Improvisers turn to the
audience and declare their true feelings, explanations, or inner dialogue. The
asides are not "heard" by the other characters on-stage. The others
maintain their positions in a "soft freeze" (holding position without
becoming rigid).
A point of punctuation within
a scene.
A form of canceling, which
completely denies an offer. Example: "Is that your car?" "No.
There's no car here."
Setting up a situation, then
neutralizing it. Example: "The phone is ringing!" Picks up phone.
Hangs up. "There was nobody there."
These are scenes in which one
or more improvisers leaves the stage area so that other members of the team can
get "secret" information from the audience. When all necessary
information has been gathered, the improviser(s) return to the playing area,
where their teammates "endow" them with the characteristics necessary
to guess the secret information. This information generally involves activities
or character attributes. It is important that the teams ENDOW the improviser
with the proper qualities. This is not charades. Example: If you are endowing
some to be a dentist, you do not show them how to clean teeth, etc. Instead,
you come in yourself with a sore tooth and hope they become the dentist to help
you.
Getting a laugh at the
expense of the story. Gags are narrative killers, but sometimes useful for
ending scenes. Example: A menacing killer corners our hero, pulls out a gun,
points, and bites into it explaining that it's made of candy.
Any of a series of scenes in
which the spoken language on stage is gibberish. No known language may be used
during the playing of gibberish scenes. The scenes are not played as charades,
but as scenes in which the on stage improvisers know exactly what the other
improvisers are saying. The goal is to create a new language of understanding
between the improvisers onstage.
A substitute for action.
Talking about something that has happened, or is happening off stage. Example:
"You should see my new plane, it's over there. (Points offstage) It has
gold wings, ..."
Avoiding narrative
development with talking or actions. Example: Having to tell a patient bad
news, you begin with, "Have a seat. How are you feeling? I suppose you're
wondering why I called you in here?"
If “Talking Heads” (see
below) is telling instead of showing, than this is showing without DOING.
Acting requires some concept of reality—believe the situation you’re in,
believe the character you portray. This applies especially to outrageous
situations and genre games. Players performing a scene making fun of film noir
isn’t nearly as fun to watch as players actually trying to make their scene
into film noir.
Immediate action that
establishes conflict, but doesn't establish narrative. Example: Suddenly
turning into a Werewolf.
Take an object, like a rubber
duck, and find the magic within it through invocations.
1.
Describe the object. Use "IT" for the descriptions. "IT” was a
bright yellow."
2.
Directly address the object as "YOU". "You were my comfort in
the tub."
3.
Give it Godlike… "THOU".
"THOU art my eternal light and guidance.”
4.
Become the object. "I am still your solace."
A story that continues to
introduce so many new ideas, that it becomes impossible to tie the narrative
together.
An audience member who is
often referred to within a scene in order to provide new offers for the
players.
Finding activities to do, as
to avoid doing what you established in the beginning. Example: Setting out to
fix your car, but seeing the garage is a mess, you decide to clean it. You
begin to clean and find an old photo album. You look at pictures, etc.
A scene that becomes void of
action, and consists of improvisers onstage talking, not doing. This applies to
emotions (saying “I’m so upset” rather than just being upset), characters
(saying “I’m a penguin” rather than BEING a penguin) and storytelling (it’s the
difference between “so, he decided to go to the store” and “he went to the
store”).
Talking about an action
rather than doing it. Example: "Shall we climb that tree!" "Why
sure, it's such a big old oak tree. What do you think we'll be able to see at
the top?" "Oh, we should be able to see my house from up there!"
etc.
Refusing to define an offer.
Example: "Who are you?" "I'm the man you called." "The
man I called of course! You’re here to fix that thing, aren't you?"
"Yes, I fix those things better than anyone else."
The King of Elimination
Games. Improviser 1 begins an action, (eg: jumping rope). Improviser 2
challenges, "What are you doing!" Improviser 1 says something OTHER
than jumping rope (e.g. "Building a bird house.") Improviser 2 begins
building a bird house, improviser 1 challenges "What are you doing!"
and so on. Response speed is a must, as is making the action as different from
the response as possible.
NOTE: WAYD is one of the most
important games you can ever learn. Always find ways to keep it fresh and
exciting, and make sure your energy is up. Do not ask, challenge – ie “I dare
you.”
The ref may get you a theme;
all your responses must relate to that theme. Additionally, the ref may get you
initials – ex. “AJ” “What Are You Doing!” “Asking Jerry.”
Both teams send one guessing
player out of the room and acquire an “adjective” “noun” that “verbs.” They
then break up the syllables of each word and try to get their player to guess
the word syllable by syllable while dissing the other guesser, eventually
putting together the entire sentence – “well, you’re a ___ ____ that ___!” All
clues must be given in mime. Only one team may guess/give clues at one time, as
the ref designates, and non-clue-giving team players must face away until the
ref yells “switch.”
