Raleigh’s
Village Idiots
Scene list
1) MISSION STATEMENT ..................................................................................................................... 1-1
VISION ................................................................................................................................................... 1-1
MISSION................................................................................................................................................. 1-1
PHILOSOPHY ........................................................................................................................................ 1-1
2) DIRECTOR EXPECTATIONS ........................................................................................................... 2-1
3) PERFORMER EXPECTATIONS ...................................................................................................... 3-1
4) INTRODUCTION TO GAMES........................................................................................................... 4-1
What I call this game. ............................................................................................................................. 4-1
5) ADVICE ................................................................................................................................................. 5-1
Advice Panel ........................................................................................................................................... 5-1
Arms Expert ............................................................................................................................................ 5-1
Basic Cable Advice ................................................................................................................................. 5-1
Dr. Gene Misfire / Oracle ....................................................................................................................... 5-1
6) ELIMINATION..................................................................................................................................... 6-1
ABC / Alphabet Soup .............................................................................................................................. 6-1
Alliteration .............................................................................................................................................. 6-1
Korman (or Corpsing or Serious) Scene ................................................................................................ 6-1
Questions Only ....................................................................................................................................... 6-1
Rhyming Scene ........................................................................................................................................ 6-2
Variable Word Scene .............................................................................................................................. 6-2
What Are You Doing? ............................................................................................................................. 6-2
7) ENVIRONMENT .................................................................................................................................. 7-1
Build a location ...................................................................................................................................... 7-1
Real Estate Broker .................................................................................................................................. 7-1
Share a location ...................................................................................................................................... 7-1
8) FREEZE ................................................................................................................................................. 8-1
Build Up – Build Down .......................................................................................................................... 8-1
Death Pendulum ..................................................................................................................................... 8-1
Freeze Tag .............................................................................................................................................. 8-1
Space Jump ............................................................................................................................................. 8-2
9) GENRE .................................................................................................................................................. 9-1
CHANGING.................................................................................................................................................... 9-1
Changing Channels ................................................................................................................................ 9-1
Changing Emotions/Styles ...................................................................................................................... 9-1
Timeline Jump......................................................................................................................................... 9-1
Zones....................................................................................................................................................... 9-1
FORMAT ....................................................................................................................................................... 9-2
Ad Agency ............................................................................................................................................... 9-2
Addiction................................................................................................................................................. 9-2
Ritual ...................................................................................................................................................... 9-2
Reverse Scene ......................................................................................................................................... 9-2
Shakespearean Scene .............................................................................................................................. 9-3
Silent Tension ......................................................................................................................................... 9-3
Superhero Scene ..................................................................................................................................... 9-4
Unendowed Scene ................................................................................................................................... 9-4
i
MOVIE .......................................................................................................................................................... 9-4
Academy Award Nominated ................................................................................................................... 9-4
Director’s Cut (see DVD Extras) ............................................................................................................ 9-4
Mixed Up Movie ..................................................................................................................................... 9-4
TV ............................................................................................................................................................... 9-5
Infomercial.............................................................................................................................................. 9-5
Jeopardy ................................................................................................................................................. 9-5
Newscast ................................................................................................................................................. 9-5
Mission Improbable ................................................................................................................................ 9-6
Talk Show, Prime Time ........................................................................................................................... 9-6
Talk Show, Morning ............................................................................................................................... 9-6
Television Show ...................................................................................................................................... 9-6
10) GIBBERISH ...................................................................................................................................... 10-1
NON-SCENE................................................................................................................................................ 10-1
Basic Gibberish .................................................................................................................................... 10-1
Gibberish Poetry................................................................................................................................... 10-1
SCENE ........................................................................................................................................................ 10-1
Foreign Movie ...................................................................................................................................... 10-1
Gibberish Opera ................................................................................................................................... 10-1
11) GIMMICK ......................................................................................................................................... 11-1
CHARACTER ............................................................................................................................................... 11-1
10 Characters ....................................................................................................................................... 11-1
Actor Switch .......................................................................................................................................... 11-1
Animal Magnetism ................................................................................................................................ 11-1
Doors .................................................................................................................................................... 11-1
Evil Twin ............................................................................................................................................... 11-2
Hitchhiker ............................................................................................................................................. 11-2
Human Resources ................................................................................................................................. 11-2
Old Career / New Career...................................................................................................................... 11-2
Road Trip (or Carpool) ........................................................................................................................ 11-3
Split Scenes (3 cell phones) .................................................................................................................. 11-3
Three Characters .................................................................................................................................. 11-3
Two-minute Relationship ...................................................................................................................... 11-4
PAIN ........................................................................................................................................................... 11-4
Mousetraps ........................................................................................................................................... 11-4
Oxygen Deprivation / Bucket of Pain ................................................................................................... 11-4
PIMP ........................................................................................................................................................... 11-4
Balloon Wars ........................................................................................................................................ 11-4
Double Endowments ............................................................................................................................. 11-4
Dubbing Scene ...................................................................................................................................... 11-5
Heighten & Explore .............................................................................................................................. 11-5
Hypnotist............................................................................................................................................... 11-5
Moving Bodies ...................................................................................................................................... 11-6
Sit/Stand/Kneel ..................................................................................................................................... 11-6
Stimulus Response ................................................................................................................................ 11-6
Superfriends Mission ............................................................................................................................ 11-6
Super Slo Mo ........................................................................................................................................ 11-7
Variable Player Scene .......................................................................................................................... 11-7
WORDPLAY ................................................................................................................................................ 11-7
Anti-elimination Games ........................................................................................................................ 11-7
First Line / Last Line ............................................................................................................................ 11-7
Innuendo ............................................................................................................................................... 11-7
Revolving Door ..................................................................................................................................... 11-7
ii
12) GUIDED/SCRIPTED ........................................................................................................................ 12-1
At the Movies ........................................................................................................................................ 12-1
Best Seller ............................................................................................................................................. 12-1
Blind Meeting (and Sub-Text Variation) .............................................................................................. 12-1
Director ................................................................................................................................................ 12-1
Five Minute Movie ................................................................................................................................ 12-2
Flashback ............................................................................................................................................. 12-2
God (God and Devil) ............................................................................................................................ 12-2
Hesitation.............................................................................................................................................. 12-3
Mystery Theater .................................................................................................................................... 12-3
Playwright ............................................................................................................................................ 12-3
Public Service Announcement .............................................................................................................. 12-3
Scenes from a Hat ................................................................................................................................. 12-4
Scripted ................................................................................................................................................. 12-4
This is Your Life .................................................................................................................................... 12-1
13) JUSTIFICATION.............................................................................................................................. 13-1
Accepting Scene .................................................................................................................................... 13-1
Amish Rake Fight.................................................................................................................................. 13-1
Boris Game ........................................................................................................................................... 13-1
Comic Book........................................................................................................................................... 13-1
Court Case ............................................................................................................................................ 13-2
Psycho-Analysis .................................................................................................................................... 13-2
Six Lines................................................................................................................................................ 13-2
Sound Effects ........................................................................................................................................ 13-2
Split Characters .................................................................................................................................... 13-3
Split Location ........................................................................................................................................ 13-3
Vacation Slides ..................................................................................................................................... 13-3
Whose Line is it Anyway? ..................................................................................................................... 13-3
14) LINE ................................................................................................................................................... 14-1
2008 ...................................................................................................................................................... 14-1
B-Movie ................................................................................................................................................ 14-1
DVD Extras........................................................................................................................................... 14-1
Famous Last Words .............................................................................................................................. 14-1
Pick-Up Artists...................................................................................................................................... 14-1
Product Names ..................................................................................................................................... 14-2
Sequel Taglines ..................................................................................................................................... 14-2
World’s Worst ....................................................................................................................................... 14-2
15) MUSIC ............................................................................................................................................... 15-1
NON-SCENE................................................................................................................................................ 15-1
Audience Recital ................................................................................................................................... 15-1
Blues ..................................................................................................................................................... 15-1
Do Run Run .......................................................................................................................................... 15-1
Emotional Symphony ............................................................................................................................ 15-1
Improv Jam ........................................................................................................................................... 15-2
Interpretive Dance ................................................................................................................................ 15-2
Madrigal/Unplugged ............................................................................................................................ 15-2
SCENE ........................................................................................................................................................ 15-2
Audition ................................................................................................................................................ 15-2
Bartender .............................................................................................................................................. 15-3
Mood Music .......................................................................................................................................... 15-3
Musical Start......................................................................................................................................... 15-3
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Off-Off-Off-Broadway Musical ............................................................................................................. 15-3
Pick Your Note ...................................................................................................................................... 15-3
Song Cue ............................................................................................................................................... 15-4
16) NAIVE ................................................................................................................................................ 16-1
MIME.......................................................................................................................................................... 16-1
Fashion Show ....................................................................................................................................... 16-1
POW...................................................................................................................................................... 16-1
QVC Scene ............................................................................................................................................ 16-1
SCENE ........................................................................................................................................................ 16-2
Hijacker ................................................................................................................................................ 16-2
Interrogation ......................................................................................................................................... 16-2
Party Quirks ......................................................................................................................................... 16-2
Return Department ............................................................................................................................... 16-2
SEMI-SCENE ............................................................................................................................................... 16-3
Expert Guest ......................................................................................................................................... 16-3
Press Conference .................................................................................................................................. 16-3
Torture the Actor .................................................................................................................................. 16-4
17) REPLAY ............................................................................................................................................ 17-1
Anti-Improv........................................................................................................................................... 17-1
Countdown to Doomsday Challenge .................................................................................................... 17-1
Ding ...................................................................................................................................................... 17-1
Dude Scene ........................................................................................................................................... 17-1
Family Dinner....................................................................................................................................... 17-1
Forward/Reverse .................................................................................................................................. 17-2
If I had it My Way ................................................................................................................................. 17-2
Instant Replay ....................................................................................................................................... 17-2
Point of View (POV) ............................................................................................................................. 17-2
Rehash .................................................................................................................................................. 17-3
Remote Control Movie .......................................................................................................................... 17-3
Replay ................................................................................................................................................... 17-3
Rewrite! ................................................................................................................................................ 17-3
Take Two............................................................................................................................................... 17-4
18) STORYTELLING ............................................................................................................................. 18-4
Anthology .............................................................................................................................................. 18-4
Directed Story ....................................................................................................................................... 18-4
Limerick ................................................................................................................................................ 18-4
Monks’ Story ......................................................................................................................................... 18-4
One Word Story Die.............................................................................................................................. 18-5
One Word Song ..................................................................................................................................... 18-5
Poetry Corner ....................................................................................................................................... 18-5
Psychotic Story ..................................................................................................................................... 18-5
Radio Dial ............................................................................................................................................ 18-5
19) THREE PERSON TEMPLATES .................................................................................................... 19-1
Mediator ............................................................................................................................................... 19-1
Messenger ............................................................................................................................................. 19-1
Pecking Order....................................................................................................................................... 19-1
Provocateur .......................................................................................................................................... 19-1
Shifting Alliances .................................................................................................................................. 19-1
Threes a crowd ..................................................................................................................................... 19-1
Wallflower............................................................................................................................................. 19-2
iv
20) LONG FORMS ................................................................................................................................. 20-1
General Edits ........................................................................................................................................ 20-1
Montage ................................................................................................................................................ 20-1
Cut to Montage ..................................................................................................................................... 20-1
Documentary ........................................................................................................................................ 20-1
Follow the Action.................................................................................................................................. 20-2
One Act Play / Monoscene .................................................................................................................... 20-2
Pyramid Form....................................................................................................................................... 20-2
Support Group ...................................................................................................................................... 20-2
True Stories........................................................................................................................................... 20-2
21) WARM UPS....................................................................................................................................... 21-1
Big Booty .............................................................................................................................................. 21-1
Bippity Bippity Bop ............................................................................................................................... 21-1
Bunny .................................................................................................................................................... 21-1
Categories ............................................................................................................................................. 21-2
Counting ............................................................................................................................................... 21-2
Exaggeration Circle.............................................................................................................................. 21-2
Go ......................................................................................................................................................... 21-2
Hot Seat ................................................................................................................................................ 21-2
Hot Spot ................................................................................................................................................ 21-2
Jeepers Peepers .................................................................................................................................... 21-2
Next on Tafffy........................................................................................................................................ 21-3
One word story ..................................................................................................................................... 21-3
Pass/Catch ............................................................................................................................................ 21-3
Passing the Clap ................................................................................................................................... 21-3
Popcorn ................................................................................................................................................ 21-3
Sound Circle ......................................................................................................................................... 21-3
What’s in the Box .................................................................................................................................. 21-3
Whoosh-Bong........................................................................................................................................ 21-3
Word Ball .............................................................................................................................................. 21-4
Zip-Zap-Zop .......................................................................................................................................... 21-4
Zoom-Schwartz-Parfigliano ................................................................................................................. 21-4
v
1)Mission Statement
VISION
As a performing and teaching troupe, Raleigh’s Village Idiots
will entertain our audience with high quality improvisational
comedy theatre.
