“I” is for In-Progress “Index”

Here’s a working and ever-expanding list of improv vocabulary, terms, and concepts. For deeper considerations of these ideas (the original entry versions for my long-term readers) go here for more information. The equivalent in-progress list of games can be found here.

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A is for…

B is for…

C is for…

D is for…

E is for…

F is for…

G is for…

H is for…

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J is for…

K is for…

L is for…

M is for…

N is for…

O is for…

P is for…

Q is for…

R is for…

S is for…

T is for…

U is for…

V is for…

W is for…

X is for…

Y is for…

Z is for…

Cheers, David Charles.
www.improvdr.com

Website and Blog content (c) David Charles 2020-23

Game Library: “Rule Breaker”

When I teach improv novices, I’ll typically start with a few days going over the “greatest hits” of foundational skills and terminology, such as Accepting, Blocking, Wimping, Sharing Focus and the like. I like to use this high energy and chaotic exercise, Rule Breaker, as a way of then summarizing this work but through a via negativa approach.

The Basics

Divide the class or ensemble into groups of about six or so (groups much larger than this can be needlessly challenging). An offer is provided, and each team is then invited to play together while breaking as many of the “good rules” of improv as they can. This can include staging choices (upstaging each other), verbal choices (speaking over each other), and improvisational choices (wimping, pimping, blocking each other). The only unbreakable rule is keeping fellow improvisers safe and out of harm’s way. The scene continues until it typically collapses (!) and the process is repeated with the remaining groups.

The Focus

The “rules” of improv can certainly feel restrictive, and I don’t deny that they can tend to put neophyte improvisers in their heads initially. This exercise reminds players of how these parameters actually provide a common language of play and encourage connection, teamwork, and storytelling. By embracing the other side of the coin, most players will emerge having a new appreciation for how the rules empower collective and collaborative creation.

Traps and Tips

1.) Give the scene room to breathe. I will readily admit that often the first minute or so of these scenes are exuberant and enjoyable. There can be a heightened sense of playfulness and abandon even if it is generally solipsistic and without a unified direction. Allowing the exercise room to move beyond this initial burst of freedom will typically result in a steady and marked scenic decline. Players will quickly exhaust their initial choice or game when they are unable to get others to join. The fun of unbridled individualism will soon start to feel like a burden rather than a gift, and you’ll often see players accidentally engaging in collaboration in spite of the stated instructions.

2.) Reinforce vocabulary with sidecoaching. Depending on the experience level of the group, it can be helpful to “call out” accidental “good” improv when it happens. If someone joins a game or accepts a reality, or players engage in generous give and take, it can be worth your time to “correct” this so as to honor the central premise of the exercise. To model this expectation, I’ll often start with “Team, are you ready?” in the hopes that I’ll receive a chorus of “No!” or similar. The initial ask-for is also an interesting conceit as it, too, should generally be ignored or quickly thrown aside. If there is considerable time between your gatherings, it can help to quickly review the fundamental concepts that you’ve been exploring prior to beginning the exercise so players have the maximum amount of (bad) options at their fingertips.

3.) Allow sufficient time to debrief. In many ways, the debrief of this particular exercise is likely to be as important and meaningful as the exercise itself. I ask players to isolate particularly fun or memorable moments within the mayhem as there are usually many choices that were noteworthy! We’ll then discuss what it felt like to be a part of the scene as players and whether this was ultimately joyful or sustainable. It’s also revealing to consider the experience of watching these scenes as audience members. Many will find the experience quite tiring or overwhelming as they endeavored to find meaning or focus within the messiness.

In Performance

I’m always tickled by how much “good improv” inadvertently makes its way into these crazy scenes. Players will often accidentally start crafting mini-scenes within the maelstrom, trying to cooperate to generate something of interest, or fully accepting the offers of teammates in the hopes that some semblance of a story will emerge. I’m skeptical that this approach to improv has much value in performance in this particular form, although the abandon that Rule Breaker unleashes is certainly a palpable reminder that allowing rules to make us retreat into our heads is not without its own consequences and costs. However, throwing out all the rules just for the sake of throwing out all the rules also discards the deep wisdom that these formalized principles have come to represent.

