• Adjective Scene Improvisers ask for an adjective (eg: ‘sad’). Must play the scene with as much ‘sadness’ as possible, or each player may ask for a different adjective.
• Mouth Simple exercise. Play a scene, as you open your mouth to say something, pause, and say something else. If you are thinking of saying,”Hello John, Can I help you?”, grab onto that thought, open your mouth to say it but don’t say it; say whatever comes out of your mouth. It helps to open your mouth wide before you say your line.
• Stop Action Narrative A scene starts with a suggestion from the audience. The improvisers begin playing the scene. Periodically, the narrator will stop the scene and ask the audience what happens next in the plot. Question may be informational (“Who calls on the phone?”) or interpretive (“Regis is deathly afraid of the next object Mary shows him, what is that object?”) The actors on stage should be constantly challenging the narrator with opportunities to stop the narrative in order to ask a question.
• Half Life A thirty-second scene is played. It is then repeated in fifteen seconds. It is then repeated in seven seconds, then three seconds, and finally in one second.
• Actor Switch The scene begins. At some time during the scene, an offstage improviser rings a bell and all the onstage improvisers switch characters continuing the scene. Can be played with the rotation of improvisers including the offstage improvisers.
• Status Transfer Two improvisers (over the course of a scene) switch status. Played as a timed scene. (other transfers possible: emotions, styles, …)
• Mantra Scene Play a scene in which the improvisers have a hidden mantra that they keep repeating to themselves and try to embody during the scene. If the mantra is “I love you”, the character should try to play “I love you” with everything they do. Everything is played with the hidden objective. To teach this scene, have two improvisers play a neutral scene. Ask them to recite, to themselves, the first line of a familiar nursery rhyme. Ask them to respond to questions as they keep the rhyme running in their heads. They should have problems responding to the questions. Next, have them play their neutral scene again, this time with a “I love you” or “I hate you” mantra. The key to the mantra scene is to play the mantra truthfully within the context of the scene. If your mantra is “I love you”, you should show your love in actions and what you say, you should always TRY to say “I love you” in everything you say, but only say “I love you” if you can do it truthfully in the context of the scene. Some basic mantras are; “I love you”, “I hate you”, “I want to sleep with you”, ” I want nothing”, “I’m better than you.”, etc. The list of possibilities is endless. After some time, you may want to work with more complex mantras, such as “I love you, but I want you to go”, “I hate you, but I want to sleep with you”, etc. Again the possibilities are endless. Eventually, you may play a mantra combined with an objective, such as, “I hate you, but I’m pregnant”, or “I love you, but I’m going to kill you”, etc. Avoid falling into a “talking heads” scene.
• Machine Improvisers form parts of a machine using their bodies in repetitive movements and sounds. Go to an extreme (fast or slow, loud or soft, jerky or smooth, intense or relaxed…), then simultaneously stop. e.g. Angry Family Machine.

One On One Two improvisers compete to be the most ___ (sincere/humble/highstatus/lowstatus/loving/arrogant). Usually played as a timed scene. Headline A headline, real or imagined, is asked of the audience. The scene is played illustrating the headline. Healthy and Fit Have several improvisers play a simple family scene together. When finished give them the instructions, “You feel healthy and fit. You have all the space and air you need, and have a great interest in what people have to say. Have the improvisers replay the scene and watch the results. The scene will generally be much more interesting to watch. This exercise is a good mantra to use when you are on stage as well. Stage Directions [a.k.a. He Said, She Said] A scene for two improvisers. 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. Interpretations Find 3 ways to interpret everything. compare: POV, Rashomon, Scene 3 Ways, Objects; sword scene in The Messenger. Honestly Improviser(s) play a scene speaking their true feelings(as opposed to socially accepted verbal interactions). [LRC / Getting Real.] Poetry Recitation – Improvisers stand in a row. A suggestion is taken from the audience. One improviser steps out and says the first line of a poem based on the suggestion. The next improviser says the next line, until the poem is finished. – Limerick, Haiku, Sonnet Scene – perform in iambic pentameter, with rhyming couplets, … Yes, And… Every line of dialogue begins with the words, “Yes, and…” Can be played as a brainstorming meeting for marketing a new product. The goal is to absolutely support your partners’ suggestions and to experience being supported.