Works like Playground Dis,
except that the guessers are engaged in political debates; one is FOR the
“adjective noun that verbs” and one is AGAINST the “adjective noun that verbs.”
The goal is for one player to clearly say that they are FOR or AGAINST the
endowed phrase.
A topic is taken from the
audience and ref opens a “Town Meeting” on that subject. One team is for, one
is against, and both go into the audience. As members of the town, they must
defend their position or attack the opponents on the topic as they stand up one
by one and make their case.
Rotating game. Both teams
stand onstage and an actual song title is taken from the audience. An
improviser begins to sing that song. They can stop on any word. Once they stop,
another improviser has five seconds to begin another actual song that has that
word in the title. They can bluff and try to make up a song with that word in
it. If they take too long, or the audience doesn’t believe the made up song
they yell, “Die” and the improviser is eliminated. However, if the song
actually exists then another improviser (from the other team, etc.) is
eliminated. Best played if the song has to start on the word: Improviser 1“You
are my sunshine…….” Improviser 2“….sunshine of my life and I’ll always….”
•
Alphabet
Rotation/elimination style
game, where if a player stumbles
or, stupidly, says the wrong letter of the alphabet, they are eliminated.Improvisers play a scene in which each line they speak begins with the
next sequential letter of the
alphabet from A to Z. For instance, One improviser’s sentence begins with A, the next improviser must
begin his sentence with B, and so
on. This game is best played beginning at the letter A and ending on Z. The alphabet may cycle, or, when
they go to z, go backwards back to A.
Rotating game in which as
many words as possible end with an added “-ola” or “reno” Ex: “Let’sola goreno
forola a walkareno.” If a player can’t keep a straight face during the scene or
fails to adequately ola-renify his sentence, he is called out.
Rotating game in which each
improviser tries to play the scene straight and has to exit if a majority of
the audience laughs at either their action or dialogue.
Two
improvisers begin a scene. An off stager improviser, at some point, shouts out
"Freeze." The on stage improvisers freeze. The off stage caller then
jumps on stage, taps one of the improvisers out of the scene, assumes that
persons EXACT PHYSICAL POSITION, and begins a new scene based on the physical
positions. Improvisers may freeze in and out as much as they like. In order to make
this game work, the on stage improvisers should be as physical as possible.
This gives the off stage improvisers a greater number of possible Freeze
moments. In some cases, a third player may freeze and simply join the scene; if only to enhance the scene in progress.
In these instances, the next person who freezes the scene may opt to tag out
both players, and assume the
position of whichever player they tag last. If they chose to only tag out one,
then three people will be in the scene until a freezer decides to remove one. A fourth player
is not usually allowed.
Improvisers have their
backs to the action, an improviser shouts freeze, jumps on stage, then, the
same as above. Generally, wait until a scene has gotten through an a-b-a before
yelling freeze.
Improvisers have their
backs to the audience. The ref is given objects from the audience. One by one,
he places an object on the front center stool. The players turn and must find
uses for the objects OTHER THAN WHAT THEY”RE ACTUALLY USED FOR. Do not pick up
a cell phone and start talking on it. Instead Zap people with your new tazer,
or swordfight with the antenna. Be creative.
Music is played, and the
players get to dance, dance, dance! The music will stop, players freeze in
position, the ref tags a few players and yells “CLEAR” – all non-tagged players
must clear the stage. The players then justify their positions in a mini-scene
and the ref will yell “EVERYBODY DANCE!” again.
Alternative:
the ref merely calls out players
names, and if your name isn’t called, you clear the stage.
Both teams wander the stage
in a zombie-like haze. The ref calls out or tags one player, who must
immediately tag a player from the opposite team and begin a short scene in
which the goal is for one player to die at the end. After each death, the
victim returns to the bench and all players continue wandering until the ref
selects another person. Blocking offers and waffling will result in points
deducted. The tables may be turned on the would-be killer, but not at the
expense of the scenework!
Additionally, murders can’t be obvious acts of violence—stabbing, shooting, et
cetera. The last team standing wins.
One
team leaves the room and the other team gets a series of lines (like in Blind
Line). The other team comes back in and the team with the lines does a scene
where they try and sneak the lines into the scene. If the other team thinks
that they just said a blind line, a player yells "That's a line!" If
it’s a line, the guessing team gets a point. If it’s not a line, the playing
team gets a point.
Team plays a short neutral
scene. Scene is replayed by other team. Then each team plays the scene two more
times "In The Style Of..." film, theatre, or television genres,
authors, etc.