MISSION




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To
To
To
To
To
To
place our audience’s entertainment above our own
give the audience more than they expected
explore the boundaries of improvisational comedy
continue to improve as individuals and as a troupe
dedicate ourselves to having fun at all times
innovate and grow rather than let performance grow stale
PHILOSOPHY
We take our comedy seriously. Our main goal is to entertain the
audience. In order to accomplish that goal we will insist on the
highest level of performance from our members. Our members must
be dedicated to growing and improving. It is the responsibility of all
troupe members to be aware of the tendency to rest on one’s laurels
and stagnate, and do their part to avoid that trap. The troupe will do
what they do best for the audience, but continue to experiment and
perfect new presentations of improvisation for the stage.
1-1
2)Director Expectations
The following are the rules and expectations for the directorial staff of
Raleigh’s Village Idiots. RVI is not a democracy and while the input and
opinions of all members is appreciated, it is the responsibility of the
Director to ensure that the troupe and its performances meet the highest
standards. Many of the duties below can be delegated to an Assistant
Director or other troupe members, but the ultimate responsibility (credit or
blame) falls on the Director.
 The Director is the primary decision maker for the troupe’s creative
direction.
 The Director is responsible for creating a show line up that is varied
and showcases the skills of all performers.
 The Director is responsible for workshops and rehearsals.
 The Director plans and casts each show and need not explain choices.
 The Director is responsible for keeping the chemistry of the troupe
optimal. To this end the Director is responsible for the hiring and
firing of troupe members and may do so without notice or warning.
 The Director is expected to keep personal issues separate from
professional issues and put show quality above all else.
 Though each performer has an individual obligation to better his or
herself, it is the Director’s job to facilitate that growth.
 The Director, along with the Business Manager, is the official
spokesperson for the troupe in dealing with press, bookings, and
public relations.
 In the temporary absence of the Director, an Assistant Director
(appointed by the Director) has all authority and responsibilities of
the Director with the exception of personnel issues.
 During an extended absence of the Director, an Assistant Director’s
authority and responsibility includes personnel issues.
 Just as the Director can dismiss members of the troupe, the troupe
can require the Director to step down by a 3/4 majority vote. The
Director would then be a regular performer, subject to dismissal by
the new Director (chosen by the troupe in whatever manner they
chose should the need arise).
2-1
3)Performer Expectations
The following are the rules and expectations for members of Raleigh’s
Village Idiots. Exceptions to these rules are at the discretion of the
Director (or Assistant Director in the Director’s absence). RVI is not a
democracy and while the input and opinions of all members is appreciated,
the decisions of the Director are final.
 Call is 45 minutes before show time.
 Inform the Director 2 days in advance of a show if you are not
available.
 Less than 2-day notice for missing a show requires a valid
excuse (validity determined by Director).
 Regular attendance is expected at no less than 3 rehearsals a
month.
 Your help may be required for pre- and post-show set-up,
strike, and/or clean up.
 Show content should be appropriate for venue. If you’re not
sure of the limits, ask before the show.
 No alcohol or drugs before a show. One-drink limit before
rehearsal (if you can’t be all there, don’t be there at all)
 Performers are expected to keep personal issues separate from
professional issues and put show quality above all else.
 All ideas and expressions of creativity are valid and welcome,
but the call of the Director should be accepted as final in any
and all creative disputes.
3-1
4)Introduction to Games
The following games, scenes, exercises, warm ups, and sundry other things are for your
reference. Many are games that I enjoy performing. Many are exercises that I enjoy umm
exercising. Some I just saw online somewhere and thought, “Hmm, I should put this in
the list, maybe I’ll use it someday.” To make terminology easy, I refer to them as games,
but call them what you want (forms, handles, scenes, psychotic states). I’ve put them in
categories for the sake of sanity, though some could obviously fall into more than one
category and some have been stuck in sideways just to fit somewhere. Have fun.
What we call this form.
Ask for that we might ask for
A brief description of the form and any variations that we feel like
mentioning. We try not to be slaves to format so this is just a short general
description. Focus: Keeping in mind that most games either were
exercises or were based on exercises, it is important to focus on
elements of the form which make it different from other forms.
4-1
5)Advice
Advice Panel
Questions are fielded
Three players take the stage (sitting or standing) and a host asks the
audience what problems they need help solving. Each player gives a
different type of advice from an appropriate character. For example, one
player gives advice that might help, one give advice that would get the
audience member in worse trouble, and one gives off-the-wall advice.
Variation: many groups do this as Good Advice, Bad Advice, and Off-theWall Advice. Focus: strong characters and reacting to the audience’s
tastes as you go.
Arms Expert
Questions are fielded
One player stands with his arms behind his back. Another player stands
behind him, and sticks his arms out under the first player’s armpits. They
either take questions from the audience, have a host to take questions, or
perform an activity with the “blinded” player providing the arms and
hands while the other player justifying “his” hands’ actions. This can be
played with a volunteer speaker from the audience. Focus: changing
between working with the speaker, and working at odds with the
speaker; justification of mismatched actions.
Basic Cable Advice
Topic for the show
Two players are the hosts of a basic cable call-in show. The other players
take turns being characters that are calling in their problems for the hosts
to solve. Focus: Obviously the characters are important here, but the
secret is really the relationship between the hosts. Are they
competitive? Antagonistic? Best friends?
Dr. Gene Misfire / Oracle
Questions are fielded
A host gets questions and the players answer one word at a time,
pretending they are one being. Dr. Misfire is a talk show expert with
multiple heads; the oracle can be a totem pole with many arms or some
other mythical combination of bodies. Focus: Quick smooth talking;
avoid sounding like a computer; Dr. Misfire’s arms and legs should be
synchronized.
5-1
6)Elimination
ABC / Alphabet Soup
A scene starting suggestion / starting letter
The first word of the first line of the scene starts with the letter gotten from
the audience. Then next player’s line starts with the next consecutive
letter, and so on, through the alphabet. A variation is to have a third player
who is not constrained by the alphabet. Whatever letter this player uses,
becomes the current spot in the alphabet and play goes consecutive from
there. Another variation is to get a word from the audience (5 or 6 letters
long) and spell that word, rather than use the alphabet. A third variation is
to have each sentence start with the last letter of the last word of the
previous sentence. Variation: with or without elimination/replacement.
Focus: Speed and rhythm. You want to fly through this game. The
faster the lines come, the better. Play up the fact that you’re “nailing”
the letter. In elimination versions, if you mess up, react big but happy.
“Jump” into the game when replacing a player.
Alliteration
A scene starting suggestion
The audience provides a letter of the alphabet for each player in the scene.
Each player must use as many words starting with that letter during their
entire dialog during the scene, while performing a technically sound scene.
Focus: Obviously sticking to the gimmick is important in this game.
Be sure to keep the scene moving, don’t get so caught up in the
gimmick that you make no sense.
Korman (or Corpsing or Serious) Scene
Scene starting suggestion
This game works best when you’re already in a really fun mood. Named
for Harvey Korman’s tendency to corpse whenever Tim Conway went off
on an improv tangent, this game is simple in theory. Perform a scene
where your real goal is to make the other players break character by
laughing. Laugh and you are replaced. Focus: Keeping a real scene going
while eliminating people.
Questions Only
Scene starting suggestion
Two characters start a scene in which they can only ask questions. If they
make a statement, hesitate, ask a non sequitar, or otherwise disqualify
themselves, a new player who takes over their character and continues the
scene replaces them. Focus: Keep the scene moving and the questions
coming, don’t worry too much about getting out. Get into the scene as
fast as possible when replacing someone.
6-1
Rhyming Scene
Scene starting suggestion
The first player starts with a line of dialog, short and sweet. The next
player rhymes it, and then does a set-up line. The first player rhymes the
set-up line, and then does a set-up. When someone messes up the emcee
rings a bell (or whatever) and the person messing up is replaced. The new
player continues the same character and story, as fast as possible. Focus:
Big characters (with names!) should be set up as fast as possible. Get
into a rhythm (like Dr. Seuss) that everyone can work with easily.
The faster the patter the better the gimmick.
Variable Word Scene
Scene starting suggestion; number of words per line
The audience gives each player in the scene a number. This number is
how many words each of that player’s lines must have. A scene is played
with this restriction, based on audience suggestion. Players that mess up
are replaced. Focus: The more natural the dialog, the better the scene.
You shouldn’t have to find yourself visibly counting words. If you do
have to do it, do it big and make it a gag. Similarly, talk normally. If
you have to talk like Tarzan, play a dumb character and sell it.
Appearing to try to “trip up” another player can work well, but don’t
get carried away and hurt the scene.
What Are You Doing?
Themes, initials, etc
Two players take the stage. Player A begins to mime an activity, any
activity. Player B asks, “What are you doing?” Player A stops, turns, and
responds with something completely unrelated to what she is doing (within
the theme if there is one). Player B begins to do that activity. Player A
asks, “What are you doing?” Player B stops, turns, and responds with
something completely unrelated to what he is doing (within the theme if
there is one). Play continues until a player is called out. Players are called
out for: hesitating, not doing the activity, saying an activity too similar to
what they are doing, repeating something already said, anything else that is
a funny reason to call them out if done in performance. If done with
initials, the activity must use the initials in order but can use other words,
for example MRK: Making Really delicious Knishes. Focus: Doing one
thing and thinking another.
6-2
7)Environment
Build a location
A specific location
The director calls a location (like a fitness center, which when I started
improv was called a gym). The first player takes the stage and uses one
object in the location (like the treadmill) and then leaves the stage. The
next person enters and uses the previously created object and then creates
a new object before leaving. Everyone takes a turn (don’t go last). Focus:
Remembering what has been created and where.
Real Estate Broker
A specific location
One player is the real estate broker, showing the property to two or three
other players. The players build the environment as they go along through
descriptions, reactions, and using what they find. Focus: Creating
specific objects to paint a scene.
Share a location
A specific location
The director calls a location (like an office). The first player takes the
stage and starts to do an activity that fits in that location (like sitting in a
cube using a computer). One by one everyone takes enters the scene and
shares the environment, doing a different activity. Focus: Creating
specific objects and using them in an environment. Being “original”
and “creative” while staying within a circle of expectation for that
environment.
7-1
8)Freeze
Build Up – Build Down
Any suggestion or musician can play
A player starts out alone on stage (dancing, miming an activity, or
anything else). At some point another player or the host yells “Freeze.” A
player then comes in and joins the first, initiating a new scene, justifying
the first player’s pose. At some point another player (or the host) yells
“Freeze.” She enters, joining the players already there, initiating scene 3,
justifying all positions. This continues until all players that are playing the
game have entered and started new scenes. Then, the last player to enter
finds a reason to leave. As soon as they leave, the scene reverts to the
previous set up, still in progress from before but at a later time point (as if
it was still going on while we weren’t looking). The build down continues
until the first person is alone again and goes back to their initial activity.
Focus: As in any freeze game, get in there fast and initiate without
taking time to think too much or letting the audience get ahead of you.
Unlike freeze, you’ll likely be in the scene for up to a minute, so make
it a good scene initiation, not a 1-line joke.
Death Pendulum
As many locations as you have players (at least 4)
This is a variation of Space Jump, but deserving of its own entry. A scene
is started in one of the locations. At some point someone dies. When
someone dies the host yells out another location. A scene picks up there,
justifying all the positions of the players (including the one on the floor)
and continues until someone dies. The scene switches to another location
until someone dies. Eventually you are jumping between locations where
players have already died, in that case a standing player who is ‘dead’ must
drop to the floor, and new locations of corpses must be justified. Continue
until you switch to a place where everyone is dead. Focus: Keep the
multiple (unrelated) scenes going while keeping track of if you are
alive or dead in each location.
Freeze Tag
Public Place
Two players start a scene. After a time, another player yells freeze and
either joins the stage picture initiating a new scene based on everyone’s
frozen positions, or “tags-out” another player and takes their exact position
initiating a new scene based on the frozen positions. As the game goes on,
the scenes become shorter, until they’re little more than one-line gags.
Blind – players have their backs to the action and a host calls out Freeze
(host can call in players or they can decide to go in for themselves.)
8-1
Double Blind – players have their backs to the action and call out
“Freeze” without looking first.
Rehash – players make call-backs, use old characters, continue old plot
points, use “games” from earlier in the show.
Focus: As in any freeze game, get in there fast and initiate without
taking time to think too much or letting the audience get ahead of you.
Freeze has a built in hot spot element. Don’t leave any players up
there longer than their scene can support. If they get a big laugh right
away, it may be appropriate to freeze right away. The further into
the game you go, the faster freezes can come.
Space Jump
4 locations and an object
The players start a scene in one of the locations and include the object in
the scene. At any time the host yells another location and the scene
suddenly switches to there. Players must justify their locations and include
the object in every location no matter what the storyline. Focus: Try to
keep track of the multiple storylines, characters, motivations,
conflicts, etc.
