Improv+rules

Games, Exercises and Warm Ups

2002-2003

In association with

The Ocial Resource Booklet of the Canadian Improv Games

Dedicated to the memory of Johnson Moretti Long Live The Spirit of the Games

The Canadian Improv Games Oath

We Have Come Together In The Spirit Of Loving Competition To Celebrate The Canadian Improv Games We Promise To Uphold The Ideals Of Improvisation To Co-Operate With One Another To Learn From Each Other To Commit Ourselves To The Moment And, Above All, To Have A Good Time!

WARM UP EXERCISES

10 Unrelated Things

A free association game to knock the mind about and break normal thinking patterns.

Rules Player must say 10 unrelated things in as short a time as possible. The player must avoid patterns like “Items in the room” or “Things out the window” Objectives: To allow the free ow of ideas within a set of rules. Comments: Words should not be related to ANY of the words that have come before. The mind wants to list or create sentences, and this game is designed to free the mind. Adaptations: Do this exercise in pairs, with A saying the words and B counting out loud.

Action Justify

Justication is a basic skill that allows improvisors to create worlds with strong internal logic, no matter how ridiculous that logic seems in the real world. Rules Player A begins a repetitive abstract action (i.e. not an identiable activity, such as raking leaves.)

Player B, who has not seen this action, turns and makes an offer for the Where (location) and Who (character.) Player A justies their abstract action by marrying the Who, Where and their action into an activity based on the movement they are making.

Objectives: To focus an improvisers ability to Justify. Comments: Player B’s endowment must include both character and location, but watch that it does not include the activity. Example: “Well partner, here we are on the night shift” and not “Well partner, here we are patrolling the mall late at night.”

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The Canadian Improv Games

WARM UP EXERCISES

Environments

Creating worlds on stage is a fundamental skill. This game encourages players to create locations non-verbally as well as strengthening team work.

Rules The warm up leader calls out an environment, then loudly counts down from 10.

Without discussion or planning the players create and explore the environment using the full space. Players may be objects or people. Objectives: To physically explore an improvised environment and all it’s possibilities. To force the improvisors to be present in the space, and work together without discussion to create full functioning environments. Comments: Don’t discuss it - do it! Explore all the aspects of the environment. If the environment is a movie theatre, there’s the possibility of popcorn, p eople to sell the popcorn, moviegoers, screen, seats, any of the myriad objects and persons that make up a movie theatre experience. Watch each other, try to create balanced stage pictures. If you see everyone else trying to be the screen, sit down and watch the movie.

Rapid Fire Freeze

Variations on a classic improv game. Rules Two players begin a scene.

Once the scene is minimally established, an off-stage player yells “freeze”. The on-stage improvisors freeze in their last physical position. The off stage player enters, taps one character out, takes their exact physical position and then justies it while establishing a new scene. Once this new scene is established, the process repeats itself. Objectives: To practice establishing scenes through exploration of environments or activities, and to practice justifying physical positions on the stage. Comments: Don’t wait for a great idea, call freeze as soon as the new scene has been established. Adaptations: Blind Freeze: Two players on stage, the rest in a line against the back wall. The rst improvisor in line turns their back on the stage, an d when it sounds as though the scene has been established they yell “freeze.” They then go in and take the position of one of the players, seeing it for the rst time, and initiate a new scene. A great variation for teams that are waiting for the right moment to yell freeze.

Discovering The Moment

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WARM UP EXERCISES

Yes, Let’s Rules Players nd a space in the room.

A moderator asks the group to do an activity by calling out “Lets _____.” The group, in unison, all respond by shouting out “Yes, Lets!” The players then proceed individually and silently to explore the activity physically. When the moderator feels the activity has been fully explored the moderator calls out another activity.

Objectives: To explore the entire physical environment of an activity.

What Are you Doing?

This game increases player’s skills at creating environments as well as working on the ability to think about more than one thing at a time.

Rules In partners, player A starts by exploring the physical environment of an activity.

Once A has established and explored the activity, B asks “What are you doing?” Player A, completely engrossed in the activity “lies” to B and tells them a completely different activity than the one they are actually exploring. Player B immediately begins to explore the activity suggested by A. When B has established and explored the activity, A asks “What are you doing?”