Cheers, David Charles.
www.improvdr.com
Join my Facebook group here.
Photo Credit: Tony Firriolo
© 2020 David Charles/ImprovDr

Connected Concept: Blocking

“B” is for “Blocking”

A tendency towards rejecting or suppressing dynamic possibilities.

How Fear Can Lead to Blocking…

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

Related Entries: Commandment #1 Antonyms: Accepting, Agreement, Yes And, Yielding Synonyms: Denial, Negating, No

Cheers, David Charles.
www.improvdr.com
Join my Facebook group here.
© 2020 David Charles/ImprovDr

Connected Game: Rule Breaker

Game Library: “Four Sentence Story”

Four Sentence Story provides a helpful narrative exercise that breaks down the constituent elements of a basic story arc. In terms of Balance (definition #1), it uncovers some helpful dynamics and trends when considering how to initiate scenes rich with potential and interest. I use this or a slightly more robust variant in most of my rehearsal processes as it clearly unpacks the foundational features of a simple story progression while allowing players to rotate into the various functions.

The Basics

Depending on the size of your ensemble and the time you have available, you can play this is one large circle or break into smaller groups of 4 to 6 members, although I’ll usually model it once for the group as a whole if this is their first time working with the exercise. Four players participate in each sequence, working together to craft a single story with four distinct sentences: the first provides an introduction, the second continues by developing a problem, the third wraps up the action with a solution, and the final sentences tags the narrative with a moral or resolution. After the story has been completed (and perhaps quickly debriefed), the roles switch around one position, so that now the “second” player assumes the role of beginning a new tale with an introduction. The process ideally continues until everyone in the group has had the opportunity to play in each position at least once.

Example

Player A: (Introduction) “It was a cold and stormy night as Stacy drove down the windy country road in her rental car.”

Player B: (Problem) “All of a sudden, she heard a loud popping sound as the car lurched, sending her hurtling off the road heading dangerously toward a giant oak tree.”

Player C: (Solution) “Fortunately, Stacy was able to regain control of the car just in time, bringing it to a halt just inches from the giant tree’s trunk.”

Player D: (Resolution) “As Stacy sat sheltered from the storm under the tree’s mighty branches, she took out her cell phone, relieved that she had opted for the premium insurance on her rental.”

The Focus

Keep your attention on building a coherent story that fully utilizes the elements that have already been established or implied. Stories told in the third person tend to work best especially if we follow a clearly identified protagonist (and use their name repeatedly). In terms of balance, the first player should strive to set a strong tone that is specific enough to spark the imaginations of those who will follow. If it is too simple, “Joe was a little child,” it can make it difficult for later players to avoid inventive or overly original choices.

Traps and Tips

1.) Play at the top of your intelligence. When you first tackle this game, it can be helpful to do a round with slightly simpler content in order to make sure everyone fully understands the obligations of each narrative position. Once you have a sense of these roles, however, raise the bar in terms of your language use. If you deploy more dynamic or poetic words and images, the stories are likely to inspire your teammates and take on deeper meaning. With only four sentences, these stories will likely feel a little abridged, but you should still strive to make them eloquent and well told.

2.) Pursue strong story telling techniques. This could be a substantial list, so I’ll hit some major points here and recommend you review other entries such as Advancing and Extending. Look to give the action a grounded sense of time and place (rather than summarizing events that have occurred over a wide period of time). To this end, small steps can be helpful, and each subsequent action should have a clear and “logical” connection to those that have gone before (“logical” in that the connection should at least make clear sense to the current teller). The most satisfying stories are often those that have most judiciously used the established elements, weaving them throughout the four sentences as needed.