Each team splits into two
mini-teams (two blue players or two red players) and line up in alternating
team colors with their backs turned. The first team will do a scene based on a suggestion.
At any given point the ref will yell SWITCH, repeat the last line said, and the
next team will have to form a new scene based on the last line. Once all teams
have formed the bases of their scenes and characters, they will have to
incorporate each others’ last spoken lines into their scenes whenever a SWITCH
is called, justifying them within the new scene context.
A singalong elimination game.
A one-syllable name is taken from the audience, the players line up, and based
on the rhythm of the song, the singing moves down the line as each player must rhyme the suggested
name with other words. Example:
Matt rhymes with at, that, bat, cat, fat, splat. If the player is unable
to rhyme the name, repeats a rhyme, or messes up the rhythm of the song, he/she
is out. When this happens, a new name is selected from the audience. Last team standing wins.
Similar
format to Da Do Ron Ron, only instead of singing, the game is rapped. And instead of a single player being
responsible for the rhyming, they must dictate to the rest of their team what
it is they want rhymed. The
players standing behind them fill in the rhyme at the end of the line. Rather
than being eliminated when mistakes occur, players are rotated. Team with the
least amount of rotations wins.
One team becomes a “Dr.
Know-It-All” while the other becomes a “Speak-in-One-Voice.” The two
3-to-4-headed people then write letters back and forth. See “Dr. Know-It-All”
and “Speak-in-One-Voice” for details (in the “Expert Panel” section).
A topic is taken from the
audience. One team is sent out of the room while the other performs a scene
based on that suggestion. Once their scene is complete, the ref will call in
the other team, which will perform a different scene on the same suggestion
without having witnessed the first scene.
The ref gets a category
from the audience and points randomly to players, who must immediately name
something within that category. (Example – Soft drinks – “Pepsi!” “Dr. Pepper!”
“Diet Pepsi!” “Sprite!”). Repeating, hesitating, or stating anything that
doesn’t fit the category or doesn’t exist results in death. Last team standing
wins.
Both teams stand in line on
stage. Ref kneels just downstage of them, facing the line. The Ref points at a player who must
begin telling a story based on a suggested title. When the ref removes his
hand, the player must stop immediately. The next player the ref points to must
pick up exactly where the previous player left off. If the player repeats a
syllable, says something completely incongruous, or stumbles, they are
::clap clap:: OUTTA THERE! The
story then resumes at the next chapter. The ref may make it more challenging by
pointing faster, adding genres to
the storytellers, forcing the players to begin their sentences with certain words, or forcing them to use
only certain syllable words.
Same structure as Story,
except you’re given a simple “thing” as suggestion—water, clothing, binder—and
you have to provide an instruction manual for it, with FAQ, Definitions, How to
Use, How to Update, or whatever else you have up your sleeve.
Both teams get the suggestion
of situation, occupation, object, relationship—something broad. The improvisers
then do a blues song about it, one verse per player at a time. This game has
very broad rules—players can go up potpourri-style, be selected by the ref, or
even complete each other’s stanzas in the middle, Story-style.
Both teams line up onstage
and attempt to get the most laughs for their one-liners. No matter how stupid
it is, make sure you “sell it”! The audience would rather have an enthusiastic
bad joke than a half-assed good joke. Each one of these games may be played
individually as well. In all of these games, players step in front of the line
and follow the guidelines of the game. If the audience accepts the joke, the
player’s team receives a point. If not, no points are added. At the end of the
game, these additional points are added up and the final score of the night is
revealed.
The games in Potpourri are
as follows:
Audience
supplies the blanks, we supply the punch line.
Player
stands in front of the line. Another player comes up, kills him, and says a pun
based on the audience suggestion. The victim retreats back to the line, while
the killer stays out front to be killed by the next player who has a joke. (example joke for “music”: (kills
player) “I’ll be Bach.”
A
topic is taken from the audience and the players come up with advertising
slogans for it.
Ref
gets a fictional character or historical figure. The players then write short
entries in their diaries, as the character. Example – The Pope – “Dear Diary:
Today I learned how to make my popemobile hop up and down like Dre’s Impala.”
Same
as Dear Diary, except in the form of future tense, as a to do list. Example –
The Pope – “To do: start marketing my new hygiene project, Pope-on-a-rope.”
Audience
gives a profession, and we show the world’s worst professional. Example for
“filmmaker”: “Alright, folks…we’ll take two singers from a reality show, add
some beach party atmosphere, and it’s oscar time!”
Get
a location or event and come up with the worst things to say at that
location/event.
Suggestion-Gimmick
Scenes
A fortune cookie is opened
and read aloud. Scene must use the fortune in some fashion (eg: philosophical
base, an event that takes place during the scene).
Alternative: Each improviser may open a fortune cookie, basing
their character on the fortune.