Objectives: To separate the thought process into more than one part. To be able to think about completely different things is the ability an improviser needs to be both present in the moment and prepared to advance the scene. Comments: The classic trap for this game is to stop the action, face your partner and explain the alternative activity. It is integral that the players understand that it is this impulse to stop everything and think before action that we are trying to counteract. Adaptations: Upon hearing the question “What are you doing?” players must simultaneously break any

repetitive content within the activity by altering and answer the question with a lie. 6


WARM UP EXERCISES

Zoom

Zoom is an energy and focus warm-up that is excellent for connecting players with impulse and awareness of space. Rules Students get in to circles of 5-10 standing facing the center.

One student starts sending the energy around the circle by directing a hand clap towards a particular player while simultaneously saying “zoom.” When a player receives the energy they immediately send it to another player within the circle. Objectives: To increase player awareness and to connect players to their impulses. To illustrate the necessity for eye contact and connection with other players. To get players present in the room. Comments: Eye contact is extremely important in this game as in all improvisation. It is best if “nolook passes” that may work well in the NBA are banned. The amount of energy that is initially thrown around in the circle will most likely set the tone for the exercise, so insure that the team starts at a high level of commitment. Adaptations: Maverick Zoom Players use team members actual names and they do not form a circle. Instead the secondary objective is to run away from the player who receives the energy.


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EXERCISES Arms Experts

Two improvisors become expert know-it-all’s on a subject of the audience’s choosing. The format can be an interview, talk show, lecture, debate... Rules One improvisor comes up to play an expert on a suggested topic.

A second improvisor stands behind the rst. The front improviser wraps their arms around the improviser behind. The rear improviser puts his arms out as the front persons arms. Objectives: To encourage spontaneity, and the making and justifying of physical offers. Freeing the trust in ones impulses. Comments: The front improviser (the “voice” of the Expert) should include and justify all of the physical offers made by the “arms” (rear) improviser. The rear improviser should stay present, listen carefully to the front improviser and then add p hysical offers of their own. Take your time: relaxation will keep you in the moment, and that will be more interesting to watch than hurried or incomplete answers/statements. Condence is both more interesting and more important than speed.

Bus Stop

A classic game that explores character while encouraging listening and discovery skills. Rules A bench is placed centre stage. One improviser enters and sits on the bench

A second improviser enters and begins to play a scene. The scene is over when the rst character leaves the stage, and the second remains seated on the bench A third character enters and begins a scene which ends when the second player exits. Repeat until all players have been on stage.

Objectives: To develop/practice the skills of characterization and character interaction. Comments: Don’t let an improviser use the same character or tactic too many times, o r you compromise the purpose of the exercise. Respect your fellow improvisers: the scene is over when the rst person leaves, but the scene must still be played together. Even when you play an aggressive CHARACTER, remember that the good IMPROVISOR is always listening and aware of offers made and actions taken by EVERYONE on stage. Adaptations: More than two people can be on the stage at one time 8


EXERCISES A game that increases narrative skill, teamwork and listening.

Story Story Die

Rules Three to six improvisers form a line on the stage. The narrator/MC sits downstage of them, facing the line.

The MC randomly points to players in the line. The player who is pointed at speaks. When the nger moves, the speaking improviser stops (mid-syllable if necessary) and the next improviser picks up EXACTLY where the previous one left off. If a player stutters, repeats a word or says something totally incongruous, the audience shouts “DIE!” The improviser “dies” and a new story begins. The game ends when only one person remains.

Objectives: To develop awareness and spontaneity. To tell a complete story as a team within the restrictions of the game. Comments: Die with good grace: the audience takes their cue for reaction from the improviser. Keep it fun. Concentrate on the story - listen to each other and keep it simple. If the action advances out of hand, the story will lose co herence.

Emotional Transfer

A great game to encourage players to alter their emotional states.

Rules Two improvisers start a scene with opposite emotions, and over the course of the scene they switch. Objectives: To introduce the value of emotional transfer into scene work.. To heighten awareness. Comments: Don’t jump right into the transfer - establish the opposite emotions and then try to nd an organic transfer WITHIN the reality of the scene.