3.) Avoid fulfilling other player’s story functions. As this exercise offers an elegant but concise story model, it can be problematic if narrators start to fulfill other assigned functions. This most often occurs in the first “introduction” position as it can be tempting to inadvertently foreshadow or offer a problematic element. (The “cold and stormy” night in my example above is arguably on the verge of this, although I think here it is providing mood and stakes rather than a problem per se.) Discourage this as best you can. It’s important to establish the value of a stasis or balance in and of itself as this creates a snapshot of the world in equilibrium. When you rush to the problem, there are fewer details established in the given circumstances from which later elements of the story can gain inspiration. If a fellow player does inadvertently step into your terrain (and a re-start seems inappropriate), I’d advise extending or heightening in order to satisfy the requirements of your assigned sentence rather than offering up an alternative or secondary choice.

4.) Embrace the details and style. Details are everything in this exercise and it can keep the game interesting and fresh after multiple re-visits if players are keenly exploring different voices, moods, and styles. I tend to facilitate the game without providing a launching title so there is a lot of freedom in that first position to craft some unique rules for your world. As players become more adept, it can be joyful to seek to fully embrace not only the specific elements and offers, but also mirror and expand the established tone of the piece. Are we in a typical modern world, or are there supernatural elements at play? Is this a teenage love story, or a gritty crime drama? Leaning into adjectives and nuanced images alone can add a whole new level of challenge and specificity. While the game is called Four Sentence Story, once the basics are mastered, it’s certainly in the spirit of the exercise to encourage each speaker to expand upon their contribution beyond a simple or run-on sentence.

In Performance

There are a lot of storytelling games that explore some form of story structure or spine, but this remains one of my favorites as in spite of its seeming simplicity it can house a wide variety of surprisingly detailed narratives. If you move from this narrative exercise into scenic work, it can be helpful to consciously consider where you are in this four-element structure and what particular role performers may be fulfilling. For example, if two players begin a scene and are struggling to move beyond the stasis or introduction, it is not uncommon for the gift of the third arriving player to be that of the problem. Similarly, if the scene has essentially solved its crisis, this should be an impetus for the team to look for a resolution (a loose equivalent to a scenic button).

Cheers, David Charles.
www.improvdr.com
Join my Facebook group here.
Photo Credit: Tony Firriolo
© 2020 David Charles/ImprovDr

Connected Concept: Balance

“B” is for “Balance”

There are multiple (at least four) pertinent definitions of Balance from a performance perspective, including the initial status quo of the theatrical world, and the way in which we play together on stage.

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

Related Entries: Commandment #3, Ensemble, Inclusiveness Antonyms: Breaking Routines, Shining Synonyms: Given Circumstances, Platform, Routine

Cheers, David Charles.
www.improvdr.com
Join my Facebook group here.
© 2020 David Charles/ImprovDr

Connected Game: Four Sentence Story

Game Library: “Three Through the Door”

I came across this challenging game in the 1990s when I studied with the Players Workshop of the Second City. Currently, I feature it in my semester-long improv course that focuses on characterization as it’s a nice way to weave together some of those threads. It’s a two-person scene that riffs on the concept of an Audition and I know it as Three Through the Door.

The Basics

Working in pairs, one player assumes the role of the director or casting agent while the other serves as three consecutive actors. In a series of three vignettes, the actor enters the space and, with the assistance of the director, goes through the various stages of a brief interview and audition. At the completion of each audition process, the actor leaves the space only to immediately return as a completely new character also attending the audition. This second character is then, in turn, followed by a third and final new persona. Once the director has seen all three contenders, the two improvisers change roles with the former director now providing “three through the door”.

Example

Player A, as the director, sits at a large table with a stack of papers and resumes.

Player A: “Next.”

Player B enters with a confident gait and strides over to the director, firmly shaking their hand.

Player B: “So nice to see you again. I was a huge fan of your recent adaptation of Hamlet. Some really lovely and original work there.”

Player A: “It’s certainly good of you to come in today. I was just reviewing your resume…”

Player B: (interrupting jovially) “That’s me! Dustin Jones. I’m excited to show you how I’ve applied the feedback you gave me last time…”

Player A: “Well, let me see what you’ve brought me today and we’ll take it from there…”

The Focus

This format is a great way to practice diving headfirst into strong characterizations and finding the details and nuances as you go. The director should see themselves as primarily a facilitator, nudging the various characters into discoveries and interesting dynamics. Ideally by the end of the exercise, each improviser has crafted three compelling and unique characters that could easily populate future scenic work.