8-2
9)Genre
Changing
Changing Channels
A scene starting suggestion, a TV genre
Players perform a scene using the suggestions. A narrator yells out “Let’s
see what else is on,” and the players freeze. “[Cable channel]” and then
the players start a new scene, justifying their positions, in a genre fitting
the new station. Focus: This is akin to an extended scene version of
Freeze-tag. You’re really doing a series of short scenes. It is
imperative you start in the middle of each show (or commercial)
making it quite clear what your take on the genre is.
Changing Emotions/Styles
Scene starting suggestion; list of emotions
A player gets a long list of emotions (and one or two non-emotion
suggestions). Other players start a scene. From time to time the first yells
out an emotion (or other suggestion) and the players take on this
endowment. Can also be played where only one person at a time changes
emotions. A variation is to use genres instead of, or in combination with,
emotions. Focus: Keep the scene intact. The emotions should change
instantly, but the next line should (ideally) give the rationale for the
change. Emotions should NOT be subtle. You have to be over-the-top
to make this work well.
Timeline Jump
Lifelong goal
The goal becomes the goal of many lifetimes. Start with an historical era
(cavemen, ancient Rome, etc) and have someone try to accomplish the
goal (appropriately tweaked for the era) and fail. Then do the scene further
into the future 2 or 3 times until you reach the present and accomplish the
goal (or go into the future to do so). Focus: Keep this from becoming a
replay game (though that would be an interesting variation) and have
the stories be different each time.
Zones
A scene starting suggestion, genres and/or emotions
The stage is divided into 3 or 4 zones. Each zone is given a genre and/or
emotional state. A scene is performed. Whenever a player crosses into a
zone, they take on that endowment. They should try to justify why their
emotion/genre changed within the reality of the scene. Variation: props
change your emotions rather than zones. Focus: You know the zones are
there, the audience knows they’re there, so play with that. If you
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want to be angry, cross into that zone. Pimp each other by sending
people into zones. Make the zones a central part of the scene.
Format
Ad Agency
A product with an unusual feature
A mundane product is given a unique endowment, such as a breakfast
cereal that plays music when you add milk, or a dog food that makes your
dog talk. The players are all members of an Ad agency, and they've got to
come up with a marketing plan in five minutes. They need to name the
product, and come up with an advertising campaign for it. Focus: This is
an excellent yes and game as you build on each other’s ideas.
Addiction
Something an audience member really likes
The suggestion is used as something that a number of players are addicted
to. A recovering addict is the facilitator of a recovery meeting, outing, or
party of this anonymous group. Focus: The focus is two-fold. First, you
want to make fun of every clichéd 12-step program mainstay (how
long you’ve been clean, buddy systems, God helping you, etc.).
Second, you want to hit on elevating whatever the addiction is to the
level of heroin addiction. You’re totally strung out on video games,
can’t go a day without them, sold the car for a bag full of quarters,
etc.
Newhouse Scene
Scene starting suggestion
This scene is named for Idiot Wade Newhouse and his habit of losing
patience with poor character work and satirizing it. Each actor bases his
character on a character created by someone else earlier in the show, but
takes the “worst” aspect of the character over the top. Focus: The
characters are the key here, don’t worry if the scene cohesion suffers
in this scenario.
Ritual
A mundane activity
The activity is performed as if it was part of a sacred ritual. Focus:
Overdo the solemn aspect of the ritual. Think of the pledging
ceremony in Animal House (“Thank you sir. May I have another?”)
Reverse Scene
Scene starting suggestion
Do a scene backwards; line by line, starting with the last line of the scene,
ending with the first line. Variation: tell a story backwards by doing short
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scenes in reverse timeline (divorce, bad marriage, happy marriage,
wedding, dating, meeting, birth). Focus: Don’t lose the crowd (or
yourselves).
Roberge Scene
Scene starting suggestion
This scene is named for Idiot Kevin Roberge and his habit of going too far
over the top in his early days with the Idiots. Two people start a wellgrounded and realistic scene. A third (the Roberge) enters with an overthe-top character. The other two must continue to move the scene forward
with this addition, but without over-justifying why the third character is so
bold; just let that character go where it wants to go. Focus: Find that
balance where the Roberge fits the scene despite the energy difference.
Sandra Krevat Scene
Scene starting suggestion
This scene is named for the mother of Idiot Matthew Krevat and her habit
of repeating things already said in a conversation. Two people start a
scene. A third person is a background character appropriate for the
location and scene. The background character continually chimes in
restating what has already been said. Focus: The interruptions should
come more often as the scene goes on. Characters should respond to
this habit as appropriate for the character and scene; there is no
preferred response.
Shakespearean Scene
Scene starting suggestion
A scene is performed using Shakespearean conventions, but with current
suggestions (could be an object, situation, location, collaborator, genre,
etc.). Shakespeare can be pulled into the current world, or the suggestion
can be incorporated into a Shakespearean setting. Focus: Keep within a
scene Shakespeare could have written (i.e., no overt mention of “The
Globe” theater, men performing female roles, or anything play
related-except references to the play-within-a-play scenario -- as in
Hamlet). Use Shakespearean conceits, masquerading as the opposite
sex, misunderstandings, unrequited love, doomed lovers, base
characters commenting on royalty, microcosm versus macrocosm, etc.
Silent Tension
None needed
Two players perform a scene without speaking for as long as possible.
They should show a relationship, a situation, and present a problem to be
solved without talking. Once they break the silence the scene continues
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normally. Focus: Expressing as much as possible, while appearing
natural, before breaking the silence.
Superhero Scene
Hero name, villain name, strength, weakness
Act out a comic book story. In general you should follow the typical
superhero story line: a) villain origin and plan, b) hero finds out about
plan, c) villain is doing plan and hero attacks but is hit by weakness, d)
sidekick shows up with strength, e) track villain to lair and catch him. If
the villain and hero are opposite sexes, they have romantic tension (a love
that can never be). Focus: Release your inner geek.
Unendowed Scene
A scene starting suggestion
A scene is performed. No gimmicks, genres, or special rules are used.
Often done in more than one part (scene, game, game, and continued
scene). Focus: The best scene you can do. Knock their socks off baby!
Movie
Academy Award Nominated
Scene starting suggestion
Do a standard scene, every time the emcee rings the bell, the actor
speaking must step out and do a cheesy overly-dramatic monologue to
impress the academy. Focus: Do a good solid scene, but when you step
out to dramatize, overdo it to the max. Picture the worst ham emoting
like never before.
Director’s Cut (see DVD Extras)
A famous movie
The players perform a scene that was cut out of a famous movie, staying
tightly within the genre of the movie, using at least some of the
recognizable characters. A variation is to perform a sequel or prequel of
the movie. Focus: Try to capture the style of the movie, nail the
characters, or poke fun at the genre.
Mixed Up Movie
Two real titles
Titles of well-known movies, plays, fairy tales, children’s books, etc. are
gotten. The scene combines the main elements of the two stories; this
could be combining plots or putting one set of characters into the other
movie, etc. Focus: Creating a new story out of two classics.
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TV
Audience Interview
A volunteer to talk about a recent interesting day/event
Two players interview an audience volunteer about a recent day or event.
The players take the characters of local news anchors doing an interview
segment or morning talk show hosts, or other appropriate characters. They
draw out the volunteer to tell a story, providing character work responses
throughout. Variation: Game is played as a set-up to Day in the Life.
Focus: Making the volunteer look good and drawing out a complete
story. Nail the interviewer characters and the interplay between
cohosts.
Infomercial
An object to be sold or a problem that needs solving
The players improvise an infomercial to sell the object suggested, or for a
product that solves the suggested problem. Can also be played as a
straight commercial for just a minute scene. Focus: Selling the genre.
Know the types of characters that are in infomercials and the catch
phrases they use.
Jeopardy
Categories and Answers
Three players reprise roles from earlier in the show. These characters are
contestants on Jeopardy. The host of Jeopardy gets 3 categories from the
audience, and then gets each “answer” as the contestants pick categories
and make up “questions” for each answer that fit the category, and fit their
characters. Focus: Obviously this is a game that relies heavily on wit,
but thinking that is the only important factor would be a mistake. The
key to making this work is to have total commitment to the
characters. Full characters whose questions relate to what we know
about them is the only way to succeed with this game. And players,
please remember to phrase your responses in the form of a question
(starting with “what” does not necessarily make it a question).
Newscast
Fairy tale, fable, movie, day-in-the-life, etc.
The players perform a news program based on the suggestion. One serves
as anchorman, while the others are news specialists (weather, traffic,
economic, man-on-the-street interview, human interest, cooking, etc.),
each report should be affected by (but not specifically about) the
suggestion. A variation is to do an episode of COPS about the suggestion.
Focus: Give in to the gimmick. Do a “real” report in your specialty,
but bring the suggestion into it. Don’t just rely on your character’s
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attributes; what you say is as important as how you say it. The more
accurate your character and her report, the better the scene will go.
Mission Improbable
A mundane activity
The activity is performed as if it is an episode of Mission Impossible.
Starting with the “your mission should you choose to accept it” tape
sequence. The team leader lists the attributes of each operative he is going
to use, and they show up (in character) as he describes them and get to
work on solving the “problem.” Focus: The character creation and
acceptance is the main focus. The actual solving of the mission should
play off the characters as described.
Talk Show, Prime Time
Talk show topic (gotten during scene)
A talk show host character greets the audience. He/She gets the topic of
the talk show from them. First one, then another, psychiatrist/therapist
characters come out and address the topic in drastically different styles.
Then the host turns to the audience for someone suffering from the
problem. A player comes forth as a guest. After explaining their side of
the story and fielding questions, another player enters as the antagonist to
the first. The shrinks try to help, resulting in either a cure or bedlam.
Focus: Think Jerry Springer and overdo everything. Heighten and
explore your character more and more as the scene goes on.
Talk Show, Morning
Specialties of Guests (gotten during scene)
The producer of a morning talk show greets the audience. He/She warms
them up for a minute (if played directly after intermission, then the
musical interlude could have been the warm up act, and could introduce
the producer). The producer then introduces the host(ess) by having the
audience do his/her chant or special cheer. The host(ess) chats with the
crowd, then goes to the producer for the first guest. The producer picks
the guest’s profession, and cues the audience for specifics (e.g. title of an
author’s book, animal a zookeeper brought, specialty a chef is known for,
etc.). The producer introduces each guest after the previous guest has
played out his or her material. Scene ends at logical ending point, or total
pandemonium. Focus: Think Regis, The View, The Other Side, etc.
Heighten and explore your character more and more as the scene goes
on.
Television Show
A type of television show & an odd plot for this episode
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Portray an episode of a whatever-style television show the audience has
chosen using a plot suggested by the audience. Focus: Incorporating all
the elements (and clichés) of that style of show.
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10)Gibberish
Non-Scene
Basic Gibberish
Made-up language/country, other suggestion as necessary
Any set up that involves translating gibberish. Examples of set-ups
include foreign TV show translated by a host; interviewing a foreign
diplomat; translating between two different gibberish languages.
Focus: Gibberish should sound like real languages complete with
emotions. Translations should try to be accurate most of the time.
Gibberish Poetry
Made-up language/country, theme for poem
A three person game in which the first person reads the “ancient poem
they have unearthed” in gibberish. The second person translates it
literally. The third relates it to the audience. This can be as a literature
professor, a feminist, an activist, keeping it real/street, etc.
Focus: Gibberish should sound like a real language; translation
should sound poetic; expounding should be over-the-top in the genre.
Scene
Foreign Movie
Title for movie, country
Players do a scene in gibberish. After each line an off-stage player
translates that line. Can be dubbed instead (see Dubbing Scene). Focus:
Gibberish should sound like a real language, scene should have a
foreign movie feel, make the pauses (waiting for translation) seamless;
rather than stand around, keep the physical action moving.
Gibberish Opera
Operatic Theme
The players perform an opera in gibberish. The opera can be untranslated,
translated by a host, or word-for-word translated by matching players as
subtitles. Option: Take a scene already played, and make it into gibberish
opera. Focus: Gibberish should sound like a real language; operatic
elements should be overblown and epic.
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11)Gimmick
Character
10 Characters
Topic
The actor is given a topic and begins performing. The moment the
director gets the character being portrayed, he rings a bell and the actor
must immediately switch to a different character. This goes on for, you
guessed it, 10 characters. Focus: To quickly convey distinct characters
without relying on topic of discussion as a crutch. Don’t lose the
thread of the topic being discussed.
Actor Switch
Scene starting suggestion
Three players start a scene. At any time another can walk out and tap a
player on the shoulder. The tapped-out player leaves the scene, and the
new one takes his/her place AS THE SAME CHARACTER and continues
the scene. Variation: Only the 3 players on stage can switch places. The
emcee calls out “switch” and they swap positions and characters – a prop
helps (e.g., a hat or purse). Focus: These characters need to be big and
distinct. It should be obvious which character is which, no matter
who is playing the character. All the players need to be involved in
the conversation and keep it moving.