Yes, But… Same as above, rather than demonstrating support, it demonstrates creative waffling. Yes, Let’s “Let’s fly!” “Yes, Let’s!” “Let’s give birth!” “Yes, let’s!” “Let’s be shy!”"Yes, let’s!” Accepting Game Two improvisers play a scene where one of them is limited in dialogue. The limited improviser can only say one of the following three lines, “Sounds good to me!”, “I’ll go along with that!”, and “O.K., great!”. The unlimited improviser makes offers and the limited improviser replies. The limited one can be active in the scene without blocking or wimping on an idea. Variation: play with an audience member in the role with only three lines. Blocking Game Improviser A accepts all offers, while Improviser B blocks all offers. Both should want to tell a story so a general location should be accepted by both. A’s offers will gradually move the story forward. Eventually, A can create action from presenting B with a “negative offer”, an offer that in order to be blocked forces B to do an action. Example; A: “Too bad you don’t have the ability to fly!” or, “Too bad, your gun is out of bullets.” Take your time with this exercise and try it a lot.

All Together Now (Speaking in One Voice, The Brain (except The Brain is an expert scene).) (compare: Word at a Time story/expert.) Environment in a Minute Improvisers create as complete an environment as possible in one minute. Variation is to play the scene Without Words, or in Gibberish. Experts At least one improviser is an expert on a topic of the audiences choosing. Talk shows, lectures, debates, or interviews have been used. May be played as a Word At A Time Expert. SEE ALSO: Panel Expert Endowments, and Lecture (Phone Bank). Asides Improvisers turn to the audience and declare their true feelings or inner dialogue. The asides ARE heard by the other characters – it’s a false ‘aside’. [Jonathon] Chance of a Lifetime A person is picked from the audience and questioned about something he has always wanted to do. He is then brought on-stage where he gets to live that Chance of A Lifetime. Scene Without _______ [Alternate Reality] Possibilities are limitless. Scene is played, for reality, as if the world were without ____ (eg: words, emotions, contractions, gravity, a word, the letter “h”, love, parents, food, humans, etc.) Narrative, Illustrated(~ Reminiscence) One improviser narrates the story, usually in the 1stperson. The other improvisers interact with the narrator providing environment, supporting characters, etc. e.g. Tall tales, bedtime stories, courtroom testimonies. Variation: the narrator may weave in and out of the dramatized story. Ritual Everyday activity or object is played as if part of a ritualistic ceremony. Visualization An improviser closes their eyes and visualizes a seashore. Don’t have them think about it, just have them tell what they see. If they see a house ask them what’s inside? Who’s there? Continue to ask them what they see and have them describe it in detail. They shouldn’t have to choose anything, simply use their strong imaginations. Courtroom Settle home dispute as if before Supreme Court.[Jonathon] Can this make dispute resolution both playful and sincere? Inner Dialogue Scene where the thoughts of any or all characters are revealed by on-stage beings (angels and devils) or offstage voice (Alter Egos, True Feelings). / ~ subtext, but different / translation (political) Habit-Highlighters

Action-Reaction (a.k.a. Stimulus-Response) Each improviser gets a simple action that one of the other improvisers will naturally do in a scene (blink, or touch their lips),and something they will do in response (When improviser one blinks, I will sneeze!).None of the improvisers should hear the stimulus or the response of any other player. A scene is then played with the stimuli and responses activated.

Endowments 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.

Activity – staying improviser tries to get other(s) to do an activity /activities (one each). Famous Person – … Fortune Teller – ‘fortune teller’ leaves the room; get predictions from audience; ‘fortune teller’ must make the predictions. Marriage Counselor Endowments 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. Return Department A product and an unusual problem with the product are received from the audience. An unknowing improviser enters and is playing an employee in a return department of a store. An improviser then tries to endow them with the product and the problem. Silly/Stinky/Sexy Four improvisers are on stage. Secretly endow each of the other improvisers with either being silly, sexy, or stinky. You consider yourself neutral. Play a scene with this endowment and attitude towards the others. [What assumptions are underlying/channeling our interactions? lazy! miserable! codger!] Superhero Endowments 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. Understudy An improviser leaves the stage and does not watch the scene. A scene is played to a point and one of the characters falls ill. The offstage “understudy” is then called upon to recreate the scene and/or pick the scene up from where it was with no knowledge of what happened the first time. (Unlike other endowment games, the scene is not focused around getting the unknown, and does not end when he gets it.) (~actor’s nightmare)

Gibberish Translations should match syllable for syllable and begin as soon as the gibberish is spoken rather than waiting until the end of the line.