Traps and Tips

1.) Commit to the audition premise. There is a lot of fun to be had in the banter between the various actors and the director but also strive to get to the actual audition. If you are working in a group of non-actors who do not have monologues at the ready, it’s more than fine to recite lyrics from a song or make up a monologue completely. If you do have one or more monologues in your repertory, I think it can be enlightening to bring them out in this very different context and try them from wildly different points of view and energies. (It’s an interesting choice to have all three characters use the same piece, for example, so that you’re encouraged to find something new in it each time.) The director can then also make adjustments or modifications as part of the scene, thereby facilitating new discoveries from old terrain.

2.) Seek contrast and finesse in your characters. Often characters will start off a little gimmicky due to the need to just grab at something when you begin. To offset this tendency, the director serves an instrumental function in encouraging levels and honesty as the characters have a little more room to develop. When selecting those “first” inspiring choices or energies as the actor, seek interesting contrasts to stretch yourself. For an added level of challenge, I think it can be powerful to craft three characters or versions of yourself who might all actually audition for the same role or play as opposed to just crafting three wildly different personas, such as a precocious child, indifferent young adult, and new-to-the-boards octogenarian. (Although there is undeniably a value in approaching the task at hand in this latter manner as well.) This exercise can also promote problematic portrayals if we’re not careful: perhaps review my thoughts on Archetypes in improv here if this is a concern.

3.) Use all your gifts as an improviser. In addition to exploring three different character points of view, also be sure to consider other facets of your craft as a performer. Does each character have a different tempo when it comes to moving or speaking? Do they have innately different status relationships with the director? How do they occupy the audition space: are they free and comfortable, minimize their physical presence and jittery, or expansive and controlling? Consider using a different animal essence, physical lead, or verbal rhythm in order to unlock new possibilities. This form is wonderfully open and can serve a myriad of different characterization techniques and processes so be sure to bring past lessons with you as you walk “through the door”. It’s unlikely that you’re have the time and wherewithal to consider all of these dynamics but just committing to a specific in one or two areas can launch you on a new path.

4.) As the director seek to empower rather than endow. The director should certainly strive to be a helpful and enabling scene partner, providing new observations and opportunities through which the personae can find their voices and cores. I would caution, however, that I think it’s in the spirit of the game to allow for the major choices to come from the actors rather than the director otherwise the dynamic can shift into a series of endowments (or possibly pimps) rather than more open-ended offers that encourage the actor to make their own informed choices. It’s helpful to play along with any games the actor might pitch, “Yes, I did see you at that Hollywood party…” but be wary of making broad defining choices, “Temuera Morrison! I’m a huge fan of your work”. While this game certainly could be played in a lay-over manner, with the director offering up an increasingly difficult array of hoops for the actor to jump through, I don’t think this elevates the underlying value of empowering the improviser in the hot seat to find their own character truths.

In Performance

I’ll often have class members playing this dynamic in pairs all at once as it is a lengthy game – easily 8 to 10 minutes or more for each trio combination. This provides a little anonymity as players take their first steps, and also prevents observer fatigue as watching 10 or 15 of these in a row can be a little daunting and is likely to put those performing later in the mix very much in their heads as they increasingly feel the pressure to rule out possible characters based on what they have seen already. I’ll wander through the workshop space looking for trends and feedback. Providing time warnings is also helpful so that the third character doesn’t get short-changed if the first two were expansive or verbose.

Allow a decent amount of time to debrief (ideally before the reversal of roles and then again at the conclusion of the exercise) as players often gain a lot from both their struggles and successes in the game. If you’re considering using this in a classroom or workshop situation, I’d also advise that it typically serves everyone better when offered later in your programming as the conceit requires considerable trust and confidence.

Cheers, David Charles.
www.improvdr.com
Join my Facebook group here.
Photo Credit: Tony Firriolo
© 2020 David Charles/ImprovDr

Connected Concept: Auditions

“A” is for “Auditions”

A fraught but necessary part of the production process.