Animal Magnetism
An animal for each player, a scene starting suggestion
The players perform a scene based on the suggestion, but each one must
develop a character with characteristics based on the animal they were
given (i.e., a lion would be strong, proud, domineering, etc.). A variation
is to keep switching animals (gotten from the audience as in Playwright).
Focus: Don’t overdo being the animal, an audience member coming in
late shouldn’t be able to tell animals were involved at all, just let the
animal be your spirit guide.
Doors
None
The play area is divided in 3 parts: Door A, Corridor, Door B. A player
stands “behind” each door. A player opens Door A and enters. The player
already there speaks a line, then the entering player responds, and finally
the original player responds with a reason to leave. He crosses to Door B
and it all starts again. When the player from Door B leaves, a new player
goes to Door A. The 3 lines should set up where/who/plot. Focus: More
of an exercise than a performance game (but you never know), the key
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is to set up character, setting, problem in as little time as possible . . .
in this exercise, starting with at least setting.
Evil Twin
A scene starting suggestion
Three or four players are in a scene, an additional player is the evil twin of
one of them. When the good twin exits the scene, the evil twin can enter
and cause mayhem. When the evil twin exits and the good twin returns, he
must hide the existence of his evil twin, and so must justify why “he” did
whatever the evil twin did to cover his shameful secret. Focus: The good
twin must be low status as he or she fumbles and dodges trying to
justify what the evil twin (high status) did.
Hitchhiker
Destination
Set up 3 chairs as a car (driver, passenger, rear). Three players get in the
car and head towards the destination. On the way they see a hitchhiker.
The hitchhiker enters as the passenger (the passenger moves to the driver’s
seat, the driver moves to the back, the back passenger exits). The new
passenger takes on a strong character which everyone else matches. The
car moves on to the next hitchhiker. “Matching” can have different
meanings. If an old person enters the car, you can all be old, or become
Grandfather, Father, Son as a family unit. As long as the connection is
clear. Focus: Keep the game moving and keep the characters big and
fun.
Human Resources
Career
One player is an employment agent. The other players interview for the
job. Johnstone’s Lifegame variation is fun. Instead of a job interview, a
new soul is interviewing with a civil servant in heaven about the new life
they are going to lead, as they inhabit a new baby. The performer playing
the new soul answers all the questions honestly, very excited about their
own real life. The interviewer has to keep breaking the bubble by telling
the person the unfortunate truth, which contrasts their reality. Focus:
Great character building and give and take exercise. Interesting way
for new troupe members to get to know each other.
Old Career / New Career
A mundane occupation, an exciting occupation
A scene is played where one person has one of the careers, but acts in
some way as if they have the other. It could be something they always
wanted to be, or something they were, or something they think they are.
Focus: This is basically a character-driven scene (aren’t they all?) in
which the character is defined by a previous occupation. Play that
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character large and play the other characters pretty much oblivious to
the oddities.
Road Trip (or Carpool)
Destination
This is basically a more scene-based variation of Hitchhiker. The car has 4
seats and starts with just a driver in character. The driver picks up his first
friend and matches that friend’s character. Each time another passenger
enters, the occupants match the new character. Focus: Create a good
solid scene with one conversation throughout, despite the strong
character choices/changes.
Split Scenes (3 cell phones)
A scene starting suggestion
Two or more scenes are performed simultaneously. The scenes play off
each other, and alternate. For instance, two tables at a restaurant, three
people milling around on cell phones, couples arguing in a motel with thin
walls, etc. Focus: Keep your scene/story going smoothly while listening
to others. Don’t try too hard to set anyone else up. When someone
pauses, cut in, don’t look for a good line or wait for to have a good
idea.
Super Friends
A superhero name; a crisis
One actor starts on stage as the superhero suggested. She is using the
computer to talk to a friend about her last mission when she sees an alert
coming in (the crisis suggested) and ends her call. She realizes she’ll need
help and summons another Super Friend on the communicator endowing
that character with a superhero name. That hero comes in, they talk about
the crisis quickly and call for help again. Rinse and repeat for 4-5 heroes
total. Final hero announces a solution to the problem and flies off to
implement. Each hero leaves in turn with an exit reason/line until just the
original hero is left to make a corny “the world is safe” end joke. Focus:
This game tends to be a series of puns off of each hero’s name; with a
dose of pimping thrown in as the hero names are created. Superhero
clichés are to be expected (and hopefully improved upon).
Three Characters
Three character types
Three players perform a scene that justifies why the three characters are
together. Variations would be to get another suggestion that would be key
to the scene (a conflict, object, outcome, etc.). Focus: Fully develop the
characters suggested.
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Two-minute Relationship
Type of 2-person relationship
Two players do a series of super-short (a few lines) scenes which take the
audience from the meeting of the characters through the logical end of
their relationship. Each scene should grow the relationship until the
middle scene introduces the tilt/conflict that leads to the end of the
relationship. Focus: Very fast scenes with some “punch” to each one,
telling a complete story at the end.
Pain
Mousetraps
A location you try to be quiet or reserved
Mousetraps are spread across the stage. Players perform a scene
blindfolded and barefoot. Always a good idea to demonstrate the
mousetraps are real by letting the audience pick one at random to be set off
with something like a carrot (which will have its tip snapped off). Focus:
Try not to lose a toe.
Oxygen Deprivation / Bucket of Pain
Scene starting suggestion
A tank/bowl/bucket of water is set up on the side of the stage. One player
must have his/her head submerged at all times. Player is tagged out and
must enter the scene, justifying why they are wet. Focus: Try to keep a
scene moving and logical despite the increasingly inane reasons people
keep showing up wet.
Pimp
Balloon Wars
Problem to solve
A master-servant scene is performed with the master making the servant
solve the problem. Whenever the servant does something that does not
please the master, the master beats the servant with a long balloon.
Focus: A good master-servant scene should not be about the master
requesting items to be brought by the servant. Go deeper into the
relationship. Servants shouldn’t try to mess up, masters will blame
them anyway. Trusts me . . . balloon beatings are funny as I found
out in workshops under Keith Johnstone.
Double Endowments
A location, strange goals in the scene
Each of the players is assigned a goal, but they don’t know what it is. Tell
each player what he or she needs to get the other players to do, without the
other players knowing their own endowments. Players are not allowed to
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explicitly tell the other player what to do, but they have to guide them into
doing it as the scene goes on. Example: an arena in ancient Rome. Player
1 needs player 2 to taste the sand in the arena, and player 2 needs to get
player 1 to tie a knot in a lion's tail. Focus: Don’t let the scene
deteriorate into a series of hints; build the scene towards getting each
person into a position where their goal makes sense. Drop little hints
as you go.
Dubbing Scene
A scene starting suggestion
Version 1: A and B perform a scene, C and D provide their dialog.
Version 2: A, B, and C perform a scene. A speaks for B, B for C, and C
for A.
Version 3: A dubs for all players in the scene (can be normal or blind).
Focus: Keep the dubbing as quick as real-time dialog. Don’t forget
character voices. Try to physically justify what is being said, but
don’t stand around waiting for dialog, if you initiate a physical choice
that conflicts with what is said next (blind dubbing), that’s funny, so
don’t stress it.
Heighten & Explore
Silent tension
(Doesn’t really belong here, but I couldn’t find a place for it, and at least
one performer I know feels pimped when he plays it.) A player acts as
director to the player on the stage. He waits until that player performs
some movement. He can then heighten that movement as much as desired,
or explore it to lead to another logical movement. So, if a person scratches
an itch, heightening it would cause him to scratch harder in the same spot,
exploring it may have him get something to scratch with, get a balm, have
the itch spread, have other symptoms, etc. The concept can be used in
side-coaching any scene or form. Focus: The director should be looking
for places the scene/action can go, or places she’d like to see explored.
The player should stay completely in the moment and be willing to
surprise himself with how big and bold he can be.
Hypnotist
Scene starting suggestion
A scene is played. At any time the emcee yells, “Sleep” and all the players
fall asleep. The emcee can then enter the scene and give them hypnotic
suggestions (anything from endowments to false memories) and then
leaves the scene, snapping his fingers to wake them up to continue the
scene, unaware anything unusual has happened, but taking on the new
endowment fully. Focus: The challenge here is to not let the scene get
too far away from you as the hypnotist. The temptation is to overload
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the scene with gimmick after gimmick and not let the scene progress.
This would be a mistake.
Moving Bodies
Volunteer, a scene starting suggestion
An audience volunteer (or a player) is the mover behind a scene. The
players in the scene must stand rigid, and the mover moves them around
the scene (either by carrying or leading) and places them in different poses.
Focus: Keep the scene moving, but keep the mover moving. A low
energy scene ruins the gimmick if the mover is a player. A player
should be seemingly exhausted after the seen. For an audience
member the fun is in keeping him guessing and justifying his
mistakes.
Sit/Stand/Kneel
A scene starting suggestion
Three players perform a scene. One must be sitting, one standing, and one
kneeling at all times. Whenever one person changes position, others must
change as well, to keep all 3 different. Should be played quickly. A
variation is to add Lie Down and a fourth player. Focus: Be aware of the
people around you, when someone switches, you should be switching
at the same time. Be creative with your reasons to change position
(you don’t always have to say it; it should be obvious by what you do).
Stimulus Response
Strange reactions, scene starting
A 4 person game. Each person does a weird thing when another person
does a common thing. The host provides the common thing and the
audience provides weird. (“Every time that John raises his arm, Eddie will
do what?” “Crow like a rooster.”) Players do not listen to other people’s
response when the audience gives it. During the course of the scene they
try to figure out everyone’s thing and pimp them with it as the scene goes
on, while trying to get the person they respond to do the thing that
activates their response. Focus: Keep the scene moving, but be looking
for the stimuli, then hit those stimuli as often as possible.
Superfriends Mission
A weird superhero, a disaster to fix
The hero suggested starts the scene in the lair. He or she discovers the
problem facing the world and sends out a call for help. The first player to
arrive is endowed by the starting player with a superhero name. They
become that hero and interact until the next hero arrives to be endowed.
After the last hero arrives, he or she solves the problem and leaves, the
players then leave in reverse order until the starting hero is left alone to do
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a summation line. Focus: Giving and accepting endowments. Overdo
what you are given and appear to “pimp” the next player.
Super Slo Mo
Mundane activity
Two players compete in a sporting event inspired by the activity (e.g.,
competitive file alphabetizing) in excruciatingly slow motion. Two other
players give running commentary as sports announcers. Focus: The slow
motion should be the same speed for both players and the announcer
characters are key.
Variable Player Scene
Scene starting suggestion; number from 1 to 4
An audience member or a player calls out numbers from 1-4 (or more)
from time to time during a scene. This number is how many players
should be onstage. All exits and entrances are justified within the scene.
Focus: Make the justifications quick and witty.
Wordplay
Anti-elimination Games
Any of the Elimination games played without elimination. For example,
ABC becomes a 26-Line Scene.
First Line / Last Line
First line and last line
The suggestions are the first and last line of the scene. A complete
(beginning, middle, end) scene is created under these circumstances.
Harder than it sounds. The scene should logically reach the last line, yet
have a twist to it so that the audience doesn’t expect the last line when it is
spoken. Focus: The players should be able to work together to weave a
perfect scene, with the last line coming naturally. Planning ahead
doesn’t get you there, being in synch does.
Innuendo
A scene starting suggestion
A scene is performed with as much innuendo and double entendres as
possible. The innuendo should be ignored, as if the characters don’t
realize there is any innuendo at all. Focus: Cheesy scenes. The scene will
suffer for the gimmick, but you know what . . . that’s okay.
Revolving Door
Keywords for players, scene starting
The audience assigns each player a word. A scene is played based on a
suggestion. Every time your word is said you either exit or enter the scene
11-7
(depending on whether you’re off stage or on) with a justification. Focus:
Listening. You may miss a mention a word, but the audience won’t.
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12)Guided/Scripted
At the Movies
3 movie genres, then a title for each genre
Three genres are asked for. Then they are replaced with titles that fit in
each genre. Two players are reviewing these summer flicks. They set up a
clip, which the other players then act out. Focus: An improvised version
of At the Movies. The reviewers are responsible for giving the
performers a great set-up.
Best Seller
Title or genre of novel
One player is the author of the scene. He/She starts telling a story (based
on title) and the other players act it out. When he/she stops talking, the
players go from mime to talking, continuing the scene. For the most part
he/she cuts in to narrate and choose a new direction, but he/she can also
edit what has already happened and have the players follow a different
path. Focus: The interplay between the author and the players is key.
The transitions between who is forwarding the story needs to be
flawless, with neither side “just adding color.” Everyone moves the
story.