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EXERCISES Environments

Creating worlds on stage is a fundamental skill. This game encourages players to create locations non-verbally as well as strengthening team work.

Rules The warm up leader calls out an environment, then loudly counts down from 10.

Without discussion or planning the players create and explore the environment using the full space. Players may be objects or people. Objectives: To physically explore an improvised environment and all it’s possibilities. To force the improvisors to be present in the space, and work together without discussion to create full functioning environments. Comments: Don’t discuss it - do it! Explore all the aspects of the environment. If the environment is a movie theatre, there’s the possibility of popcorn, p eople to sell the popcorn, moviegoers, screen, seats, any of the myriad objects and persons that make up a movie theatre experience. Watch each other, try to create balanced stage pictures. If you see everyone else trying to be the screen, sit down and watch the movie.

Machine

A simple exercise in group awareness and physical responsiveness.

Rules One player enters and begins a repetitive sound and action.

Once that is established, a second improviser comes up and takes a position relative to the rst, beginning a different repetitive sound and a ction. Each improvisor enters and becomes part of the machine. After the machine is established, performers may freeze and identify the machine (i.e. “Oh, it’s a top spinner and tabbouleh mixer.”) Objectives: To increase group awareness. To practice making, incorporating and justifying physical offers. Comments: When in doubt, keep it simple. If you’re blocked, it probably means that you denied your rst impulse.

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EXERCISES

Slide Show

This exercise builds justication skills.

Rules Improvisers take non specic poses while the narrator explains the nature of the slides. Many formats can be used: vacation, area of expertise, lecture, etc.. Objectives: To justify the poses while creating a complete story within the rules of the game. Comments: Slide improvisers should listen to what is being described, but are not by any means limited to “what happened next” slides. Respect the narrator, and trust that they will justify the poses into a story.

Speak in one Voice

A fun teamwork and narrative game.

Rules Two or more improvisers take the stage. Together are a single expert or know-it-all.

A solo player interviews the collective expert, who respond to the questions simultaneously, all speaking with one voice.

Objectives: To improve listening skills and spontaneity Comments: If you nd yourself driving the group, let go and follow. This games works best under the same principles as the Follow the Follower game. Focus on each other and let the interviewer weave the group’s answers into o rder.


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GAMES

Alphabet Game

A restriction game.

Rules This scene has 26 lines. Each line of dialogue must begin with the next seque ntial letter of the alphabet. There isno real need to start with ‘A’. Ask for the starting letter from the audience. Objectives: To work within the limitations of the rule and still create a full story. Comments: Don’t allow the rules of the game to dominate the scene - the “stunt” version overemphasises the letter progression. The challenge is to create a full STORY in which each consecutive line of dialogue just happens to begin with the next letter of the alphabet. Trust yourselves. Adaptations: Every line spoken on stage must start with the next consecutive letter of the alphabet. This challenges the tendancy with this game to use long paragraphs of exposition to advance the story to avoid the structure of the game.

Each character on the stage gets a letter: all of their lines must begin with this letter. Alliteration: each character gets a letter, then has to use that letter as many times as possible within the scene.

Actor’s Nightmare Rules Using a book of plays, an improviser has an audience member choose a page number.

The improviser holding the book must take all of his dialogue from the consecutive lines of dialogue of a single character, beginning on the assigned page. One or more team mates work to justify the dialogue.

Objectives: To justify the line of dialogue immediately and create a full scene.

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Comments: It is very important to keep the story moving. This scene has a tendency to end up being a “Your crazy, I’m not” scene, which weakens the justication process and dismisses the reality of the reader’s diologue. Make sure you nd an activity within the scene that will allow you to explore and physicalize. The Canadian Improv Games

GAMES Animal Actors

A great game to explore non-human habitual movement Rules Improvisers ask for an animal or animals to inspire their characters.