Scene based on the creation
of something. The audience gives an object or event, and the players improvise
a scene in which the object or event is invented/founded/discovered for reasons
and purposes which have nothing to do with its actual creation. IE, you
invented the light bulb so that cartoon characters could see when ideas popped
into their heads; thanksgiving was invented because nobody ever said thank you
to Gary, the main character. May take the form of a normal narrative, an epic
myth, folklore, etc.
Like Fortune Cookie, except a
horoscope is used in place of the fortune.
• Emotional Symphony
A
Team lines up, and each player is given a different emotion. The ref stands
below them, like they would in story and points to a player. With their
emotion, the player then mumbles, hums, grunts, screams… whatever that emotion
would entail... 4 or 8 measures of music. As the ref continues to bounce
through the four emotions, a symphony is created.
• X-Letter Genre
Team
is given a letter of the alphabet. While the ref explains the game each player
comes up with a different genre that begins with that letter. They line up, say
their genre, and the audience votes which they like best. A scene is then
performed in that genre. Example would be the letter M…. Monster Movie,
Musical, Mystery, and Magical. Audience wants to see a Magical scene… do it.
• McGuyver
Just like the TV show, McGuyver and little Jimmy are stuck in
a drastic situation dictated by the audience. Using objects taken from the
audience, they must creatively find their way out of the situation. Other
players can be stuck in the situation, bystanders trying to help from the
outside, police officers, the bad guys, etc.
Each improviser gets a
different emotion from the audience. The first player sets up for the party
while playing his emotion. As each player enters, every player on stage must
take on that same emotion. When all four are on stage, each must find an excuse
to leave. As this happens (in reverse order from their entrances), the emotions
return to the previous player. The scene mirrors itself and ends with the first
person back on stage by themselves
The improvisers get two
environments from the audience. The players decide which scene to start with,
and every time the ref calls SWITCH, the players much justify their positions
in the second location. While the two stories have nothing to do with each
other, each individual scene must continue on it’s own feet when it is returned
to.
• Superheroes
You’ve seen it on whose line.
There’s a crisis. First person in gets an audience-chosen fake superhero. Each
following player comes on one at a time when called for help. As they enter,
previous player gives them a new superhero name. Scene ends when conflict is
solved
• Game-O-Matic
Audience
comes up with the name of a game that doesn’t exist. The entire team then
leaves the room and goes outside and makes up the rules for the game. While
this is happening, the other team plays whatever game they decide to play, so the audience doesn’t sit there for 5
minutes. The players come back in, explain the rules of the game, and play it.
Improvisers ask an audience
member for an actual day in his life. Improvisers recreate the day as they see
fit. Can be an average day, or a first day at work or a rite of passage or a
family vacation experience or...
Day in the Life, as a
musical scene.
Improvisers ask an audience
member for an important turning point in their life. Improvisers recreate the
moment if they had made the opposite decision (i.e., the audience member had
kids, so the scene is about what would happen if they hadn’t’ve had kids). Usually
the scene ends with the situation being heavenly and perfect or abysmal and
terrible; there is no middle ground in “What If…?”
Improvisers ask an audience
member for an actual moment in his day, Day-in-the-Life style. Improvisers
recreate the moment/event as if it’s being reported in a newscast; only one
improviser should be anchoring. Have weather reports, on-the-street interviews,
expert testimony, family/coworker reactions, protest marches, political
ramifications, stock market – all things related to the event and tied in.
Improvisers interview two
audience members about themselves, and then act out a blind date between the
two. Hilarity ensues.
Scene where the thoughts of
any or all characters are revealed by on-stage beings (angels and devils) or
offstage voice (Alter Egos, Inner Dialogue, True Feelings). This game may be
played within a scene or as a monologue, and the conscience may also be a
pillar.
Improvisers perform the scene
while off stage "voices" create the inner dialogue - what they are
REALLY thinking. May be played with just one character having an inner
dialogue, or with the actors giving their own inner dialogue directly to the audience
in the style of an aside. See: Consciences and Asides.
Variation: Play as Inner Dance-alogue.
Variation: See Inner Song-alogue.
The improvisers get a
foreign country from the audience, or a language, and the name of a nonexistent
movie. Two improvisers then act out a scene in gibberish based on the
suggestion, and each line is “translated” by an offstage improviser.
Three improvisers hold a
talk show, with two expert guests, while a fourth improviser off to the side
translates everything in to gibberish sign language. May also be done as a
scene rather than expert panel.
Improvisers get a location
where they’d go for vacation. One player goes off to the side while one, two,
or all of the other players freeze in positions while the lights are out in a
“slide”. The other player has to explain the photograph. Elements of the scene
should be tied together through slide visuals and explanations by the end.