Blind Meeting (and Sub-Text Variation)
Get to know a male and female audience member
Two players portray the audience members. They can go on a blind date,
be business partners, a married couple, spies, or any other relationship two
people might have. A variation is to have 2 other players acting as their
inner thoughts, letting the audience know what they’re really thinking, or
the players themselves can do so in asides. Another variation is to have
this be the day after the date. The players stand and tell monologues of the
date, from their viewpoints. They have totally different interpretations of
the same event, and alternate talking, with the events overlapping. (e.g., A
talks about the car pulling up, and B getting out. B talks about how he
pulled up got out, and went in the house.) Focus: Use as many facts from
the audience members as possible, the more originally you can
interpret and use them, the better (though you might risk some bad
puns).
Day in the Life
Summary of an interesting day an audience member has recently had
Replay an audience member’s day. Can be done as a genre, or replayed in
various genres. Can also be played with a “What if?” twist, where the
events and outcome change (a good day turned bad, or bad day turned
good) or play an audience member’s fantasy day. VARIATION: Done as
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follow up to Audience Interview. Focus: Try to capture all the
suggestion elements given, but don’t feel trapped by the story. Use it
as a starting off point and make it your own. Host may justify the
scene straying from the story with something along the lines of “now
be honest, that’s how it really happened.”
Director
Cliché plot for a play
The scene is a rehearsal for the play. The director side coaches the
players, correcting their emotion, action, delivery of lines, etc. The
director can ask the audience for assistance. A volunteer could easily be
incorporated into the scene. Focus: Players should work to realize the
director’s vision, which should be clearly articulated at each break.
Five Minute Movie
Genre and movie title
The opening scene of the movie is played. At some point, the emcee
freezes the action and calls out, “Skip to the [boy meets girl, guy confronts
the boss, birth of child, alien invasion, death, etc] scene!” The movie
jumps to that scene until the next freeze and skip. Focus: Heavy-duty
focus and group-mind game. The final product should make sense, as
if all the scenes came from the same movie. Don’t try to be too wacky
and surprising, a good story is more impressive that a surprise here.
Flashback
A scene starting suggestion
Two to four players perform a scene. A director occasionally yells, “Cut”
and switches the time, location, or both, and yells, “Action” to continue
the scene. Players can “request” changes with leading lines such as, “I can
remember when we first met at the fair . . .” Focus: The story is the
focus. Despite the time and space jumps, the story needs to make
sense. The flashbacks should be either incredibly funny or add a lot
to the character (or both!).
God (God and Devil)
A scene starting suggestion
A scene is performed. One player stands offstage with a microphone. He
is God. When God speaks all players must fully accept whatever he says,
but they will be unaware why they are doing it. God controls what they do
through their subconscious. They may justify why they have changed
behavior, or not, as appropriate to the scene. A variation is to also have a
Devil giving bad advice and motivations. Focus: God/Devil should be
seemingly pimping the players mercilessly, but not at the expense of
the scene.
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Hesitation
Scene starting suggestion; fill in the blanks
A scene is played based on audience given suggestions. Occasionally the
players hesitate (“umm, ah, err”) and the audience yells out the next word.
The player repeats the word and continues his sentence (as if the word just
came to him, without backtracking his lines to fit it in). Focus: The
suggestions should control the direction of the scene, not just used and
discarded.
Mystery Theater
3 inanimate objects
Players perform a detective story, starring a detective and sidekick. A
woman screams and is found dead. The detectives find the 3 objects on or
around the body. The detectives sweep edit to a scene that involves one of
the objects. Sweep edit to another scene about the next object. Sweep edit
to another scene for the last object. Sweep edit to detectives investigating
the characters from the first object’s scene. Sweep edit to the next set of
characters, and then the last. Detectives call all suspects together and
eliminate all of them except one, and then reveal the plot. Focus: Don’t
lose the audience at each sweep edit.
Playwright
Scene starting suggestion; plot twists as scene continues
A scene is performed based on audience suggestion. From time to time a
narrator yells “Freeze,” freezing the action. The narrator gets the next plot
element from the audience, and possibly a genre to continue in. The scene
continues with the suggestions worked smoothly in (not necessarily
suddenly as in Hesitation). Focus: The director needs to time the
intercessions carefully. Slowly at first, only increasing with frequency
if the scene warrants it. A good scene with 4 suggestions is better than
a poor scene with 10. The players should make all suggestions crucial
to the scene, whether they quickly build up the suggestion or just
jump into it quickly.
Public Service Announcement
Topic for a PSA, Safety, or Training Video
One player is the narrator, with 2 or 3 others silently acting out what he
describes. The actors can interact (through facial expressions, nodding,
shrugging, etc.) with the narrator if it is appropriate. Focus: Find the
unique game in each playing of this form. Overdo the importance of a
mundane event, underplay a serious one, be goofy doing something
intricate, create unexpected characters, etc.
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Scenes from a Hat
Scene set ups collected on scraps of paper
Before the show or during intermission the audience is asked to write out
set-ups for scenes which are then mixed in a hat. Players draw a scrap of
paper, read the set-up and then perform the scene. A variation we have
used is to use 3 hats (or diaper wipe boxes as was the case) and pick two
scraps and combine them. The boxes could be labeled with scene
components: Location (under the highway), Character (my high school
coach), and Object (salami). Focus: Short quick scenes that are
complete and have a punch line.
Scripted
Choice of a summary of some sort
An audience member picks a newspaper or National Enquirer article, TV
Guide listing, video review book entry, personal ad(s), Dear Abby letter,
etc. A scene is performed using that as the plot. Focus: Try to use all the
plot elements given, but take the story to new levels by adding in the
details left out and creating your own characters.
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13)Justification
Accepting Scene
A scene starting suggestion
Two players create a scene where one of them is limited in dialogue to one
of three lines: "Sounds good to me!" "I'll go along with that!" and "O.K.,
great!" The justifier must make all vocal offers, and keep the scene
moving. The limited player can still make offers, through their physicality.
A variation would be “Yes,” “No,” or “Maybe” as the available responses.
Focus: Justifier should start off as if there are no constraints on the
scene, but eventually turn it around to anticipate the responses.
Amish Rake Fight
A scene starting suggestion
A scene is performed with one player as the invisible Amish Person armed
with a rake (or other acceptable weapon). During the scene, any time a
performer does something the Invisible Amish Person doesn't like (uses a
technological device, drinks alcohol, smokes, makes a sexual comment or
action, etc.), the Invisible Amish Person rushes out and states the
transgression (e.g., "The Amish don't like calculators!") and attacks the
offending performer with an invisible rake. The offending performer has to
then justify the injury. (“Ow, my calculator shocked me.”) Focus: Setting
up and justifying attacks within the confines of the scene and insulting
a group we know will never see our show because they’d have to drive
from Pennsylvania or Ohio.
Boris Game
Anything
Per Keith Johnstone, “An interrogator asks disconnected questions and a
victim connects them. Boris inflicts punishment if the answers are not
forthcoming or are deemed unacceptable.” Boris is an unseen hulking
giant; players mime the abuse they suffer at his hands. The interrogator
asks leading questions and the victim combines alibis, excuses,
explanations, and confessions to weave the story. Eventually work the
suggestion in as a key element. Focus: Creating a story while justifying
each others’ offers.
Comic Book
Depends on set up
All players but 1 read their entire dialog from comic books (or plays,
children’s books, etc.) while the last player moves the scene and justifies
the other dialog. Can be done a generic scene, a dating game, group
therapy, or anything else. Good game for volunteers. (see Court Case
below) Focus: Justifier should be getting laughs with each justification
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in the non-scene variations. In the more scene-based versions he
should concentrate on moving the scene and let the laughs come where
they will. Players with comics should read with appropriate emotion
(which might mean deadpan sometimes).
Court Case
3 Volunteers, Pet Peeve
A pet peeve is used as a reason for one player to sue another. One
volunteer is the bailiff and hands random items to the litigants as evidence.
The other 2 are the witnesses for the litigants. Their entire dialog comes
from plays (comic books, children’s book, the Bible, etc.) and the players
must justify. Focus: Make the volunteers look good and justify the
lines as court jargon complaints.
Psycho-Analysis
Condition that would lead one to therapy
One player is a therapist; one is a patient. Two or more others will
“portray” inkblots to be interpreted. The scene starts with the patient
coming to the therapist and discussing the problem, maybe trying some
type of therapy (regression hypnosis, primal screams, role playing, etc)
before going to the ink blots. The lights go down and when they come up,
the other performers are in a pose. The patient says what he sees, literally
(a horse, clouds, dinner, etc.) and then the therapist interprets it (obviously
wrong, along a theme, making the patient look totally insane, etc.). Play
continues until a cure or diagnosis becomes evident. Focus: Strong
characters and development of a good relationship between shrink
and patient. The straighter the patient’s lines, the odder the shrink’s
will seem.
Six Lines
Six lines from the audience
Six lines are gotten from the audience. A scene is played where only those
six lines can be used as dialog. The lines must be used completely, as
originally given; only the inflection can change to convey different mood
or meaning. Can also be played with one justifier that does not use the 6
lines. Focus: Making the lines sound like they have multiple meanings.
Sound Effects
A public place
A scene is performed in a public place (suggested by audience). Random
sound effects are played, and the players must justify them within the
scene. Works best when the sounds are incorporated into the scene, but do
not totally control the scene (at least for the first minute or two). Focus:
Fully incorporate each suggestion into a continuing storyline, not just
random justifications.
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Split Characters
2 unrelated character types and an unrelated location
Two players are sent from the room. While they are gone the host gets two
unrelated character types and writes them on separate strips of paper. A
scene-starting suggestion of an unrelated location is gotten as well. The
players come back in and are told the location. A scene is played out in the
location, with each player being faithful to his/her character. This is not a
guessing game (which is why it isn’t in the Naïve section). Focus: Just do
a strong scene with a good relationship. There is no need to force the
characters to have a logical reason to be together. The characters
don’t need to go over the top.
Split Location
2 unrelated locations and an unrelated scene starting suggestion
Two players are sent from the room. While they are gone the host gets two
locations and writes them on separate strips of paper. A scene-starting
suggestion is gotten as well. The players come back in and are told the
suggestion. Each is given a location. A scene is played out where each
player uses the environment which they believe they are in. This is not a
guessing game (which is why it isn’t in the Naïve section). Focus: Fully
using your environment without making the scene about the
environment. Justify individual offers without trying to merge the
locations or make either location correct.
Vacation Slides
Possible vacation locale
One player is showing the slideshow of his/her last vacation. The lights
are dimmed; the other players take up odd poses. The “host” justifies each
“slide” as the lights are brought up. Give and take between slides and host
is helpful as little stories of the trip can develop. A variation is to have the
players portray exhibits in the museum and the justifier acts as museum
guide (excellent for use with volunteers). Another variation is “Wild
Kingdom” describing the animals in their habitats. Focus: Players should
try to challenge the justifier with interesting poses, as well as set up
mini-stories by doing successive poses that go together.
Whose Line is it Anyway?
Two written lines per player
The players get audience members to write lines on scraps of paper.
During the scene they pull out the scraps, which they haven’t seen, and
read the lines aloud, justifying them into the scene. The players can carry
the lines with them, or just scatter them on the floor and pick them up as
they go along. Focus: Keep the scene moving and set up the lines big,
so if the can make or break a scene. Take big risks for big payoffs.
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14)Line
2008
Any blank
I change the name of this game each year, just to start with a number.
“2008 blanks walk into a bar. The bartender says we don’t serve blanks
here. The blanks reply punch line. Focus: This is a simple line game.
The focus is 3-fold. To come up with fun puns, to work on selling a
joke, and to mock stand-ups the way they mock improv.
B-Movie
Any blank
The players take turns telling the joke: “I saw a movie about ------- that
was so bad,” “How bad was it?” “It was so bad, pun punchline.” Focus:
This game is all about selling the joke, sell it, sell it, sell it; don’t just
run through it and walk away! The basic character is a borscht belt
comedian, but you can modify it as you like.
DVD Extras
Titles of real movies
Players take turns stepping up alone or in groups and do an excerpt of a
deleted scene, director’s cut of a scene, alternate ending, director’s
commentary, explanation of a special effect, screen test, or other DVD
extra. After a few jokes, a new movie is solicited. Focus: You want to
find twists on scenes everyone will know, often this means cliché
scenes from old movies, or scenes from the previews of recent movies.
Jokes should stand alone, in case audience members haven’t seen the
movie in question.
Famous Last Words
Historical, fictional, or famous people; professions, etc.
As the name implies, each player gives their rendition of appropriate
famous last words for the suggested person or type of person. Focus: Fine
last words that are fitting, yet not too obvious. Sell them for all
they’re worth!
Pick-Up Artists
An audience volunteer, a location
A volunteer comes up from the audience. The players take turns flirting,
and trying two win the volunteer’s affection. The audience may vote on
who did the best job, or the volunteer may go off with the winner they
choose. Focus: Sell the pick up line. Each line should contain some
sort of pun about the location, or be appropriate to the location. The
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cheesier, the better. We’re trying for laughs, not dates (unless our
significant others aren't at the show).