Putting Your Best Foot Forward…

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

Synonyms: Preparation, Professionalism

Cheers, David Charles.
www.improvdr.com
Join my Facebook group here.
© 2020 David Charles/ImprovDr

Connected Game: Three Through the Door

Game Library: “Scene in the Audience”

When I explored the role of the Audience in improv, this game quickly came to mind. In some ways, it’s almost more of a handle as there are few “rules” to the structure, but it’s nonetheless a great dynamic to literally break the fourth wall during your shows. Here’s Scene in the Audience.

The Basics

A premise (often a location) is obtained. The team performs a scene that takes place predominantly or exclusively in the auditorium as opposed to on the stage.

Example

Players receive the suggestion of a security line. After the transitional blackout, the lights come up on the auditorium, where the players have scattered themselves through the audience. Player A is standing and calling.

Player A: “I thought you said you were going to hold my place!”

Player B is standing on the other side of the house, and with a gesture encourages those nearby to stand up as well.

Player B: (yelling back in return) “You know how I struggle with being assertive. I just didn’t want to have to keep explaining.” (Turning to an audience member) “And this lady reminded me that you’re not meant to hold places…”

The audience members nod and smile.

Player A: “Well, that’s just great. Don’t think I’m going to give you any of this popcorn! Would anyone else like my former best friend’s popcorn?”

Player A offers some popcorn to a nearby audience member and starts to sulk…

The Focus

There are many ways to approach this dynamic, but the major pay-off is obviously getting willing audience members involved. I’m including some possible strategies below. I’d caution players to make sure audience safety is front of mind. And, as always, I think it’s a wiser approach to invite participation rather than mandate or potentially coerce it.

Traps and Tips

1.) Using the audience as people. This is probably the most straightforward approach and is modeled in the example above. I’ve often seen some variation of putting the scene in a theatre auditorium or crowded space, which certainly honors the central conceit of the game. Here, players can define the audience as ill-defined masses or endow various individuals or smaller sub-groups as characters with whom they can interact and play. If you’ve earned the trust of your audience beforehand, the potentials are literally boundless. A third improviser could enter and utilize other audience members as fellow security guards, the team could offer that the rock band is making a Canadian Cross in the hopes that some folks will leap into the roles, or players could try their luck at moving up through the line and accepting whether or not audience members will hinder or allow their progress. If you’re using audience members in this manner, it’s a powerful choice to truly let them make decisions that will influence the progress and outcome of the scene. Just remember to keep your audience safe.

2.) Using the audience as environment. This option opens up if you take the risk of exploring a location that doesn’t closely mirror a typical auditorium. For example, if your scene is set in a warehouse, audience members could now be invited to participate as other characters or environmental objects such as large crates, a conveyor belt, or forklift. This can take some gentle coaxing and encouragement, especially if you’re asking several patrons to work together to form something with their bodies, but it can be quite wonderful to experience strangers embracing the accepting philosophy if you’ve empowered them graciously to do so. Just remember to keep your audience safe.

3.) Using the audience as props. This is essentially a smaller scale variant of the above strategy, but you can also assume a Furniture approach to the scene. (Read more about that game here.) If you’re not familiar with this short-form game, it essentially involves using a fellow player’s body to create all the needed hand props and furniture. To return to our warehouse premise, someone could be invited to create a clipboard for a manager to hold, or a lunch pail, or a flashlight. Part of the fun can be then having these patrons follow you around in the scene to be reincorporated as needed. Be careful of merely naming large slews of objects in the hopes that audience members will know what to do. Especially in the early beats of the scene, you’ll need to provide some targeted guidance and instructions. Once the dynamic has been seen and learned, it’s fun to be a little more open and risky in your object needs, but make sure you still have a scene amidst the game. And just remember to keep your audience safe.

