-form modalities, status inversions (and possibly recoveries) can also dynamically and successfully span and shape the dominant dramatic arc given care and finesse. One could easily argue that this type of journey is often central to the scripted realm as well – just think of King Lear or Oedipus Rex or Medea or Tartuffe or Stop Kiss…
Cheers, David Charles.
www.improvdr.com
Join my Facebook group here.
Photo Credit: Tony Firriolo
© 2021 David Charles/ImprovDr
Connected Concept: Change
The powerful device of seeking variety and growth in your characters and their journeys.
Changing Up Your Characters…
This is just a taste of this entry/concept. Go here for more information.
Related Entries: Commandment #5 Antonyms: Bulletproof, Commenting Synonyms: Breaking Routines, Tilt
Cheers, David Charles.
www.improvdr.com
Join my Facebook group here.
© 2021 David Charles/ImprovDr
Connected Game: Status Swap
If your improv is starting to feel one dimensional you may be suffering from a lack of detailed subtext. As text and subtext conflate and essentially become the same thing, our choices (no matter how exciting or promising they might appear) can start to feel like Cartooning — merely stating our ideas rather than executing them with nuance and emotion. Stop! Think! is a dynamic exercise that can help strengthen our subtext muscles and quickly reveal when our scene work and characters are losing that delightful complexity that tends to mark the human condition.
The Basics
Players obtain a central premise and may work in smaller groups, all performing simultaneously, or one group at-a-time in front of the workshop or class. The scene begins “normally” with players establishing the basics of the scene and communicating through everyday dialogue. At an opportune moment, the instructor or caller announces “Stop! Think!” and all on-stage characters must now start monologuing their inner subtext. These streams of consciousness continue until the caller announces “Continue” and the scene returns to traditional action and dialogue exchanges. The scene develops with multiple subtextual interruptions until an organic ending is reached.
Example
Players are inspired by the choice of “Stepsiblings.” The scene begins with both players lying on their beds in their now-shared bedroom.
Player A: (breaking a silence) “I really like your posters. You have great taste in music.”
Player B: (a little cool, rolling over to read their book) “Thanks.”
Player A: (after a moment) “I was thinking of trying out for the basketball team. Do you like it?”
Player B: “Yeah, I’ve made some good friends there.”
Player A: “Maybe you could introduce me to them…?”
An awkward moment of silence.
Player A: “…if that’s not asking too much.”
Player B: “No, I can do that…”
Caller: “Stop! Think!”
Player A: “I think I’m coming on too strong. I just don’t really know anyone in town yet, and if my own stepbrother doesn’t like me, this is going to be rough. Maybe I should just let this go and let him read? It’s kind of nice having someone to talk to, though. I’ve always been an only child with a room all to myself. And now I have a big brother to look up to…”
Player B: (overlapping and at the same time) “I know I shouldn’t be so grumpy. It’s not his fault our parents hooked up. He seems to be taking it much better than I am. This house is going to be so different without Mom in it. Dad just doesn’t get me, and I don’t know what to think of this ‘new woman’. He couldn’t have waited until after my senior year of high school…?”
Caller: “Continue”
Player B: “Look, I just want to read my book, if that’s okay with you…”
Player A: “Yeah, sure.” (after a moment) “Can I just ask you one more question…?”
The Focus
It quickly becomes apparent in this game if there isn’t anything happening in the scene at the subtextual level, and it’s likely that players might initially struggle with the central dynamic if this skill isn’t already part of their improv tool belt. It is certainly foreseeable that there will be some trial and error, so it can be kind to allow an unobserved attempt prior to bringing the exercise before the group. Be vigilant that players are striving towards active subtext and using this time to craft dynamic points of view and backstory elements. While some choices may remain as “secrets,” ideally, these internal monologues should also be reflected in the ebbs and flows of the textual (“normal”) relationship and scenic choices.
Traps and Tips
1.) Subtext moments shouldn’t become empty placeholders. Initially, the “thinking” portions of the scene can feel a little overwhelming, especially if you don’t feel you have narrowed in on a deal as your character. The caller should strive to set players up for success in this endeavor, allowing sufficient time for something to land before offering up the first subtextual challenge. Be on the lookout for empty “thinking” – players circling unhelpfully around one narrow idea or filling time with nondescript language such as “I don’t know, I just don’t know…” If you see this happening, some side-coaching is probably in order to re-establish the focus and intent of the exercise. Perhaps offer up some over-arching questions such as “How do you feel about sharing this room,” “What just happened before the scene started,” or “What do you really want from your scene partner?”