Product Names
A type of product
Players take turns stepping up and giving the generic product a Brand
name, and a one-line catch phrase used to sell it. After a few jokes, a new
product is solicited. (e.g., Apple Pie: Worm Pie, we guarantee a worm in
every bite!) Focus: This game is all about selling the joke, sell it, sell it,
sell it; don’t just run through it and walk away! The more
infomercial-like you are the better.
Sequel Taglines
Real movie titles
Players take turns stepping up and, in an announcer voice appropriate to
the movie style, pitches the tagline for the sequel (Muppet Movie 7: Bert’s
Palimony Suit). Focus: The selling is in the announcer as much as it is
the joke.
World’s Worst
Occupations, Events, almost anything
The world’s worst example of the suggestion is performed by each player.
Focus: This game is all about being the character that needs to tell the
joke, the character can get away with things you can’t! The more full
and complete your character, the better it will be, there is no such
thing as being too outrageous in this game, pump up the volume!
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15)Music
Non-Scene
Audience Recital
Each player needs 1 line about an audience member
Each player gets a line about an audience member. This can be done while
seating the audience, by mingling with the audience, or with the emcee
“interviewing” audience members while the players pick from what they
say. The director of the symphony conducts the players, who use their line
(a summary of what the audience member said) as lyrics. Focus: Watch
the director; feel what the director wants from you; keep it as musical
as you can; don’t be afraid of high energy, the higher you go, the
better it works.
Blues
Blues topics (pet peeves)
One suggestion per player is gotten. The players take turns singing the
blues about their suggestion, one verse at a time. Newhouse Blues
Variation: Each verse continues the same story from a different narrator’s
point of view; this does not need to be instantly obvious to the audience.
Focus: Sell the song! Sell your joke! The audience is here to laugh,
not admire your singing skills; keep that in mind!
Do Run Run
One syllable (later 2) names
The players take the stage in a line. The first sings a line with rhyme A,
then all sing "da do run run run, da do run run." The second player then
sings a line that rhymes with A and then all sing "da do run run run, da do
run run... badum badum... yeah..." Then player three sings three short lines
that all rhyme B. Between each line all sing " badum badum... yeah..." At
the end of the third line all sing "da do run run run da do run run." If a
player makes a mistake, he is out. Play continues till only one is left.
Focus: This game is all about selling the song and joke, not being a
good singer; if you come close to the musical stuff you’re fine, just
make sure to sell the jokes! If you’re going to fail, fail big, and be
happy to have failed. When you’re happy, the audience is happy.
Emotional Symphony
Emotions/States of mind for each player
The emcee directs the players in a symphony. The players use their
emotions as instruments. Watch the director. When he or she wants you
high energy, be as high as you can possibly be . . . nope, higher than that,
that’s better. Make it musical, and avoid actual words whenever possible.
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If one player is forced to use words to express their emotion, the rest
should do their best to avoid words altogether. When the game should be
over, look for a way to help the director end it. Focus: To actually make
the emotions sound like they were used as instruments.
Improv Jam
Phrase you’ve heard at work
The phrase is used as the basis for the chorus. The first singer sings a
verse of the song (using the suggestion in whatever way they interpret it)
and then sets up the chorus. The chorus is generally the phrase, a second
line that will be used by everyone, the phrase again, and then a line that
will refer to each singer’s verse. Focus: While singing a first rate song
is nice, it is not required. Keep it peppy and funny and we’ll all look
good.
Interpretive Dance
Title for dance
A title is gotten from the audience. Two players narrate an interpretive
dance, performed by the other players. Players are led by each other (both
ways) and by the music choices. Focus: Dance your heart out, don’t
hold back; narrators should have big strong characters and be true to
their character choices.
Madrigal/Unplugged
Lyrics
Three singers get one lyric line each (bumper sticker, cliché, slogan, song
lyric, movie quote, etc.). For Madrigal they sing/chant to an 8-beat count.
For Unplugged, they sing the line to music, two or three times. After the
first rotation of singing, the first singer sings his/her lines again,
accidentally using some of the words from the other singers (in Madrigal
the other players sing their line half volume under the virtuoso). Play
continues until hilarity ensues. Singers should try to keep their original
line’s grammatical format to maintain different styles from each other.
Words can be added/omitted as necessary, but stay close to the
suggestions. Focus: Leading the audience down the path. Make your
first line change subtle and sell the “I messed up” looks. Get bigger as
it goes on, again, musical quality is not the focus. Listen to the other
players.
Scene
Audition
Title for a musical
One or two players act as directors, with the other players auditioning for a
part in a musical. They audition by singing a song, doing a dance, or
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reciting a monologue from the play, as described by the directors. Focus:
The directors should focus on character, their relationship, and the
appearance of pimping the players, while in actuality giving them
strong offers suited to their talents. Those auditioning should sell, sell,
sell their characters and auditions.
Bartender
A problem
One actor is the bartender and three are patrons. Each patron comes in
separately and sings a song to the bartender about the problem. Then the
bartender sings back a solution to the patron as the next verse(s) of the
same song. Variation: Can also be done as psychiatrist and patient.
Focus: Bartender should match the song and solve the problems.
Mood Music
Scene starting suggestions
Whenever the background music changes, the characters’ moods change to
match it. This is not a singing or dancing game; the music is never
acknowledged by the “characters,” only by the actors. Focus: Overdo the
emotional tilts and have them change the plot significantly.
Musical Start
No suggestion needed, but an object can be used
The musician plays, and the players dance to the music. When the music
stops, the dancers freeze for a few seconds, then the scene starts with a
justification of the positions. If there is a time shift in the scene, music can
be used again. Great way to start Build Up Break Down. Focus: Like
other position justification games, the position shouldn’t just be blown
off, it should truly dictate the scene.
Off-Off-Off-Broadway Musical
Scene starting suggestion (lifelong goal or challenge)
A Broadway-style musical is performed based on a suggestion (a lifetime
goal has been a good suggestion, though anything would do). Focus:
Mock the style and the characters: Plot – Good to bad to Great! Big
cheesy grins. Introduce songs in an obvious way. Dance for no
apparent reason. Happy ending for everyone involved.
Pick Your Note
Random suggestions as “categories”
3 or 4 players are contestants on a game show. Another is the host. The
host gets a category from the audience and makes up a question based on
the category. The contestants “buzz in” if they “know” the answer. They
give either a made-up song title or a modified real song title. The
musician plays either a new song or the original real song, and the player
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that buzzed in improvises new lyrics to fit the question. If an answer
doesn’t get a laugh, it is wrong. Other players can try to answer the
question correctly, but do not “have” to do so. Focus: Witty is the key
here. Sell the “game show contestant” and “host” characters, and
remember the laugh is what is important, not impressing them with
your singing skill (though that doesn’t hurt).
Song Cue
Scene-starting suggestion
A scene is played out between 2 or more players. At anytime a player can
say to another, “That sounds like a song cue!” The last player to speak has
to then sing a song based on the last line they spoke. The song
information can advance the scene, as if it was spoken in dialog. The song
can be unique or a modified real song. Variation: “That sounds like a
[genre] song!” Focus: Unlike Off-off-off-Broadway Musical, this
should be a normal scene (not following set conventions) with the
songs thrown in. When the song starts, make it super cheesy (back
singing and dancing, etc), when it ends, deadpan back into the scene.
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16)Naive
Mime
Fashion Show
List of unusual items of clothing
A player is sent from the room and a list of clothing items is gotten from
the audience. The player returns to the room and hosts a fashion show.
The other players come out one by one to “model” the fashions. The host
tries to judge what kind of clothing is being modeled and narrate it. The
bigger the description, the better it works. As each model finished their
catwalk, the sign holder hands the sign to the host. He justifies his
mistakes. Focus: This game almost doesn’t belong in this category.
Getting it right is not important at all, just selling the characters and
doing fun mime is what counts here.
POW
Place, Occupation, Weapon
Three players (or 2 players and a volunteer) leave the room. The emcee
gets the 3 suggestions. One player comes back in the room. Through
mime and gibberish a player that was in the room conveys the Place a
murder will take place, the occupation of the murderer, and the weapon the
murderer will use. When the outside person gets all 3 things, they kill the
original person. Another player comes in and it goes again. Then the last
player or volunteer comes in. Works well as a timed game (say 3.5
minutes of actual mime-time) to keep things moving fast and to make the
last person as hectic as possible. Then the emcee goes down the line to see
what each person (starting with the last in) thinks the 3 things actually
were. Focus: Obviously good mime and gibberish skills are important.
Also important is that the guesser not be a bump on a log. Be active
and participate. Don’t tell someone you know your occupation, start
doing it; that’s the best way to be sure you have it right. When going
through what you think it is, be sure that you’re right, no matter how
outrageous what you’re saying is. If you’re right, you amaze the
audience, if you’re wrong you entertain them, so be proud of your
answer.
QVC Scene
3 products to be sold
One player leaves the room before suggestions are fielded. This person is
the salesperson of the game. The salesperson must keep talking to sell the
product to the audience, without knowing what it is. Across the stage the
other players try to clue the salesperson in by using mime to show what the
object is. The mime should focus on using the object as much as possible.
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Focus: Good clean mime for the mimers. Jargon filled nonstop patter
for the salesperson.
Scene
Hijacker
Mode of transportation, weapon, “cause”
A player is sent from the room. The suggestions are gotten. The player
returns and hijacks the others. He has to figure out what kind of vehicle
they’re in, what his weapon is, and what his cause is, based on the
performances of those he has hijacked. Can be played that he has to figure
each thing out to move to the next (can’t go for the vehicle until he has the
weapon, can’t guess the cause until he has the vehicle). Focus: The
victims should be carrying the scene to let the hijacker think as
necessary. The hijacker should start high-status, but let low-status
creep up on him or her as they are trying to figure everything out.
Interrogation
Varies depending on setup: “the confession”
Various scenarios (criminal investigation, home late from a date, why you
lost your homework, etc.) are possible. A player tries to guess the
transgression while being grilled by two or three other players. The
transgression is gotten while the player is out of the room. Hints are given
through puns and leading questions. Focus: This is a fun status game.
The naïve player has low status in just about every scenario, but is
trying to act as if they have high-status to avoid getting deeper in
trouble. The balance of acting high-status while giving wrong
answers is where the fun lies.
Party Quirks
3 odd characters
A player leaves the room. Three other players are assigned odd characters.
The first player comes back and hosts a party. During the course of the
party he has to guess the quirks of his guests based on how they act. They
leave the party, still in character, as they are uncovered. Variation: the
guests leave the room and the host has to clue them in as to who they are
during the party. Focus: The key to making this game work is to have a
realistic party going on around the guessing game. Four people
standing around trying to get everything guessed is boring. Becoming
the quirky character and immersing yourself in the party makes the
game something more than a simple guessing game.
Return Department
Unusual object to return
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One player leaves the room, while the player is gone the suggestion is
fielded. When the player returns another player welcomes him to the
return dept. During the attempt to return the object, the customer must
figure out what the object is, guided by the store employee. If the customer
comes in with an elaborate monologue about why the object was
purchased, what he/she did with it, and what doesn't work, the audience
will love the fact that the customer appears to be digging themselves in a
hole. The player behind the counter can use the information to guide the
customer in the right direction. Other players can perform Canadian
crosses as other customers/employees to give clues. Focus: Unlike the
other naïve games, this game is not about giving good clues. The
Canadian-cross clues are more about gagging than helping (though
they should not be destructive). They should be things that the
audience totally gets, but that may not helper the player at all. The
RETURNER should be throwing out as many possibilities as possible
and it is the job of the clerk to yes/no warm/cold the returner to guide
them to success more than it is to give clues.
Semi-Scene
Expert Guest(s)
Noun, verb ending in -ing
A player is sent from the theater. The audience picks an expertise by
giving a noun and a verb ending in -ing (e.g., fish lamenting; television
combing, etc.) The player comes back in as a guest on a talk show, and is
interviewed by one (or two) host(s) (like a Lifetime talk show). During
their questioning they figure out what they are expert in. Can be done with
2 experts in the same field coming on together, (e.g., as a race to see who
figures it out first or as partners in a venture). Variation: a fictional
character and a hobby they just wrote a book on. Focus: The
interviewer(s) should sell their character hard. The guesser should
give as humorous answers as possible, almost as if ducking the job of
guessing, until getting to a point where he or she starts feeling out
whom they think they are. Find a way to state who you are or what
your expertise is that both flows well, and is a big ending.
Press Conference
Fictional Character
A player leaves the room. While out of the room he/she is given the
identity of a fictional character. They return to face a bevy of reporters, in
a press conference. Based on puns and leading questions they must
deduce their identity and reveal it. Focus: Reporters – big reporter
characters. Guesser – Funny guesses that appear evasive at first, then
play with right/wrong directions.