4.) Using the audience as soundscape. In many ways, this is the most user-friendly and accessible strategy as some audience members may have mobility issues or a reluctance to offer up their bodies to the game (and rightly so). The key is, once again, clearly establishing your expectations when you invite the audience to play, especially at the top of the scene. If your setting is an ancient rain forest, referencing the relentless downpour pointedly is more likely to get audience members serving as your Foley artists rather than just mentioning it nonchalantly in passing. (It’s also important to have your technician in the loop – if they fill these needs the audience will be less likely to do so.) If you’re not using microphones as performers, also keep in mind that you don’t want to offer up a soundscape that you won’t be able to be heard over. As is the case with all the above mechanics, once the audience has a sense of the “rules,” you’re more likely to get participation both of the expected and surprise varieties. It probably goes without saying, but it’s important that any surprises are weaved into the mix.

5.) Using the audience for all of the above. This can be magical if it happens and builds organically. Don’t push for this as your scene will more likely shine with simpler and more expertly executed audience games that are earned and built rather than everyone grabbing at their own dynamic and sending the audience confusing messages and expectations. Bring your audience into the shallow end of the improv pool first to let them get a sense of the playful possibilities, and did I mention to make sure you’re keeping the audience safe once the scene takes off?

In Performance

The beauty of Scene in the Audience is that it is such an open approach. I offer the above observations as possible strategies in the event you’ve never seen or experienced the game before. At the end of the day, your team will be best served if you make a strong initial staging choice and then work together to discover and develop how to best maximize the presence and creativity of the audience. In addition to my warning of keeping your patrons safe, I would also offer that it would be a shame not to tap into their energy and ideas once you are working amongst them as this is the unique promise of the dynamic. For this reason, try to avoid a scene that just happens to be in the auditorium and yet doesn’t capitalize on this unique staging choice in any interesting way.

Cheers, David Charles.
www.improvdr.com
Join my Facebook group here.
© 2020 David Charles/ImprovDr

Connected Concept: Audience

“A” is for “Audience”

An important, but sometimes neglected, partner in the act of spontaneous creation.

Contracts We Could/Should Have with Our Audiences…

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

Related Entries: Hosting, Inclusiveness, Trust, Volunteers

Cheers, David Charles.
www.improvdr.com
Join my Facebook group here.
© 2020 David Charles/ImprovDr

Connected Game: Scene in the Audience

Game Library: “Scene Without Questions”

This entry explores a stock Theatresports game that I remember first playing during my youth in New Zealand. As I considered the importance of Assumptions, it seems almost too obvious to pair it with Scene Without Questions, but being obvious is also a foundational improv concept (to be discussed in a later post!) so here we go…

The Basics

This can be played as a Decider or standard scenic game: I’m primarily dealing with the latter here. A premise is obtained – it can be fun to deliberately elicit a scenario in which a lot of questions would naturally occur. A scene is created in which characters cannot ask questions. If they do so, they must leave the scene immediately typically after quickly justifying their exit. The scene continues until an ending is found, or the entire team is eliminated (depending on how you elect to deal with infractions).

Example

The audience suggestion is a department store service counter. Player A establishes a counter and starts to work behind it as Player B enters with a large, mimed prop in their hand.

Player A: “Next”

Player B: “I’d like to return this microwave. It isn’t working properly.” B places the box on the counter.

Player A: (Passively examining the box) “I’ll need to see your receipt.”

Player B: “And I’ll need to see your manager if you keep talking to me in that tone.”

Player A: “Sir, this box appears to be empty. Are you trying to pull one over on me?”

A question has been asked and the audience groans.

Player A: “I think you should see my manager.” They exit as Player C now enters in the role of the manager.

Player C: “I see you’re back again with the microwave box…”

Player A: “And I see that you haven’t been returning my phone calls, Rhea…”

The Focus

This game is certainly about avoiding questions, as the title makes clear, but it is also about attacking the scene even with the knowledge that a question might slip out. If you play the game too tentatively or scrutinize every word before you say it, the scene will quickly lose its energy and momentum. Play to “win” but don’t be afraid to “lose” and make sure the dynamism of the scene comes first. Take the risk to speak before you think!