2.) Explore different subtextual energies and dynamics. Subtext tends to initially incline to one end of the spectrum or the other and will often seem very snarky or bitter (“I hate everything about you and this situation”) or, sadly less often, full of unconditional love and adoration (“You are perfect in every way”). Look for all the beautiful variance and potential between these two positions. Subtext can be uni-directional, essentially in agreement with the stated text but felt at a deeper level of significance, or vari-directional, working in contrast or opposition to the text (think saccharine but insincere “Southern hospitality”). Sarcasm would certainly serve as a strong example of this latter approach, but this energy can quickly dominate the scene in a way that diminishes the potential for finding nuanced details. (I would actually recommend encouraging actors away from a sarcastic approach in general.) Subtextual moments are also excellent opportunities for shelving new details, exploding CADs, and launching the occasional curve ball if these devices are familiar.
3.) Don’t be polite when thinking. Trained improvisers can also struggle with the wall of sound that is deliberately encouraged when the subtext is cued and may try to kindly give and take focus in these moments with others onstage. Especially when you are in the workshopping phase of this exercise, avoid such politeness as best you can. While the dynamic certainly isn’t about yelling over your scene partners, it is, by design, intended to be a little selfish. This is a moment for you to focus on your own deal and given circumstances without prioritizing what your partner may be brewing. It should feel and function like a monologue (or, perhaps, soliloquy if we want to be a little more precise). For the audience, the connections and disparities that develop from the characters attacking these moments are certainly a large part of the fun. Also, while you clearly want to apply any discoveries made during your thinking rants, merely repeating these feelings verbatim as spoken dialogue when the scene recommences isn’t really honoring the gift the game.
4.) Start small. The more characters that are present for the scene, the more complex the subtextual rants and ramifications become. The scene tends to have a better chance of profundity and success when it has a more contained focus. For this reason, a dynamic relationship between two players tends to work well as an initial starting point. If you are playing with a larger “team,” look to carefully pace your entrances so as to allow smaller combinations to share the stage whenever possible. Generous exits will help in this regard as well. Similarly, when calling the game, there is a fine line between challenging the players with sufficient time to develop dynamic energies and needlessly torturing them with voluminous subtextual opportunities.
5.) Develop your active listening. If players have found comfort with this technique and are generally crafting interesting choices that are then informing and enriching the textual components of the scene, encourage deeper listening during the subtext cacophony. Yes, players should continue to exert the selfishness encouraged above, but it is also possible to look for themes, tensions, and offers within your partners’ “unheard” monologues, too. Players should avoid “hearing” such moments as the characters, but as improvisers should look for ways to subtly heighten and explore any gifts contained therein. Player B mentioned missing his Mom and wanting a more typical senior year of high school. These ideas might open new doors for Player A in the spoken scene that follows, although I’d caution that instantly grabbing something from your partner’s subtext can feel a little easy or cheap as opposed to shelving it and looking for a moment later in the action where it might serve a greater end.
In Performance
There is a bit of an intentional clutter at the center of this game when all the onstage characters start to speak in an unorchestrated cacophony. As a result, I tend to use this game as an exercise or steppingstone to other subtext-focused frames that are a little more audience-friendly, such as Text/Subtext, Conscience, or Inner Monosong. That being said, the foundational dynamic is certainly playful and dynamic and with some close attention to not overcrowding the stage (and perhaps having characters find gentle ways to share focus) the game certainly has clear promise.
Cheers, David Charles.
www.improvdr.com
Join my Facebook group here.
Photo Credit: Tony Firriolo
© 2021 David Charles/ImprovDr
Connected Concept: Cartooning
Cartooning refers to a two-dimensional style of play that lacks nuance and depth.
Bringing That Third Dimension to Your Scene Work…
This is just a taste of this entry/concept. Go here for more information.