The team then plays the scene as a human with that animal’s characteristics. Objectives: To use the Animals inherent talents and well known traits to solve problems (or create them) and create the elements of scene work. It is also important to nd the similarities between animal and human. Comments: How does this animal character walk? Talk? Sit? Eat? How do they react to danger? Happiness? The more detail your animal character has, the more interesting you will be and the better you honour the suggestion. If you have a well rounded animal character, the scene will organically evolve from that c haracter’s specic traits. If you do some animal character exploration with your group before yo u play the game, you’ll nd more detail and more levels to play on. The animals that you get from the audience will (and should) be different but a familiarity with the exploration will help you create well-rounded characters.

Backwards Scene Rules The team creates an entire story/scene in reverse, starting with the conclusion of the story and improvising thier way to the beginning Objectives: The team must know the “Basic Scene Structure” so well they can forward the action in reverse (I guess that would be “reverse” the action). Resolution, raising the stakes, problem, characters, environment. Example: “I’m leaving - goodbye forever” “What will you do now?” “I can’t take this anymore!” “Nothing’s ever good enough, is it.” “God, how I hate carrots!” “Here’s your dinner, hon.” “Isn’t dinner ready yet? I’m diabetic.” “Welcome home dear, have a seat. I’ll just be a minute.” Comments: You don’t have to speak backwards - just unfold the story in reverse order. Take your time: this game is liable to disintegrate entirely if it’s rushed.


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GAMES Counting Game Rules Each player receives a number between 1 and 10.

The improvisers perform a scene using lines of dialogue with a word total the same as their number. A buzzer will sound if a player says a line containing the incorrect amount of words.

Objectives: To create full scene while improvising within the restriction. Comments: This is an excellent game to play with teams that are xated on narrating action instead of physicalizing. Make sure the players do not b ecome Cro-Magnon beings, make sure they put themselves at risk and take part in the scene .

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First Line Last Line Rules Improvisers are given a rst line for a scene and an unrelated last line of dialogue. Scene begins and ends with these lines.

Objectives: To improvise and justify a full scene within the rules of the game. Comments: Concentrate on the elements of the story structure. If you focus on getting to the last line of dialogue, you will lose the process by which it is reached. It’s the process that we want to see on the stage.

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GAMES Audience Character .

This is a great game for students to practice and explore physical embodiment. The game focuses on the ability for one or more players to extrapolate attitudes, alignment and voice from photo’s or business cards of an audience member. Rules: Get photo ID cards or business cards from the audience as well as a suggestion of a location or activity.

Designated players mold/match their faces to the photos. They also use the name from the ID as well. The scene is created by showing the characters within the suggestions from the audience

The Objective: To create full characterizations from audience suggestions, and build a scene based on their lives. Comments: This game thrives on discovery. The more the players explore the character they’ve unleashed the more the scene will benet. Beware: many people don’t like to get their picture taken at the DMV so you may end up with fairly negative characters. Don’t let the character’s negativity give you the impulse to block or cancel offers. Remember to forward the action. Create fully rounded characters from the ID/business card and also from you r impression of the person who donates it. Mocking them will draw an easy laugh from the audience, but it disrespects both that audience member and his/her suggestion (of themselves). Once again, a with a well-rounded character the story will evolve simply and organically from their traits, mannerisms and ideosynchrasies. You don’t have to recreate the person who makes the suggestion in exacting detail: but they are the jumping off point for YOUR character, which you will created in detail.


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GAMES .

Dubbing

Rules Offstage improvisers provide the voices for the onstage characters and action. May be played as a Foreign Film.

Objectives: To perform a scene with the narrative being supplied by one part of team and the physicalization by the other Comments: The onstage improvisors have the option of simply moving their lips, speaking in gibberish or (if you have the option) actually conducting the scene in a language other than English. Familiarize yourself with the convention of pausing after each line of dialogue for the translation - don’t let the action of the scene stop just because nobody’s speaking. Stay present and connect to the scene physically to give it continuity.

Entrances and Exits

Rules Each player is given a word, number or famous phrase (preferably not something said in every sentence.)

Whenever the player’s word is spoken within the scene the player must justify an entrance or an exit.

Objectives: To improvise and justify within the rules of the game while c reating a scene. Comments: Players should be asked not to say their own word unless necessary to avoid the trap of “saying it for laughs.” Be sure to remember to create an activity and nd a common focus for the players within the scene. You can also try to forward the story with each entrance and exit.