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Torture the Actor
Unusual Idiom
A player is sent from the theater. An unusual idiom is gotten from the
audience (e.g., “The day Wall Street laid an egg. or If ifs and buts were
candy and nuts we’d all have a great Christmas.) The player returns and is
greeted by another. They have a conversation, occasionally interrupted by
vignettes performed by the other players. The vignettes convey parts of
the idiom, until the tortured actor puts it all together correctly, in the
conversation. Focus: Remember, if a clue or direction of clue giving is
not working, it will likely continue to not work, try something
different. Remember, doing the same vignette over and over will
simply bore everyone involved. Be creative in how you get ideas
across.
16-4
17)Replay
Anti-Improv
Long list of suggestions, seemingly unrelated
A player goes on-stage and begins a scene. Another runs out and stops the
first exclaiming that they didn’t do what was planned. They start to
“rehash” the planned scene. One by one they are joined by the whole cast
who then free associate what the scene could be. After a suitable time they
exeunt. The first player re-enters and starts the same way as before. End
Scene. Focus: Give and take, yes and, and building are the key. The
story needs to build positively and quickly.
Countdown to Doomsday Challenge
Scene starting suggestion
Two players play a 2-minute scene based on audience suggestion. Two
other players claim they can do it better in one minute. Then the original 2
do it in 30 seconds. 15 seconds. 5 seconds. -15 seconds (the 15 second
scene backwards!!!). Focus: The 1-minute scene should be as close as
possible to the 2-minute version, but the others will (obviously) be
more frantic and use different lines to convey the same plot.
Ding
Scene starting suggestion
Players perform a scene. From time to time the emcee hits a bell. The last
player to speak must make a different offer. If dinged again, make another
offer. When an offer is not dinged, the scene continues. Focus:
Remember the rule of 3s, make the 3rd “ding” the one you want to
keep. Be in the moment and trust that whatever spews from your
mouth will be the right thing.
Dude Scene
A single word, any word.
All the players in the scene are limited to speaking only the word given by
the audience (e.g., “dude”). Inflection and physicality must make the
scene coherent. Another “team” can then replay the scene in English
trying to get it right. Another “team” (or the first) can replay it with
completely different dialog than what the audience assumed. Focus:
Emotion and emphasis.
Family Dinner
An audience volunteer and the names of his nuclear family members
A volunteer is gotten from the audience. He provides the names of his
family members, and nothing else. He is seated at the “head of a table”
with players as his family members (they tell the audience who they are).
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Dinner is served. Anytime an action or line is out of character for the real
person, the volunteer rings a bell and the action/line must be replayed until
it is gotten right. Play continues until dinner is over. Focus: Remember
what you’ve done “right” and add that to your character, try to find
the right things by hitting big wrong ones.
Forward/Reverse
Scene starting suggestion
A scene is played out. From time to time the emcee changes the flow of
time by yelling “Forward,” “Reverse,” or “Switch.” Can end anywhere in
the scene, based on a good laugh, by getting back to the beginning, by
getting to a scene resolution, or after going back past the beginning to see
what happened before the scene started. Variation: FRAS – Forward
Reverse Actor Swith. The word “Switch” causes the actors to switch
characters, instead of affecting the flow of time. Focus: Players: Short
sentences, a lot of give and take, big physicality, move the scene
quickly because you won’t have time for a slow build. Emcee: Give
them some time in the beginning, after introducing the time shifts,
they should get closer together as you go along.
If I had it My Way
An important situation
The director gets a situation from the audience. The actors show the best
possible version and the worst possible version of that situation. The
person in the situation acts the same way both times; the difference is the
other person/people. For example: A job interview where you can do no
right: when you hand him your resume, you discover he is allergic to the
fancy paper you used. Replay the interview where the boss loves you and
you are perfect for the job. When you spill coffee on him, he tells you
how much he hated that tie. Focus: Big, big, big. The bigger the bad the
funnier the good.
Instant Replay
A scene starting suggestion
Two players go outside to view the scene through the window. Two other
players perform a short scene (heavy on space) based on audience
suggestion (maybe this should actually be timed?). The other players enter
and try to recreate the scene, without knowing the lines, or suggestions.
Focus: The first pair needs to do a lot of big, obvious physical work.
The second pair should match it as closely as possible, tweaked just
enough to make it justifiable as something new.
Point of View (POV)
A scene starting suggestion
17-2
A 3-person scene is performed. It is then replayed 3 times: once from the
POV of each character. Focus: The bigger the personal conflicts in the
scene, the more room you’ll have to “blame” the other 2 people in
your POV. Take the blame and be wrong in the other person’s POV.
Rehash
Elements from previous scenes used
A scene is played incorporating characters, events, and suggestions from
previous scenes. Could also be done as a freeze tag. Focus: Slipping a lit
a bit of long-form into a short-form set. Particularly good to do if you
plan to do a long-form set as well (to introduce the reincorporation
concept).
Remote Control Movie
Made up title for the movie (and/or genre)
A scene (movie style) is performed. A volunteer, aided by a player, uses
an actual remote control to rewind, fast-forward, pause, etc. the scene as it
progresses. The volunteer must yell out the button they’re pushing, as they
push it. Focus: Heavy-duty focus and group-mind game. The final
product should make sense, as if all the scenes came from the same
movie. Be ready to replay scenes from any part of the movie at any
time.
Replay
A scene starting suggestion, 3 styles
A short (approx. 1 minute) scene is played based on the suggestion. Then
3 styles are gotten from the audience (genre, emotion, time period, ethnic
group, age of characters, etc.). The neutral scene is replayed in each style.
Focus: Keeping the scenes recognizable as replays of the original,
while enhancing them with the genre.
Rewrite!
A scene starting suggestion
A scene is played. At any time during the scene, a player not in the scene
yells “Rewrite!” The players freeze, and the new player comes on stage
and tags out the last player to do or say something. The new player than
“rewrites” the script, doing or saying what they would have done, keeping
the same character (unless the rewrite was on the character’s first line) as
in Actor Switch. The rewrite can be for any reason (different offer, bad
grammar, etc.). As the game goes on the rewrites can be more and more
petty (changing one word) to play up the gimmick. Focus: Keeping the
core of the scene, while expressing each player’s own creativity and
quirks.
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Take Two
A scene starting suggestion
A scene is performed. At some point in the scene, freeze is called from
offstage, and the scene goes back to an important event in the scene and
the scene is replayed from there, with a different choice being made.
Focus: Keep true to the characters, but take the scene in a strong new
direction.
18)Storytelling
Anthology
Characteristics for narrators
Can be done with various set-ups. Core of the form is that all the narrators tell their life stories, a
piece at a time. As the stories are told, it becomes evident that each narrator is a character in the
other person’s narrative. Some are important characters, some are bit players, and some can just
be connected by a degree of separation (i.e., both narrators describe the same character as a
mutual friend, or family member of one/friend of the other).
Focus: Don’t mug for the camera . . . trying to be funny is a sure way to kill this game.
Don’t avoid the funny, but don’t sacrifice the game for a laugh. Listen closely to all the
narrators, actively listening for references to you and the others. If the audience catches
something you miss, some of the magic is lost.
Directed Story
Title; genres (as necessary for version)
The storytellers stand in a line, and the director kneels in front of them. By pointing, the director
controls which narrator will continue the story and he will eliminate any player who makes a
mistake. Players should pick up the story (when they are pointed to) exactly where the previous
narrator left off, in mid-sentence or mid-word if necessary. Ending with the title is a nice touch.
Variations: genre for the story, different genre for each person, taking “action poses” before each
chapter. Focus: Keep it one story. Limit the number of characters, and try to follow just
one character primarily. Avoid telling when you can show (e.g., don’t plan or decide to do
something, just do it; don’t explain a character is sad, have them cry).
Limerick
Topics
Players stand in a line. Line by line they tell limericks about a topic. When someone makes a
mistake they are called out. A new topic is gotten and a new limerick starts. Focus: Keep the
limerick moving quickly and upbeat.
Monks’ Story
Title or event
Three or four players tell the story one line at a time. Each line should have 8-12 syllables, and be
slowly chanted. Stay in the character of solemn monks. Focus: Contradiction – the story
shouldn’t be as solemn and “monotone” as the delivery.
18-4
One Word Story Die
Title
The players stand in a line and tell the story one word at a time. A variation is that any player
who makes a mistake has to perform a theatrical death after being told to “die” by the audience.
(Can be done as 2 words, 3, step, etc.) Focus: Listen and follow along. Focus on telling a
good story and don’t try to plan ahead or lead the story. Know when to end a sentence.
One Word Song
Subject for song
Three players sing a song, one word at a time. Focus: Listen, listen, listen.
Poetry Corner
Poetry Style, subject for a poem
The players stand in a line. They do a poem based on the subject, line by line. A style of poetry
can be gotten from the audience, or it can be improvised. Focus: Keep the poem at the
forefront of your mind, it should be publishable when we’re done (okay, maybe not, but
have you read published poetry?).
Psychotic Story
Title
A narrator tells a story. The players act out the story in the background (narrator can be watching
or blind). Focus: Give and take between storyteller and players.
Radio Dial
Types of stations, a theme
The emcee uses a flashlight to go up and down the radio dial. When the light lands on you, you
begin (or continue) broadcasting in your assigned style. Keep relating the theme to your style
and keep time flowing (don’t always pick up where you left off). Picking up on someone else’s
station is encouraged. Focus: Hit every gimmick for your station (country-hog report, heavy
metal-slam dancing first-aid kits, etc.).
18-5
19)Three Person Templates
Mediator
Something you might argue about
Two players are having a disagreement about the suggestion and the third is a bystander just
doing a location appropriate activity. At some point, the bystander is asked to be a mediator. The
mediator should start out neutral and avoid settling the argument twice, providing reasons why he
or she wouldn't settle it when asked. When he or she finally caves and agrees to be a mediator he
should be 100% on the “wrong” side. Focus: Believably make one person obviously wrong to
help set the stage for the mediator.
Messenger
Relationship between 2 people
One character serves as a go-between for the other two characters. The messenger can be trying
to get them together, keep them apart, or play some other role. Focus: The messenger’s role
should be essential, not a throwaway gimmick.
Pecking Order
Location where you’d find a number of people
Each character in the scene is slightly higher status than one other character in the scene, and
slightly lower than one other character in the scene. Focus: Make the status pecking order
distinct, but allow it to change if appropriate circumstance forces the tilt.
Provocateur
Reason people would stop talking
The third person in this scene has some kind of stake in preventing two characters from
reconciling. As they approach reconciliation, he or she tosses out a nugget of information that
throws another wedge between them. Focus: Let the “intent” of the provocateur build slowly
so it isn’t obvious to the audience at first.
Shifting Alliances
Situation 3 people might find themselves in
Two characters are initially allied against a third. Over the course of the scene, the alliance
changes again and again and again. Focus: The scene should come full circle so the alliances
end where they began.
Threes a crowd
A fun activity for friends
Two characters in a very positive relationship engaging in the activity suggested. The entrance of
a third character makes all the relationships go negative, until one character exits. At this point,
the remaining relationship turns positive again. Focus: Logical tilts to change the
relationships.
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Wallflower
A fun activity for friends
Two characters are engaged in the activity suggested. The third character enters and tries, to no
avail, to get involved. Focus: Keep the third character’s attempts to get in lively and
positive.
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20)Long Forms
Just a few long forms which we perform most often.
General Edits
Sweep Edit: Walking completely in front of the scene, will clear the stage and a completely new
scene will start when you have crossed the stage and turn, trust that your fellow players will be
there to help.
Tag Out: Tag out a person or people in the scene by tapping their shoulder, the remaining
person(s) are the same characters that they were before the tag out, but in a different place or
time.
Double Tag Out: Tag out a person by tapping both shoulders at the same time. This indicates
you are popping in for a quick one or two lines at which time the person you tagged out will tag
right back in to continue where they left off.
Sweep Tag: Start a solo scene by tagging out all of the characters on stage, since you did not
cross the front of the scene no one should come out to join you at first. Your fellow players will
edit or join you when you need it.
Cut To: From offstage, yell “Cut to <blank>” or “Meanwhile across town” or anything like that
to change the location (or time) and cut to a related scene.
Freeze and Comment: Freeze the scene to make a comment, add an endowment, make a
suggestion, or verbally edit the scene (meanwhile across town . . .). Preferable to just yelling
over the scene so the audience (and players) can hear you clearly.
In-scene Monologue: Do a monologue from a scene by just stepping straight out to the audience
and delivering to them, and then return to your spot so the scene can continue. To edit from the
monologue simply cross the stage instead of returning.
Out-of-scene Monologue: You can also do a monologue during a scene you are not in. Walk up
the side of the scene to the front of the stage and deliver the monologue, when done either go
straight back so the scene will continue or cross the stage and the scene will be edited.
Canadian Cross: Be sure to cross upstage so you do not appear to be performing a Sweep Edit.
Montage
A series of scenes and/or monologues connected by edits.