Related Entries: Commenting Antonyms: Showing, Truth, Vulnerability Synonyms: Telling
Cheers, David Charles.
www.improvdr.com
Join my Facebook group here.
© 2021 David Charles/ImprovDr
Connected Game: Stop! Think!
Freeze Tag games are a mainstay of most short-form workshops and performances, and while they are certainly excellent warm-ups and skill building exercises you can get a little performer fatigue if you’re playing the same versions again and again. Environmental Freeze Tag is a quick-paced variation that I don’t see played nearly as often as its relatives, and it has the added advantage of modeling some of the central techniques behind effective Canadian Crosses. If you struggle to create locations rich with details and potentials, this game will certainly help you in that regard, too.
The Basics
One player will serve as a caller and elicit a list of contrasting environments. These options can be compiled prior to beginning the game, or the caller can gather new suggestions during each transition. A first environment is offered, and players, one-at-a-time, enter the performance space and start to create characters, objects, or dynamics that can define this location. Players should think in terms of Canadian Crosses and physical choices as opposed to characters engaging in sustained dialogue. Improvisers can enter and exit at will and should strive to keep an interesting and balanced stage picture. Once we have seen a relatively full array of choices, the caller announces “Freeze,” and those who are currently onstage do just that. The caller may then streamline the image by releasing some players by saying their names, which cues an exit. A new location is then offered, which serves as the inspiration for the next round of choices. Those currently “frozen” should justify their current poses in this different context and are then joined by others in the wings to flesh out the new world. The process continues at the caller’s discretion through multiple contrasting locations.
Example
“Circus” is offered as the first environment. After a blackout, players start to enter…
Player A: (assuming the role of a barker, walking across the stage) “Step up, step up, and experience the world’s largest hallway of mirrors? Will you find or lose yourself in the ever-changing corridors…?”
Players B and C enter. C offers B a handful of balls that they proceed to throw at an imaginary target in the hopes of winning a prize.
Player D enters and stands near B and C, assuming the stance of a large spinning prize wheel with their arms outstretched.
Player E enters and sits, looking scared, downstage right. They assume the stance of a lost child holding an over-sized stick of candy floss (cotton candy).
Player F stands to one side as an off-the-clock clown reaching for a cigarette. Player G enters after a few moments as a fellow performer.
Player G: (to Player F) “Can you believe these kids? I don’t know how much longer I can take this.”
Players H and I, holding hands, stroll across the stage as teenagers lost in each other’s company. They stop and look at various signs and attractions.
Player A, no longer a barker, has returned as a giraffe in a cage interacting with the crossing teenagers…
Caller: “Freeze.” (The players do so.) “Let’s have Player C, E, G, and H leave the scene.” (The caller elicits a new location and offers it back to the stage…) “Let’s move to a construction site…”
Those remaining on stage take turns justifying their old physicalities in new ways… perhaps A now becomes a crane, B assumes the role of a foreperson, F and I start carefully walking across a high beam…
The Focus
At its core, this is a freeze tag game, which means that the concept of justification is critical in its implementation. There are also give and take challenges due to the unavoidably cluttered nature of the vignettes that need to be tended to judiciously. In addition to crafting rich and dynamic locations, players should endeavor to explore the full range of their physicality in order to enable stark and playful shifts and opportunities for recontextualization.
Traps and Tips
1.) Helpful caller strategies. Unlike many freeze games, the caller is an active and important contributor. Pace the new locations carefully: you want to give sufficient time for each location to be fully embodied and developed, but don’t want the attack to drop or the stage picture to lose dynamism and interest before announcing the “Freeze.” If the size of your ensemble allows, aim to provide space for everyone to make at least a little gift before shifting gears as a general rule. When culling the stage picture between environments, strive to keep the most challenging or interesting elements in play. It can be fun to have one player in the hot seat for several shifts in a row especially if they’re in an unusual position and are doing well with each subsequent justification, but also try to spread the wealth amongst the company as best you can: players can become disheartened if they are always sent to the side during the transitional moments. Keep an eye out for sightlines — if an area of the stage has become cluttered, these are good places to release some players before announcing the new impetus. Furthermore, seek contrast between locations. This goal can be assisted by your ask-for phrasing if you’re getting locations within the game. “That was an outdoor location. What’s an indoor place where you’ve worked?” “We were just in nature. What’s a location that is very modern or urban?”