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GAMES

In a ... with a ...

Rules Improvisors get audience suggestions to ll in the blanks IN A _____ WITH A _____ (WHILE_____). Scene does not necessarily begin with the suggestions,but may move toward that moment.Or it may begin at the suggestion and proceed wherever it might. Objectives: To improvise and justify a complete scene within the rules of the game. Comments: Let the scene evolve directly from the suggestions. There’s no need to invent: each suggestion contains a wealth of potential material. When working with more than one suggestion it’s a good idea to “marry” the suggestions, bringing them together in some way to help the scene nd its resolution. Adaptations: Single blank, or any two of the three.

Moving People

Rules Audience members or team-mates 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 challenge the puppeteers with their verbal endowments. Objectives: To improvise and justify a complete scene within the rules of the game. This game focuses on the team’s story telling ability. Comments: Be ready for anything. Tell a STORY: this game risks becoming a series of justications with no through line. Focus on the elements of story structure, while staying within the rules of the game.


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GAMES Object Game Rules: Object is chosen from a member of the audience. Scene is played using that object. It may or may notbe used as what it really is (eg: credit card may be used as a pocket TV...). Objective: To improvise and justify a complete scene within the rules of the game. This game focuses on the teams abillity to create a story about the object Comments: Let the object tell the story in one way or another. If the story isn’t about the object, the object should be a main character, or the solution of the problem, or the ultimate goal, or Big Brother, or...

Word at a Time Rules Players form a circle.

Players tell a story alternating players on each word, one word at a time.

Objectives: To create group mind through cooperational storytelling. Comments: A lot of the time this game is derailed because of offers from space, ideas that are not organically found within the story. It is important to stop stories that are not working or cannot be understood and start afresh. It is through the process of stopping scenes that you will produce an intrest in allowing the story to write itself rather than trying to force it to be written. Adaptations: 1,2,3, Word at a time First cycle of players says one word at a time. The second cycle of players says two words at a time, the third cycle says three words, the fourth cycle says 2 words, and the fth cycle says one word until the story ends (perhaps even on the last player.) Physicallized Word at a Time Two players begin a Word at a Time story game in the rst person as “I”. The other players act out all action within the scene while it happens. 18


GAMES Paper Game Rules The stage is strewn with pieces of paper each containing single, unrelated lines of dialogue.

The players begin a scene based on a suggestion from the audience. The players then pick up the lines of dialogue, read them with no introduction and then justify them into the scene.

Objectives: To justify the line of dialogue immediately and create a full scene. Comments: Some players attempt to set up or justify the line before they speak the line. This denies both the player and the audience the full glory of the challenge of justifying the dialogue. It is important not to shelve ideas once they have been justied. Use the paper lines to advance the scene. Adaptations: Comics The same game using actual boxes or bubbles from comic strips.

Radio Dial

This game is a variation of Story Story Die in which each player is assigned a style in which to tell their story. Rules Three to six improvisers form a line on the stage. The MC sits downstage of them, facing the line

Each improviser is assigned a style in which tell the story. The narrator/ MC designates who speaks by pointing at them. When the nger moves, the speaking improviser stops (mid-syllable if necessary) and the next improviser picks up EXACTLY where the previous one left off.

Objectives: To develop awareness and spontaneity. To tell a complete story together within the rules of the game. Comments: Concentrate on the story - listen to each other and keep it simple. If the action advances out of hand, the story will lose coherence. Discovering The Moment

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GAMES

Scene 3 Ways

A great way to play with many different styles

Rules Team plays a short neutral scene.

The team replays the scene 2 more times coloured with the elements of a particular style or genre. Objectives: To improvise within many different styles. Create and practice the understanding of using an element of a style to prove a section. Comments: Many of the scenes will end up as mimicry and parody of the style, however, this game is excellent for nding a style the team enjoys. Experiment with many different styles, so that the team gets a feel for exploring the conventions of each one. Sometimes those conventions will call for a radical departure from the original neutral scene, but attempt to retain the key structural elements - even as you play with their detail and presentation.