Improvisers
begin a scene. At any point during the scene an on stage actor may call out
"Stunt Double". That actor is then replaced by his stunt double, who
then performs the dangerous or distasteful activities. When the activity is
finished the double calls out "First Team", and the original improviser
returns to the stage. Each time the stunt double returns to the stage, they
must incorporate any previous injuries. Example, if the stunt double is first
supposed to take a fall and end up twisting their ankle, when they are called
out to be shot in the stomach, they must limp out with a twisted ankle. Next stunt would involve the distressed
double hobbling out and holding stomach just before ramming a car into a wall.
Each improviser describes
the action of their partner. Example: Improviser 1, "I'd like to talk to
you, Mabel. Improviser 2, "He said, standing up and putting his hands on
his hips." Improviser 1 carries out that physical action as improviser 2
continues, "All right." Then Improviser 1 responds, "She said,
pulling out her bullwhip and snapping it over his head." Improvisers refer
to each other in third person, to keep the narrative strong. The idea, like
every other improv scene, is to endow your partner with do-able action. It
gives the improvisers an excellent view on how to endow.
Alternative: Audience pillars may contribute he said/she said
offers.
Alternative: Do it like foreign movie, with two people doing the
dialogue, and the other two doing the he said/she said stuff.
Improvisers each get a
“trigger” word before the scene. If any improviser in the scene speaks the word
and they are onstage, they must justify an exit. If the word is said and they
are offstage, they must justify an entrance.
Variation: Play that the “trigger” word has no effect if spoken
by the improviser with that trigger word. The entrances and exits can only be
caused by other players.
3 players perform a scene
based on audience suggestion while one has his head submerged in a trough of water,
able to hear but not breath. The player cannot take his head out of the trough
until one of the other players leaves the scene (he must then take the wet
player’s place by sticking his head underwater), at which point he must enter
the scene and justify his being so damn wet. Please don’t kill your teammates.
Offstage improvisers
provide the voices for the onstage characters and action.
Two players act out a scene, moving lips with no sound coming out, with their words provided by players at downstage left and right. The ref will call “SWITCH!” and the players must switch places with their dubbers, continuing from wherever they were, including physical action or being in the middle of a sentence or even word.
Players
act out a scene while one player at the bottom side of the stage provides all
their separate voices. This player may also enter, providing all four voices in
the scene.
Player
1 dubs for 2, 2 for 3, 3, for 4, and 4 for 1. A scene is carried out with each
player dubbing for the other. Essentially Speak in Turns, plus Dubbing, plus
Give-and-Take, with a whole lot of focus.
Audience member is brought to
the stage. The Improvisers ask them to describe their family or workplace and
then play a scene with those characters. When the audience member feels the
offer made by a character is accurate, they ring a bell. If the action is
inaccurate, they ring a buzzer and the improviser must continue to make new
offers until the bell is rung. After the volunteer is called up, they sit in
the back corner of the stage and two players from the other team sit on the
opposite sides of the volunteer. When the volunteer needs a bell or a buzzer
they slap the knee of the designated player on either side of them.
Audience members or
teammates provide the locomotion for the improvisers on stage. Improvisers may
not move any part of their own bodies (except to provide dialogue by moving
their mouths). Movers should put the "puppets" in challenging
positions and puppets should justify their positions as part of the scene.
Players
perform a scene based on an audience suggestion. At any given time in a
sentence a player may draw a blank and gesture to the audience to fill in the
blank, picking the first family-appropriate thing they hear. Leave the blanks
open to all sorts of answers; don’t do things like “My favorite actor is
Harrison _____,” because then the audience has nothing to do; additionally, it
doesn’t add to the scene. It should also be noted that the blanks should be one
word. Say something like“I’m not feeling so great. Last night I ate a ____.”
Don’t say “I’m not feeling so great. Last night _____.” Lead the audience a little bit.
Two audience volunteers are
brought to the stage. Whenever an improviser points to one of the audience
members (a Pillar) the audience member provides a missing word or line of
dialogue for that character.
A situation is established.
The stage is strewn with pieces of paper each containing single, unrelated
lines of dialogue given by the audience and written by the opposite team. A
scene is played, randomly incorporating these lines of dialogue and/or stage
directions, which must be justified in the scene. The lines can come from
plays, song titles or lyrics, the audience, clichés, etc. Justify your lines
AFTER you read them,, not before.
Directions or instructions
are written on papers. The onstage improvisers read the cards and justifiably
follow them while continuing the scene. Directions may be things like, “Be
suspicious of one of the characters,” “Stand on one foot,” etc. Just do the
action; don’t read it aloud.
Title is given for the
scene. "Actors" begin a "rehearsal" of the piece.