English/Gibberish A scene begins in English until a bell is rung and the improvisers continue the scene in gibberish. The bell is sounded again and the improvisers return to English. This back and forth continues until the scene ends. Gibberish Conversation Three improvisers sit onstage. Two of the improvisers conduct a gibberish conversation with both sides translated by the third improviser. Language Barrier Two improvisers meet on stage who speak different languages. They both speak in gibberish as far as the audience is concerned. Poetic Speak Scene begins with normal speaking. A bell is rung and the players then continue in Poetic language. The bell is rung again and they return to normal language. The scene continues going back and forth between these two states.

see also: Parallel Universe – Jonathon plays Christine1, Christine plays Christine2; and vice versa.

Games for Performers – Voice-Movement Integration Exercises

Energy Games

Green Ball / Energy Ball Dance the ball’s dance, the air is charged, dance the charge – the space between us, the energy, the focus. Bowling Pins – …. Give and Take Step 1: Improvisers spread out through a playing space then freeze in a position. One improviser begins to move about the room in any fashion they wish. They then give the momentum to another improviser who takes it immediately and begins to move about the room. When the second person begins to move, the first person freezes. Remember to “give” focus. Step 2: Same as above, but in addition, the momentum may be “taken” by anyone who decides to move. If an improviser begins to move, the present “mover” freezes. If two people begin to move at the same time, they should mirror each other, or one of them has to give focus. Be aware of the people around you: if someone is in a difficult position, give them the focus. Stop and Go. Freeze while talking and move in silence. Or vice versa. Speaking at the Same Time Improvisers must carry on a scene in which they all must be speaking and silent at the same time. Butoh – Marionette Marionette seeks to control the Puppeteer Parallel Parking Two or more improvisers stand center next to one another and begin walking away from the center till an audience member stops them. They then play a scene in which they must always justify being in the same relationship and distance to each other.

Scene from Music (Dance) An improviser makes music. One or more improvisers dance to the music. When the music stops, dancers freeze, then begin a scene based on their physical positions. At The Movies Two critics review either a single film or multiple films. As they review, clips from the fictitious movie are acted out onstage. Variation: Can be done as a “tribute” to a fictitious actor or director. Variation: Rather than critics, the improvisers can play a trailer to an upcoming feature. Then they can play the whole movie trying to connect the scenes from the trailer. Emotions – Laughing/Crying – power laugh, handshake, milk shake, crash, the trees are laughing – can exercises open us up to full emotional capacity and sensitivity? - Coach sounds like a song! switch! move on! reverse! should have said! change channel! expand! no ___! lights! impulse 2! innocence! experience! glide! flick! slash! cello! crown! heart! root!

Rehearsal Games

Move On A scene begins and at anytime an offstage improviser can yell, “Move On!” forcing the story to immediately move forward in time. Location and characters may also change when a story moves on. see also: hats,

Theatrical Effects

Scene In The Dark Scene starts. At the lighting improviser’s discretion, the lights go out on stage. Reverse Scene In The Dark As above, except whenever the lights on stage are “on”, the improvisers react as if they are in the dark. When on stage lights are “off”, improvisers react as if the lights are on. Entirely in the Audience Stage lights are turned off, House lights are turned on. The scene is played entirely in the audience. Often this is played by getting a room in the house such as kitchen. The improvisers then play a scene in which their kitchen is the size of the theater. Silent Scene Playing a scene in which no words are spoken. Should be played realistically and the improvisers should not find themselves in a position where they might speak to each other. Parallel Universe The improvisers get two environments from the audience, which they play in the same space. In other words, two separate scenes in two separate environments occupy the same space. The scenes do not acknowledge each other. Give and Take is crucial for this game. Variation: As above, except improvisers acknowledge the other improvisers in their environment.

Games for Playing with Reality

Radio Stations 4 players stand in a line. The audience gives each person a radio station style such as “talk radio,” “heavy metal,” “jazz,” “alternative,” “easy listening,” etc. Another player points to them and they must say or sing what is on that station at that time. If it is a talk radio station, then they can talk, if it is a music station they need to sing a song in that style. see also: Scene Without ____, Parallel Universe. Invisibility One or more characters in the scene are invisible to each other. The other improvisers respond 1) as if they are visible (with no actor, like in Harvey) 2) as if they are invisible, but audible (voice provided by miked improviser off stage), or 3) as if they are invisible and inaudible (with an actor playing a ghost as in Blythe Spirit). Many of these descriptions are thanks to Unexpected Productions. (I rewrote or modified many of their descriptions, I organized the different games according to meaningful groups, and I added many games I learned elsewhere or created with friends.)