Sit, Stand, Kneel, Lie

Rules Four players begin a scene. One player must always be sitting, one standing, one lying down, and one kneeling.

When a player changes position the player whose position they’ve adopted must justify their movement into a new position. No two players are allowed to be in the same position at once.

Objectives: To improvise and justify within the rules of the game while c reating aa scene. Comments: A great game for reminding players of the use of levels and to be observant of their team mates movement.

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GAMES Typewriter

This is the classic third person narrative game

Rules Get a suggestion from audience (e.g. Fictional title for a story.)

One player is the writer and narrates the story. The other members of the team perform the actual scene that is being told including the dialogue. Players pass the advancing of the story back and forth between narrator and stage until the story has been told.

Objectives: To explore the principle of narration and work as a team to advance a story. Comments: One of the rst hesitations a new team will have is to take over the scene from the stage. Most new players will just want the narrator to tell them what to do thus ridding themselves of any need to create a story. It is very important to get all of the players to advance the scene.

Word Machine Rules A member of the audience (or one member of the team) is invited on stage to become the Word Machine. They offer random single words whenever a player taps one of their outstretched sts.

The players begin a scene and tap the word machine’s hand mid-speech, the moment they need an offer. The word machine says a word and the player justies this word in the scene.

Objectives: To justify the word immediately and create a full scene. Comments: The game is most fruitful if the word machine is used for nding the ideas to establish the elements of the Basic Scene Structure. It is especially great for creating problems and solutions. It is very important that all offers from the Word Machine are used within the scene. Adaptations: Pillars Two word machines stand at either side of the stage ready to call out words. Discovering The Moment

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RESOURCES Books on Improvisation and Learning to Improvise:

Action Theatre: The Improvisation of Presence by Ruth Zaporah Characters of the Sacred: The world of Archetypal Drama by Bill Pearlman Impro, Don’t Be Prepared: Theatresports for Teachers, and Impro for Storytellers by Keith Johnson Improvisation by John Hodgson & Ernest Richards Improvisation for the Theatre and The Director’s Handbook by Viola Spolin The Improvised Play (The Work of Mike Leigh) by Paul Clements Improvising Real Life: Personal Story in Playback Theatre by Jo Salas Playing Boal: Theatre, Therapy, Activism, Edited by Mady Schutzman & Jan Cohen-Cruz Rehearsals for Growth: Theatre Improvisation for Psychotherapists by Daniel J. Wiener Theatre of the Oppressed, Games for Actors and Non-Actors, and The Rainbow of Desire by Augusto Boal Truth in Comedy - The Manual for Improvisation by Charna Halpren, Del Close and Kim Johnson Theatre Games by Clive Barker The Ultimate Improv Book: A complete guide to comedy improvisation By Ed Nevraumont and Nick Hanson Books on the History of Improvisation:

The Compass Players by Janet Coleman The Italian Comedy by Pierre Louis Ducharte The Second City by Donna McCrohan Something Like a Drug: An Oral History of TheatreSports by Foreman and Martini Something Wonderful Right Away edited by Jeffrey Sweet Related Books:

Flow, and Creativity by Mihaly Csikszentmihalyi Freeing the Natural Voice by Krisen Linklater Freeplay - Improvisation in Life and Art by Stephen Nachomanovitch The Hero With a Thousand Faces by Joseph Campbell Lazzi by Mel Gordon Scenarios of the Commedia Dell’arte by Flamino Scala Tricks of the Trade by Dario Fo Understanding Comics by Scott Macleod Websites:

www.improv.ca - Canadian Improv Games home page www.theimprovcamp.com - Canadian Improv Games Summer Camp homepage www.yesand.com - a web based improv news magazine www.improvisation.ca -a Canadian quarterly published improv news magazine www.accessone.com/~up/playbook - The Living Playbook, a great resource for improv games and exercises www.humanpingpongball.com - The Improv Encyclopaedia, an overview of many exercises and games 22


Contact Information

We hope that you enjoy this manual and nd it useful. It isn’t perfect yet... but your suggestions can make it perfect. Please send your comments, questions, and constructive criticism to our national ofce.

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Improv+rules

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