Periodically, they are stopped by the "director", who gives new
emphasis or emotional focus to the scene. This game can also be played with the
audience playing the character of "Chris". When the "director"
needs an emotion, a physical direction, etc. he consults "Chris" to
fill in the blanks.
Three
players leave the room. The ref gets a Place, Occupation, Weapon (POW). The
players are brought back into the playing area one at a time. Player one endows
player two with the three pieces of information. When the weapon is known,
player one is killed. Player three
comes on stage, and player two communicates the information to him. The same is
repeated with the death of 2 and entrance of 4.
Throughout
the progress of this game, the audience is encouraged to applaud correct
answers.
Also,
it should be noted that an additional communication challenge to the game is
for the person giving the clues NOT TO BE IN THE PLACE, HAVE THE JOB, OR USE
THE WEAPON. Instead, they must
create a reason for the guesser to do these things.
In
other words, if it is Locker Room, Plumber, and Umbrella, as a clue giver, I
need to GET the guesser to go to a locker room, plunge my toilet, and use an
umbrella. I can’t BE the plumber
or use the umbrella.
To
do this, I may have the player run around on a track, get overheated, and need
to take a shower. Or in the case of the plumber, I need to clog my toilet, back
up my sink, and have the player fix it for me. Or I need to show the player
that it is raining outside, and I don’t want to get wet.
Once
the third player is killed the ref calls everyone back from the dead to line up
and guess POW. If they get all three, an additional point is added for the
team.
One or two improvisers leave
the playing area. The ref gets a crime, an accomplice, and a motive (CAM) for
the improvisers who left, who must be endowed with it through the two
interrogating cops. In the end, the criminal(s) confess(es) to the endowed
crime. Stupid puns are usually allowed in this game, as with any other
guessing/endowment game. If only one player is the criminal, the fourth player
may act as mayor, secretary, police chief, or any other extra who may
occasionally enter the interrogation room and drop some hints. Another way to
play this game is to have a kid (or kids) come in late at night, and have
parents interrogate them as to where they were, who they were with, and why
they were late. Same with an employee who needs to realize why he is being
fired.
Someone is sent out and the
remaining improvisers get the name of a brand new superhero. They then get two
strengths, and a weakness based on the name. The offstage improviser returns
and is told the name of his superhero. A scene is then played out in which the
superhero must guess his strengths and overcome his weakness.
An improviser leaves the
playing area. The three bachelors/bachelorettes are given quirks,
personalities, attitudes, personas, etc. to play, and must answer questions
asked by the returning improviser, who must at the end choose a mate and guess
who or what each bachelor/bachelorette is.
One
team leaves and the audience gives the ref a location and four objects one
might find in that location (ex. Library; books, librarian, computer,
magazine), as well as a bonus object that has nothing to do with the location.
Players come back in, are given the location and do a scene where the have to
guess each of the four objects. The audience cheers when they get close and
yells "Die" when a player says an object; The player who says it
dies. If all four players die, they get an extra point, and if they guess the
bonus object, that’s another extra point.
An improviser leaves the
playing area. Two “relationship problems” are gotten from the audience. The
offstage improviser returns as a counselor and two fellow players try to endow
him to guess at the problems in the relationship by playing a couple in a
therapy session. Or, game may be played where the couple has to guess the
problems in the relationship.
One improviser leaves the
stage and the remaining improvisers get character traits, habits, etc. The
offstage improviser returns and a party scene is played. The improviser tries
to guess everyone’s “party quirks” through conversation, without outright
guessing (ie, if a player is Super Mario – “How’s your battle with Bowzer
going?” is preferable to “Are you Mario?”). When the party-thrower guesses
correctly, the player must find a reason for his character to leave.
One improviser leaves the
stage and the remaining improvisers get a situation. The improvisers act out
the scene with an invisible player, reacting to him, being struck by him, etc,
and generally setting him up to “block” like crazy. The improviser then enters
and the scene is re-played, and he must try his damnedest to do what’s asked of
him with the other improvisers doing exactly what they did before.
Three improvisers leave and
one improviser creates a scene with three invisible players, each entering at a
different time and being reacted to in a different way. The scene is then
replayed three times with one actor added each time and taking the place of an
invisible player.
A two-minute scene is
played. It is then repeated in one minute, thirty seconds, fifteen seconds,
seven seconds, three seconds, and finally in one second. The scene must follow
the same beginning, middle, and end, regardless of length.
Improvisers play a scene in
which each line they speak begins with the next sequential letter of the
alphabet from A to Z. For instance, One improviser’s sentence begins with A,
the next improviser must begin his sentence with B, and so on. This game is best
played beginning at the letter A and ending on Z.