2.) Helpful player strategies. It can be useful to approach this game as a brainstorming exercise as opposed to a scenic exploration. As each location is provided, consider what characters, animals, relationships, props, or set pieces would likely be featured in this world. What are the unique facets of the location that make it quickly recognizable to an audience? These choices needn’t connect in a story sense, although it can be helpful to think about how they might relate spatially. In the circus example above, were the clowns in a “backstage area” as opposed to the carnival games and lost child who were in the circus grounds? Finding and maintaining a staging logic adds a new delightful level to the exploration. Don’t fall into the trap of having mini scenes with nuanced dialogue exchanges. A line or two is fine, especially if it is establishing or justifying your presence, but once you’ve had your moment in focus it’s generally wise to assume softer focus while other elements come to the stage. If there is a lot happening and your choice is no longer needed or pertinent, don’t be afraid to take the exit so that there’s room for others to join. Canadian Crosses are extremely helpful in this format. As the location takes shape, keep an eye out for trends that you can address. If everyone is a character (which tends to happen when players are first introduced to the game), then it’s great to take on an inanimate aspect. As you scroll through multiple worlds, some very strategic callbacks or character reincorporations can prove highly successful, especially as the game approaches its conclusion, but don’t rush to this conceit or the environments may become poorly illustrated.
3.) Helpful “freeze” strategies. There is some helpful etiquette when it comes to the location transitions. It’s good form to prioritize those onstage when new locations are introduced so that they have strong focus while they justify their old position in a new way — hence the device of the caller cleaning up the image between these pivotal moments. The basic rules for other freeze games apply here: don’t fudge or release your pose as you make your new choice but rather mine the potentials of its smallest details; defer to players holding difficult positions so that they have right of way if they need it; and maintain an awareness of others in the space so that focus can be deliberately moved from one justification to the next. Offstage players should endeavor to allow sufficient time for all the captured players to unfreeze before re-joining the action. This prevents sudden clutter reforming and also gives the frozen players a little right of way in terms of grabbing the most obvious scenic elements as part of their justifications. Obviously if the frozen players are clearly struggling in a non-joyful way an offstage player should certainly enter with a choice so as to buy others some time (or possibly pitch an endowment to a fellow player who is “stuck” both physically and creatively).
In Performance
While this game is clearly related to its other Freeze Tag kin and many of those games’ strategies will assist in its execution, the mechanics and scale of this iteration will feel decidedly different at least initially. The clutter is both the blessing and the curse of the game. You need players to enter (and exit) with abandon and create multi-faceted environments, but especially when it comes to the freeze transitions, players must display patience and great care with focus give and takes or else it can quickly become chaotic and largely unwatchable. The pacing of new entrances is critical in this regard, and it’s particularly important for offstage players to remain present and focused so that they can clearly communicate to each other their intent to join the fray.
Cheers, David Charles.
www.improvdr.com
Join my Facebook group here.
Photo Credit: Tony Firriolo
© 2021 David Charles/ImprovDr
Connected Concept: Canadian Cross
The art of briefly entering a scene in progress to make a concise and useful offer.
Moments Ripe for a Canadian Cross…
This is just a taste of this entry/concept. Go here for more information.
Related Entries: Complementary Action, Give, Parallel Action, Side Support
Cheers, David Charles.
www.improvdr.com
Join my Facebook group here.
© 2021 David Charles/ImprovDr
Connected Game: Environmental Freeze Tag
If you play musical improv scenes it’s likely that some version of this game is already in your repertoire. If it’s not, then it certainly should be! Song Cue is a classic “called” short-form game that challenges improvisers to craft originally titled numbers on the spot. For some general Caller tips, be sure to check out my earlier entry here.
The Basics
Players construct a scene based on an audience suggestion. As the action unfolds, a caller can identify a previously spoken line of dialogue by saying, “Freeze, that sounds like a song…” and then repeating the pertinent portion of the phrase. Players construct an improvised song inspired by (and typically featuring) the nominated title. At the conclusion of the song, players return to spoken dialogue until a new song title is “recognized” and called.