Traps and Tips

1.) Establish a quick and clear method for determining infractions. There are several possibilities that you can set up as you’re introducing the game for the audience. My preference is to instruct the audience to groan or make a buzzer sound if they hear a player asking a question. This reaction can be further heightened by a light or sound cue from the booth if you have that at your disposal (although it’s generally good form for the booth to wait to make this adjustment until it’s been noticed by the audience or their proxy). If you’re using an emcee or judges for the show, I think it’s also helpful to empower them to quickly make the call. Sometimes players might use a questioning inflection, or ask a question and then quickly tag it with a statement, or just mumble or fade out as they realize what they are about to say. Some audiences can be a little wary to initially make these difficult calls, so it’s also helpful to just have someone who can quickly make the decision as needed as you don’t want to have to pause the scene for lengthy discussions or petitions!

2.) Establish the penalty for breaking the rules. Depending on the experience and skill of the players and your goals as a company, there are several penalties that can be deployed. In ascending order of difficulty: players who ask questions must leave the scene for a set period of time (generally 30 to 60 seconds) but can then return as their original character; offenders must leave the scene but can then return only as non-speaking inanimate objects or the like; or players guilty of infractions must leave the stage for the remainder of the scene. In rehearsal or if you’re working with student performers, I think it’s kind to begin at the first level of difficulty otherwise you can end up with a scene that suddenly dissipates in an anticlimactic fashion. If you’re working on a team that has a strong grasp of the requisite skill set, the third iteration certainly maximizes the risk and stakes for the audience. But if you set the bar too high too early, players are likely to perform with fear rather than abandon. If you’re playing on a smaller team, the game also benefits from leaving a little wiggle room for players to reappear.

3.) Attack, attack, attack. Don’t fall into the trap of proofing every line of dialogue in your head before saying it out loud. You (and the audience) will have more fun if you take the risk of having a question pop out of your mouth at any given moment. It’s certainly good improv etiquette to establish a strong environment and to engage in interesting staging and activities, but don’t avoid language for long periods of time if this is purely a tactic to avoid asking a question. If you are eliminated for asking a question, don’t forget to justify your exit (this final moment can provide a helpful gift to keep the scene going for those who remain) and be sure to accept the call with good humor and grace. A little “heat” or performed disappointment can add an interesting dynamic, but the audience can quickly sense if your frustration or anger is real, and this can put a negative cloud on the game.

4.) Pace your entrances and don’t crowd the stage. This is sound advice for any improv scene, but it’s particularly important in Scene Without Questions. You’ll never know who might end up carrying the weight of the scene due to eliminations and it’ll help the story if you can strategically make those characters who survive important to the action. In the example above, Player A could (should) have become more closely known to Player B if they had remained together in the scene longer. With an earlier exit, it becomes increasingly important to invest in the remaining available character combinations. Scenes populated by strangers are uniquely problematic in this form and also innately increase the likelihood of early questions! (“Do I know you,” “Have we met before,” “What’s your name?”) If someone in your team or company generally does well with this challenge, it can be helpful to have them in the starting combination just to increase the likelihood that a protagonist can emerge and make it through the majority of the scene. (If you’re playing this as a Decider, on the other hand, I’d encourage a ringer to wait and go later so as to help ramp up the finesse and skill.)

5.) This dynamic works well as a decider. The basics of the scene remain the same, although it’s a given that eliminated players can’t return so that you can whittle down the players to a “winner.” A clear method for acknowledging infractions becomes more critical, and it tends to work best essentially as a pair game with one representative from each opposing team. Avoid having teammates playing against each other as it undermines the conceit of the decider competition. You can also present the scene continuously or discretely. In the continuous version, the scene just continues uninterrupted with disqualified players being replaced by teammates as new entering characters until only one player or team remains. In the discrete version, a new unrelated vignette begins after each question. This may be inspired by the original or a newly elicited suggestion. Depending on the cast size and skill, the successful player can either remain and take on a new challenger, or two new players can start afresh with the successful playing earning a point or similar for their team.

In Performance

This is a dynamic game or decider in front of an audience, especially if everyone joyfully attacks the scene. If you are working with improvisers who unhelpfully default to asking a lot of bland questions, it’s also a great workshop exercise that can diagnose and hopefully provide a step in the right direction towards breaking this habit.

Cheers, David Charles.
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Photo Credit: Tony Firriolo
© 2020 David Charles/ImprovDr

Connected Concept: Assumptions