Cut to Montage
A series of scenes where the only edits used are variations of the “Cut To” edit.
Documentary
A pair of chairs are set up down right and a pair are set up down left on the stage. These are the
“interview” chairs. The host gets a suggestion on which to base a documentary. The form starts
with a pair (or individual) of actors in one of the interview spots. They talk about where they
were when the event started, as if they’re talking to the camera. They self edit and enter the
scene. The scene shouldn’t be a replay of what they’ve done, it should be the rest of the story, as
narration and re-enactment play together in a real disaster documentary. Normal edits can be
used within the scene, sweep edits should go to another interview session. The form is stronger
if people can keep the same characters, in general, and have multiple story lines converge by the
end.
20-1
Follow the Action
This is a montage where the edit is from within the scene. Whenever a character exists a scene
with a purpose, we cut to that character arriving at their next location (whether it is on the other
side of a door or across town an hour later), following their action, rather than the story of the
person left behind.
One Act Play / Monoscene
As the name implies, this is a one act play. Best not to use edits (or use them sparingly, like a
flashback) to keep this as pure as possible. We like to have plays (i.e., cast of characters and
setting) that have continuity from night to night during a given run of a show. The monoscene
variation is a one-scene one-act play. Variation: Recurring monoscenes (e.g., Duke and Ally,
AlleyKatz, LaCrosse Brothers) where each performance is the continuation of previously
established realities so the characters grow and have a shared history.
Pyramid Form
This montage form is in 5 levels. Level 1: A series of short scenes separated by sweep edits.
Each scene should be inspired in some way by the one before it (the audience shouldn’t have to
work too hard to see the link). When just about everyone has initiated a scene (try to take turns if
possible) someone sweeps into a monologue. Level 2: The monologue is from the point of view
of one of that actor’s characters and should advance the story started in his scene. He walks off
and is replaced by another actor doing her character’s monologue to advance her scene. When
everyone has gone a new scene is initiated. Level 3: This is a series of slightly longer scenes that
are continuations from the lower level. Each scene should be initiated by one of the already
established characters. Fewer scenes are done (so we might go from 8 scenes to 4), so the
characters from different stories are combined into these scenes although some new minor
characters can be created as well. Level 4: Another series of monologues are performed to move
to the last level. Level 5: The last level of the pyramid is one scene that brings it all together.
This scene can have multiple tags as necessary to bring the story together.
Support Group
The form opens with all the players taking their seats in a semi-circle as if in a support group
setting. With large characters, each with a central “issue” the players talk about their week,
emphasis should be made to have an anecdote to relate, not just ramble about the week. After
about 10 minutes (or when everyone has had their chance to tell a story) the meeting breaks up.
What follows is a montage of scenes, each starring one of the support group members. Each
scene continues, or plays off of, the anecdote. After everyone has had a scene, we go back to the
support group session. A full support group scene can occur or a quick ending, whichever
happens. Variation: Support Group can also be played as a monoscene, without the followup montage.
True Stories
The host gets a suggestion to start the improvisation. An actor tells a true story as a monologue,
inspired by the suggestion. They self edit into the scene which starts as a retelling of the story,
but as other actors engage it can grow in any direction (parody, new ending, other points of view,
etc). In a pure form, the scene would end with a sweep edit into the next monologue on the topic.
20-2
However, standard edits can be used (including sweep) to start new scenes inspired by or directly
related to the scene played. Avoid more than 3 scenes between monologues or the form falls
apart. Variation: Each monologue can be inspired by the previous scene instead of the topic.
20-3
21)Warm Ups
Big Booty
Players stand in a circle. The player at the 6 o’clock position is Big Booty. The player to his left
is Player 1. The player to the left again is Player 2. Numbering goes around until you get back to
Big Booty. Big Booty starts the game. Players say their identifier and then someone else’s. That
player says their identifier and then someone else’s. If a player makes a mistake they step out of
their spot and everyone moves up one number, that player then takes the last spot (right of Big
Booty). Example: “Big Booty, Number 4” “Number 4, Number 2” “Number 2, Big Booty”
“Big Booty, Number 3” “Number 3, Number 3” oops, Number 4 becomes 3, 5 becomes 4, and
the previous 3 becomes Number 5. Get it? Didn’t think so.
Bippity Bippity Bop
Players stand in a circle, with one player in the middle. That player has to get out of the circle.
They do so by making someone else lose in a direct challenge. The challenges are as follows.
Bippity Bippity Bop: The player in the middle stands in front of someone and says Bippity
Bippity Bop as fast as they can. If the challenged player does not say Bop first, they lose.
Bop: The player in the middle says Bop. If the challenged player says anything in response, they
lose.
Kamikaze: The challenged player puts their fingers over their eyes like goggles. The 2 adjacent
players lean in and form wings with their outside arms. The player in the circle counts to 10 as
fast as they can. If anyone is not in position by 10, they lose.
Elephant: The challenged player makes a trunk by putting one hand across the other, and then
bending the lower hand so that they can grasp their own forehead. The 2 adjacent players lean in
and form the ears with their outside hands by making a fist and bending their arm so that the fist
is against their temple. They have until 10 to do so.
Tree: The challenged player puts their hands up like branches of a tree, the adjacent players
kneel at her feet as bushes.
Jesus: The challenged player puts their hands outright as if on the cross, the adjacent players
hammer in the nails.
Other variations as they’re developed . . .
Bunny
Players stand in a circle. One player becomes a bunny, putting their thumbs against their temples
and waggling their fingers like bunny ears. They repeat, “Bunny, bunny, bunny” as fast as they
can. The adjacent players join in, each only using their outside hand. When all 3 are in synch,
the middle player passes the bunny to someone else in the circle. When that person is in synch
with their adjacent players, they pass it. Variations: Chicken – center player does a beak and
adjacent players flap a wing while “buc buc buc”ing; Killer Bunny: At any point, the middle
Bunny could shoot her arms up in the air, lunge to the side and consume one of her ears! Then
the ear would be out. But anyone in the circle could stop the killing if they pointed their hands at
the Bunny and yelled "Die!" as the Bunny's arms were in the air. Then the Bunny would be out.
21-1
Categories
The initiating player names a category. Going around the circle clockwise, each player names
something that would fit in that category. When it gets back to the initiating player, they say the
last item. The next player picks the next category.
Counting
Players stand in a circle. Everyone in the circle looks down at the ground and closes their eyes.
Someone will count off the number one. Then someone else will count off the number two. No
one knows who will speak the next number. If two people speak out at the same time then the
group must start again at one. How high can we go? This can also be done with the alphabet to
see if we can get to the end. Though, truth be told, I like when we keep being in synch, it shows
that we’re . . . well, in synch.
Exaggeration Circle
Players stand in a circle. A player initiates a small motion for a few seconds. The next person
repeats it, making it bigger. The next person heightens and explores it more, and so on. It should
be a super-version of the motion when the initiator gets to do it again. Then the next person
initiates a new motion. Et cetera.
Go
Players form a wide circle, with 1 in the middle. The person in the middle points at someone.
They say go. The person in the middle walks towards them to take their spot. They point at
someone else, who says go, and they start walking their before the first person gets to them. Play
continues as everyone points to get out of the way before their spot is taken. Point, Go, Walk.
Hot Seat
All players stand in a circle and subject/topic is selected. Anyone can jump into the "hot seat" in
the middle and start a mini monologue about any subject. They can't leave until another player
taps them out and takes over the monologue on the same subject.
Hot Spot
Players form a line or a circle. One player takes the sage and starts singing a known song. As
soon as this player shows any signs of stopping (because she doesn't know the lines any more,
gets tired or embarrassed) another player needs to step in and take over (singing a different song).
Players should also be tapped out after they’ve sung for fifteen seconds or so. Each song should
be inspired in some way by the previous one, but if nobody is inspired, anything will do to help
out the person in the middle.
Jeepers Peepers
Everyone gets into a circle. Everyone looks down at the ground, not making eye contact with
anyone else. The group all counts to three and on a count of three everyone looks up at once.
Each player in the circle is responsible for making a strong choice, and they must either look to
their left, their right, or directly across the circle. If eye contact is made by any pair of people,
they give a primal screen. Immediately following the scream everyone looks down again and the
count starts. Continue until there is no scream.
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Next on Tafffy
A player is picked and given a letter. They say 4 words that start with that letter to form a
possible talk show topic. Everyone yells, “Next on Tafffy!” and then the player picks another
player and assigns them a letter. A 4-letter word can be assigned instead, and the player treats the
word as an anagram.
One word story
One word story is told around the circle. Can be 2 words, step, etc.
Pass/Catch
Everyone gets in a circle. One player in the circle makes a gesture and a noise at the player to
their left. That player immediately repeats the gesture/noise at the player to their left. The
gesture/noise is passed around until the original noisemaker repeats himself. Then the player to
his left comes up with a new gesture/noise and the process is repeated.
Passing the Clap
Players stand in a circle. The initiating player turns to the player next to him. At the same exact
time, they clap. The 2nd player turns and claps in unison with the 3rd. The clap is passed around
the circle, getting faster as it goes. Variation: hold hands and pass a squeeze around the circle
instead (sweatier, but less STD jokes).
Popcorn
Players form a circle and crouch. They randomly jump up in to the air and clap their hands. If
two players clap their hands at the same time they are out of the circle until another two are
“popped out.”
Sound Circle
Players form a circle. One player turns to her left and makes a sound. That person repeats the
sound back and turns to his left and makes a new sound. Continue until everyone is soaked in
each others’ saliva.
What’s in the Box
Players pair off for this game. Player A mimes opening a box. Player B asks, “What’s in the
box?” A responds. B can say No if they want, and A has to immediately name something else,
until B says Yes. B then asks a question about the item, but can No the answer as often as they
want. After a few minutes, A&B switch roles.
Whoosh-Bong
Players stand in a circle. There is an invisible track running around the inside of the circle at
waist height in front of them. There is an invisible ball rolling around the track. It is important
that all players keep their eyes on the ball. In order to move the ball, players must help it. They
push it in one direction or the other, by yelling Whoosh, while hitting the ball with a forehand
sweep. You can change direction by putting your other hand in front of it so that it bounces off
your palm after passing across your body, while you yell Bong. You can send it across the circle
by laying your arm on the track so the ball rolls up your arm, across your chest, and off your
other arm which you point to another player while yelling Tron. Tron can be blocked by pulling
21-3
your disc from its holder on your back, and using it as a shield (see the movie, okay?). You can
also put your “bong” hand directly in front of the center of your body, at a 45 degree angle and
“Ramp” the ball past the player adjacent to you. (Can also be done with a dog instead of a ball . .
. Woof, Bark, Chain, Short Chain, and Meow.)
Word Ball
Players stand in a circle. There is an invisible ball thrown from person to person. When a person
throws the ball they say the first word that comes to their mind, the catcher free associates and
says another word and instantly throws the ball to someone else who free associates from that
word. (Classic Harold starting game, if you’re into that kind of thing.)
Zip-Zap-Zop
Long distance tag game. The ready position is a casual stance with both hands pressed palms
together in front of the chest. The initiating player points at another player and says, “Zip.” That
player then points at another and says, “Zap.” That player then points at another and says, “Zop.”
That player starts over again with, “Zip.” Play continues with energy building. Everyone should
try to give off more energy than the person before them and keep an even rhythm.
Zoom-Schwartz-Parfigliano
This game works much like Zip Zap Zop, except with different words and actions.
Zoom: Always start with a Zoom. Point to a player and say Zoom, it is that player’s turn. You
cannot Zoom directly after being Zoomed (“Can’t zoom a zoom.”), and you cannot Zoom
someone standing adjacent to you.
Schwartz: Returns play to the person who just “tagged” you.
Parfigliano: Said to the person on your right or left, passes the tag to him. Lambada: Said with
a sideways hip movement. It skips the person next to you, to pass it to the person next to them.
(Direction of hip movement indicates left or right.)
Twizzler: Opposite of Parfigliano. You say it to the person on your right or left, but it goes to
the opposite direction. (Say it right, it goes left.)
Twister: You say it to the person on your right or left, but it goes to the opposite direction and
that person has to spin around before going.
Bitterman: A double schwartz. Sends play two people back. (This could mean it comes back to
the person that is saying Bitterman!)
Cheeze Whiz: Point to a person and say Cheez Whiz, they have to respond with a food that
contains cheese and then continue.
Butternut: Zoom with a joke and without the restrictions). You point to someone and say
Butternut. They respond “Butternut . . . [some piece of advice that should have started “You’d
better not”]!” and they’re “it.”
Switch: Point to someone and yell Switch, then switch places with them, they’re it. Can have an
adjective preceding it which affects how you switch.
FAO Schwartz: Named for the famous toy store (now owned by Toys R Us, sigh), it’s a
Schwartz, but before going again, the schwartzed person yells out the name of a toy.
In jokes: This is where we try to get in jokes out of our system. We have many, learn them, live
them, and love them.
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