Example
The scene is inspired by “canoe”. Two players begin the scene gently rowing on a river as the lights come up.
Player A: “You truly picked the perfect day for this. It couldn’t be more stunning out here.”
Player B: “You’ve just be so stressed sweetie, and you always get so recharged in nature…”
Player A: (laughing with self-recognition) “You know me so well!”
Player B: (looking in the canoe) “Oh, I thought I packed some water. I can’t seem to find it…”
Player A: (lovingly) “No worries. Everything I need is in this canoe.”
Caller: “Freeze, that sounds like a lovely country ballad: ‘Everything I need is in this canoe…'”
The improvising musician provides some appropriate country music and Player A begins to sing...
Player A:
“The scenery is beautiful, that’s clearly true
But I’ve no interest in this astounding view
‘Cause you always seem to know just what to do
That’s why everything I need is in this canoe…”
The Focus
While the caller device certainly adds some challenge to the game (and perhaps a little well-intentioned “torture”), I’ve found that Song Cue is a wonderfully resilient frame that can support a wide range of styles and energies: from nuanced relationship scenes all the way to whimsical or fanciful improv romps. The game will struggle without crafting successful songs that enrich the themes and subtext, so this is certainly a skill set to polish and bring to the format.
Traps and Tips
1.) Some game-specific caller advice. Often the best song titles are those that have spontaneously slipped out (rather than those players have more deliberately or knowingly pitched) so look for these as the scene evolves. While a meandering line of dialogue as a title will certainly get a laugh, improvisers can struggle to remember and successfully use these more voluminous suggestions: it’s more than appropriate to edit a longer line of dialogue into its essential core. Some venues prefer to just provide the unadorned title to allow the musician and singer the freedom to find the style or mood, but I quite like adding a little overlay to help give the songs some variety. If you opt for this approach, be sure to name your offered style as early in the call as possible to give the musician an opportunity to adjust accordingly, and it’s wise to have a sense of what styles may be beyond your technical parameters (heavy metal without a guitar, for example, can be extremely challenging on a keyboard or piano). Regardless of which approach to style you utilize, be mindful of facilitating different moods and energies in your calls and sharing the opportunities amongst the various team members.
2.) Some song mechanics thoughts. The ins and outs of the songs offer unique challenges and opportunities. The caller should endeavor to grab song titles of interest confidently and quickly so as not to needlessly stall or interrupt the story arc. Almost without exception the scene benefits from three musical moments that represent the beginning, middle, and end or climax of the scene, the last of which is typically a show-stopping or up-tempo number. Occasionally it can be dynamic to throw in a fourth quick hit that might feature a particularly silly line or if players are clearly struggling to land a song and would appreciate a fast edit. It’s a good default position to assume that the interrupted speaker who provided the title will serve as the featured singer (at least initially) and it can be helpful for the caller to also distinctly mark musical numbers as solos, duets, or ensemble pieces especially if your company tends to fall into patterns of performance. I like making sure at least one number is a solo or ballad just to provide some variety. In terms of song endings, these can be determined by the singing players in conjunction with the musician, or you can deploy the caller to offer buttons by ringing a bell or noting “…and back to the scene.” Often a verse with a chorus feels sufficient unless everyone is on a roll, but it can be helpful to utilize the caller as a failsafe measure.
3.) Some transition guidance. When the caller announces the “Freeze” to insert the song title suggestion, I’d generally recommend onstage players assume a soft freeze, gently continuing activity as they closely listen to the new information. There will often be a few “empty” moments as the musician prepares based on the potentials of the title and starts the musical introduction. Characters can use these moments to then re-start the scene, finish any interrupted dialogue or pre-song banter, and robustly position the designated singer to take the focus. There are several approaches you can take once the songs are up and running. Unlike some other musical games where non-singing characters remain frozen as singers croon their subtext or unheard thoughts, the scenic action typically continues in Song Cue. Depending on the feel of the scene or style of the song, action can retain a “slice of life” or realistic feel, or you might assume a more “theatrical” energy with slightly largely than life movement or choreography. It often proves helpful not to preset this choice but rather to allow the given circumstances to dictate the approach for this particular scene.