Variation: The audience chooses a letter and/or you may go
through the alphabet as many times as necessary to complete the scene.
A scene is performed based
on audience suggestion.. At the discretion of the ref, "Forward",
"Reverse", "Slow Motion" are called out. The actors react
accordingly. Actions must be absolutely committed to if they are to be
remembered for backwards or forwards movement. Remember that if you’re going
backwards, you’re walking backwards, not just in the opposite direction. The
ref may also make you rewind all the way to before the scene started.
A scene is performed based
on audience suggestion.. At the discretion of the ref, DVD commands are called
out. The actors react accordingly. You may perform the trailer, alternate
takes, scenes in French, scenes with subtitles, credits, different angles,
director commentary, screen tests, auditions, press screenings, outtakes,
bloopers, alternate endings, musical finales, music videos; the choices are
endless. Make sure to know what each is! There’s nothing sadder than seeing
someone do a musical number as their music video, or bloopers as their
alternate ending.
You know those little candy
hearts with the stupid messages on them that they give out every valentine’s
day? Yeah, those. Well, you get a box of them and have audience members select
them and give them to players; players then base their characters on the
valentine’s message and perform a scene, with perhaps a setting as a
suggestion. If necessary, one player may be the neutral character (like in
Pick-a-Play) to keep things in control.
•
Academy Awards
Basic
scene, and at any time the ref can blow the whistle and say “and now, the
academy award winning actor delivers a passionate monologue.” Or anything to
that effect. “And now for some award winning special effects.”
Example
(courtesy college league’s Matt Fondiler): “The one time I’ve seen this game
played, the suggestion was a birthday party. Little Timmy was inviting all of
his friends over and a magician was going to be there. When Little Timmy was
talking to his mother, the ref asked for the speech. The lights dimmed, little
Timmy came downstage and began to tell how ever since the chemo, all he’s
wanted were real friends. When he
had finished the monologue he had referred to “the incident” and just, you
know, from that point forward had a deadly cough and limped with crutches.
Later, when the magician
showed up and special effects were requested, the magician reached into his hat
(his left arm looped to his ride hip), and pulled out THE ENTIRE RED TEAM. Absolutely brilliant.”
The opposing team performs
a straight scene based on a suggestion. The playing team disperses into the
audience to “heckle” the scene and the players as rudely as they like. The
opposing team has to continue the scene without breaking, and out of pity
should be given a point or two at the end.
Players perform a scene
based on an audience suggestion. At any given time the ref may yell “New
Choice!” and a player must alter whatever they last said. Remember, this is NEW
choice, not SIMILAR choice. “My toilet is clogged”/”Grandma called”/”I love
your Abercrombie Sweater” is a preferred chain of new choices to “My toilet is
clogged”/”My mom is clogged”/”My toilet is a superhero,” because it gives so
many more offers. When the ref is satisfied with a choice, the scene continues,
beginning with the justification of what was just said.
Players perform a scene
based on an audience suggestion. At any given time the ref may freeze the
action and let the audience choose the next path, based on offers the players
give. IE Ref:” Where should they go tonight?” Player 1: “The mall.” Player 2:
“A Star Trek convention.” Player 3: “Into a black hole!” Player 4: “Wisconsin.” The audience
chooses choice A, B, C, or D. Remember that the only reason that this game
totally stops the action is that the players stall during the choosing period.
Make your answers fast and energetic so that the audience can choose and you
can get on with your scene.
As a scene is played, ref
will occasionally yell “Sing It!” and the last line spoken becomes the title of
a song sung by that character. Songs can have backup vocals, sung dialogue, be
in monologue form, etc. Note: Do not attempt music games without familiarizing
the players on how to work with an accompanist, how to structure songs, and how
to diamond dance.
A normal scene is played out
in a heightened opera or operetta form, with aria, recitatif, counterpoint, and
all that stuff.
Improvisers get a speaking
order rotation assigned by ref (1,2,3,4), then play the scene speaking only in
that rotation. IE, player 3 can’t speak until player 2 has spoken, player 2
can’t speak until player 1 has spoken. The sequence does not have to go 1-2-3-4
until all four players are onstage; so, it may go 1-2-3 until number 4 enters.
Improvisers begin a scene
based on an audience suggestion, with clearly defined characters (voice,
personality, mannerism, physicality, goal – these should all be there anyway).
At any point the ref may yell SWITCH and the players must switch places, take
on each other’s characters, and continue the scene right where they left off.
A scene begins in English
until ref calls switch or blows a whistle and the improvisers continue the
scene in gibberish. The bell is sounded again and the improvisers return to
English. Transitions can occur in the middle of a sentence, word, or even the
same syllable. This back and forth continues until the scene ends.