4.) Some song content musings. The musical moments of this scene will invariably create energy spikes in the scene, especially if everyone is working together well to craft dynamic transitions and launches. The resulting songs can certainly exist on charm alone, but I’d also encourage using these moments to deepen and enrich the content of the scene. It’s a mistake or wasted opportunity to let the musical moments become filler or inconsequential pauses in the action. You can use the songs to extend: in the example above, we have a chance for Player A to flesh out their views on the relationship, providing backstory, subtext, or emotional veracity. They could also paint more details about the greater environment on the river or add nuance and particulars to the activity of canoeing. Similarly, you can use the songs to advance: perhaps Player A’s song builds to a proposal (welcome or not), or their level of distraction causes the canoe to hit a rock and breach, or the couple finds themselves lost in an aquatic labyrinth. When the songs are used as critical elements of the storytelling (as they would be in a musical) rather than accompanied departures of little consequence, the game takes on a whole other level of finesse. Songs are also a great time to drop a CAD.
In Performance
Musical games played well (and frankly not-so-well) are clearly audience pleasers so it’s definitely worth the time to build up the requisite skills that enable this type of scene. Remember to balance the storyline and game components, allowing the scene to develop before potentially overwhelming it with calls. It can be a trap to expect the songs to do all the heavy lifting of the scene especially if the unsung dialogue isn’t providing rich and connected context and justifications.
Cheers, David Charles.
www.improvdr.com
Join my Facebook group here.
© 2021 David Charles/ImprovDr
Connected Concept: Caller
A member of the improv cast that provides outside adjustments, suggestions, or challenges as the scene unfolds.
Factors to Balance as a Caller…
This is just a taste of this entry/concept. Go here for more information.
Related Entries: Hosting, Shape of Show, Shivving, Sidecoaching
Cheers, David Charles.
www.improvdr.com
Join my Facebook group here.
© 2021 David Charles/ImprovDr
Connected Game: Song Cue
Search for the current stockpile of called games in the Game Library by clicking here.
Perspectives would certainly rank amongst my favorite narrative games. If you’re familiar with Narrative Collage the premise is very similar but the mechanics are less tech dependent. This version allows players to self-edit and generally speak in an established order while Narrative Collage places this function in the hands of the technician who can raise the lights on any character at whim. The game also benefits from a slightly more luxurious pace: it can easily fill seven or eight minutes given the chance.
The Basics
A unifying event or scenario is obtained where a group of characters might congregate or share a moment of significance. Four players form a line in front of the audience, with each one stepping forward when it’s their turn. The first player (typically positioned stage right) is the first to speak and begins a narration from the point of view of a unique character of their making. After perhaps a couple of sentences they step back and the next player in the sequence continues the storytelling process, offering the beginning of a new arc from their own character’s perspective. Once all four characters have established their personae, the sequence continues through multiple rotations until eventually all four characters and stories meet in a culminating moment in time inspired by the initial suggestion.
Example
The players form a line and are inspired by the audience suggestion of “first car”.
Player A: (stepping forward) “It’d been a quiet day on the lot. Sometimes you just don’t get much interest even though these cars certainly can sell themselves given the chance! I had settled in at my desk with my newspaper and a cup of joe when I saw someone out by the new models. Here was my chance…”
Player B steps forward as “A” returns to the line.
Player B: (with a burst of energy) “Finally 16! I thought the day would never come. I’d worked all year to get my grades up ’cause (in a mocking voice) ‘that was the deal!’ The weekend couldn’t get here soon enough: the old lady was taking me car shopping!!!”
Player C has stepped forward as “B” retreats.
Player C: “I’ll be perfectly honest, I didn’t think she’d do it. Kelly has never been a particularly focused student so I thought I was safe making the deal. All our way to the car dealership I just couldn’t believe this was actually happening. My heart was racing – what had I done? But a deal is a deal…”
Player D is now downstage.
Player D: “It was a brutally hot day. And here I was, sitting out in the sun again with my siblings all around me. This wasn’t the life I was expecting, just to sit and wait and wait and wait. I longed to feel the rush of the open road.”