Using an anthology of plays,
an improviser asks for a page number. The improviser "holding book"
must take all of their dialogue
from one character’s consecutive lines of dialogue in the play, beginning on
the assigned page. Teammates work to justify the dialogue. Usually played where
three players are reading from plays, and one improviser must justify for
everyone else.
A list of animals is
gathered from the audience. Ref calls out different animals during the scene.
Improvisers on stage then play the scene as if they were a human with the
animal's characteristics.
Get list of attitudes
and/or emotions from the audience. Make sure they vary; most audiences will
readily supply hostile/active attitudes and emotions. Improvisers onstage begin
the scene in neutral, then shift the scene as ref calls out attitudes or
emotions from the list. On stage improvisers must justify the rapid changes in
attitude or emotion.
Get a list of genres from
the audience (styles of...books, TV styles, plays, movies, paintings, etc).
Play the scene in the different styles as the scene progresses. NOTE: Play the
scene as well as you can in the actual style. Don’t just make fun of the style;
become it.
Team plays a short neutral
scene. Then play the scene two more times "In The Style Of..." a
film, theatre, or TV genre.
Three improvisers combine to
speak (and move) as one character, who is an expert in some field the audience
or 4th player provides. They are interviewed by the audience and
host, and must all speak at the exact same time, watching each other’s moves
and following dialogue to speak clearly. If they get off track, they can all
cough and start over in the sentence.
Three improvisers are part of
an expert panel, each with different characters – one who gives “good” advice,
one who gives “bad” advice, and one who gives “worst” advice. Fourth player
hosts the show, first having each expert introduce him/herself, asking the
audience questions, repeating them for everyone to hear, and having each expert
answer.
Three improvisers are part of
an expert panel, each with different characters.Fourth player hosts the show,
first having each expert introduce him/herself, asking the audience questions,
repeating them for everyone to hear, and having each expert answer. To up the
ante, the panelists may have their characters given to them by the audience.
Things to base a character on
include: Physical quirks, celebrities, historical figures, inanimate objects,
moods, occupations. One may also base characters on more broad suggestions,
like bumper stickers or slogans. For example, a player given the bumper sticker
“my student is an honor roll student at…” may portray a very proud, snobbish,
and driven soccer mom.
Three improvisers combine to
speak (and move) as one character, who is an expert in some field the audience
or 4th player provides. They are interviewed by the audience and
host. Each player can provide only one word at a time, as the three-headed Dr.
Know-it-All can only have one word said by any of his heads at once.
Improvisers get suggestions
for occupations or an attitude; begin the scene by lying on the stage. One by
one, they sit up and introduce their characters (who are dead). They recount
the circumstances of their lives and deaths, as they tell their stories the
tales should weave themselves together.
Improvisers get suggestions
for a school club, begin the scene by freezing in position. One by one, they
unfreeze and introduce their characters. They recount the circumstances of
their lives and club experiences; as they tell their stories the tales should
weave themselves together.
Improvisers get a scene
suggestion and perform a short simple scene. They then replay it over and over,
and each time from the perspective of a different character. You know, like the
movie (if you haven’t seen it, rent it. It totally rocks.)
Improvisers are brought in
to recount to the cops/press a crime they’d seen committed (Normal info to be
gotten: Crime, Who committed it, Where was it). All are distinct characters
trying to tell their side of the story, and all perceived the same event
differently (e.g., one may see a yellow object in the sky as a Frisbee, another
as a UFO, a third as Spongebob Squarepants). As it is a game of improvisers
interrupting other improvisers without ref intervention, it is crucial that the
improvisers be aware of any power struggles over the scene, because a
scene-stealer can break it.
One team gets the suggestion
of situation, occupation, object, relationship—something broad. The improvisers
then do a blues song about it, one verse per player at a time. This game has
very broad rules—players can go up potpourri-style, be selected by the ref, or
even complete each other’s stanzas in the middle, Story-style.
A character monologue in
which all the improvisers tag in playing the same single character. Essentially
works like story, but the players must provide the switching. However, unlike
story, this is a MONOLOGUE—you can’t just give the audience a plot. All players
are playing one character, who is speaking in a stream-of-consciousness style.
To learn how to make use of your monologue suggestion, see Invocation in the Glossary.
One improviser sits at an
imaginary 'typewriter', typing a story, while the other actors act out the
story. Both actors and typist are responsible for endowing the story with
narrative line.
Like Dimestore Novel, but
instead of a novel it’s a play, with stage directions. Get it?
Like Dimestore novel, but
the author has an audience member, usually a terribly cute youngster, acting as
a pillar. Author should “lead” the pillar, example: “And then they battled a
ferocious – what did they battle, jimmy?” “A dragon!” Also, unlike in dimestore
novel, the bedtime story is already written, and is being read to the child.