Player A: “This older lady was nearly hyperventilating by the newer models as I made my way causally up to my marks. It’s never a good idea to come on too strong…”
The Focus
The joy of this game is watching four very different characters and narratives develop and eventually merge at the established event or location. Active listening is particularly important, as is the ability to shelf and reuse ideas planted in the early rounds of the narrative. (Advice in my earlier callback post here is particularly on point for this particular scene so this might be worth a quick look.)
Traps and Tips
1.) Dynamic character casting choices are key. Generally players cast themselves in the moment as the game unfolds. A team member may nominate themselves to go first if they have a strong launching point in mind by placing themselves in the stage right position. It’s important to listen closely to the intent and energies of the characters as they are established so that you don’t inadvertently miss an opportunity to have a critical voice present, carelessly duplicate a character’s energy or function, or weave the characters too closely together right from the beginning. I’m a fan of taking a calculated risk in the third of fourth position once you have a sense that the fundamental roles are well covered. An unexpected, ambiguous or curveball choice here can add some interest and risk to the game – perhaps a character that has no immediately clear connection to the anticipated arc, or as modeled above, it can be fun to give voice to an inanimate object whose identity may not be instantly apparent. Once you’ve discovered the joy of this type of outlier choice, you need to be cautious that your Perspective scenes don’t become populated solely by these types of voices as it can be a challenge to move the story along in a helpful manner from only marginal or peculiar positions, hence my advice to hold off on this type of casting until later in the mix when you can assess what voice might be missing or needed. Such a patient approach also allows the clear creation of the routine or “norm” for the audience before you break it.
2.) Explore different starting points. Players should aim to have all their characters present in the same narrative moment to close the scene – from the example above, perhaps they all all speeding down the highway together with Kelly at the wheel. While it’s expected that the stories will unify and merge for the climactic event, narratives can and should start from different moments in the preceding timeline. One narrator might begin weeks before the fateful moment, while another starts earlier that morning, and a third is narrating from just minutes before everyone collides. This variety increases the likelihood that you’ll establish interesting character backstories and given circumstances that can provide color and interest for the story further down the road. To some degree you can apply this same strategy to location although you might want to be wary of having a character that starts their journey so far away that they spend the whole story arc merely justifying their travels. Thinking too much of the ending as you’re beginning the game will needlessly diffuse the risk and joy of the storytelling challenge.
3.) Vary your narrative arcs and rhythms. Depending on your given performance parameters I’ve found that the game usually thrives with five or six rotations through the team as this allows sufficient time to establish, build and connect the various characters. It’s typical to maintain the speaking order as this optimizes the flow and focus exchanges especially if you’re playing in a setting where theatre lights are unavailable to do this for you. In addition to exploring contrasting starting points and arcs as players move towards the climax, also consider dynamic rhythms in terms of your narrative lengths and styles. The game can feel a little plodding if every narration is three or four sentences apiece, and especially as the rising action builds it’s dynamic to have some quick one-liners or responses thrown into the mix. It can also become exciting to break the narrative order with deliberateness if and when an appropriate story telling opportunity arises. If everyone is speeding down the highway, for example, it’s foreseeable that the scene might culminate in a cascade of overlapping voices and screams which is very much in the spirit of the structure.
4.) Strategically utilize endowments and callbacks. As characters may exist in slightly different moments initially in each others’ timelines, players should take extra care when it comes to making and receiving endowments. There can also be fruitful tensions between how characters perceive each other as opposed to their inner perceptions, so while the mother might think she was successfully hiding her anxiousness throughout the day others could paint her as a complete nervous wreck. Or the car dealer might believe that they are suave and able to subtly manipulate potential buyers while this is not the persona they actually present to the world. It’s also helpful not to rush bringing all the characters together as this allows more leisurely shelving and reincorporating of scenic elements. It is particularly effective and rewarding when characters are able to callback little details that others established when the storylines weren’t yet connected. Does the car dealer have terrible stale coffee breath? Is the car on the lot overheating after being in the sun so long?
In Performance
While the narratives in Perspectives are generally in the past tense, it can be a fun finesse for these to shift into the present as the stories connect and culminate, giving that final moment a little more urgency and dynamism. I’ve found that most improvisers find the central conceit of this game quite accessible and enjoyable, and it’s a great way to really build and feature teamwork.
Cheers, David Charles.
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Photo Credit: Tony Firriolo
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Connected Concept: Callback
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