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INDEX
THE BIG TEACHER TRAINING MANUAL
INDEX..................................................................................................1
CHAPTER 1:
ICE BREAKERS, TRUST BUILDERS & WARM-UPS................................................6
Alien, Tiger, Cow...................................................................................6
All Change. “All those wearing…”...............................................................6
Autobiographies. Ice Breaker....................................................................6
Bend and stretch and reach for the sky, Warm up............................................6
Biographical Portraits.............................................................................7
Biographies. Ice breaker, listening and presenting ..........................................7
Blind Friends........................................................................................7
Blind Stalker (warm-up)..........................................................................8
Blind Walk/Run - moving on......................................................................8
Chinese Whispers..................................................................................8
Cross Circle ........................................................................................9
Duck! Jump! (Warm up game)...................................................................9
Fish in the Sea / Birds in the Air (Warm up & Game) .......................................9
Flock Dance (warm-up)..........................................................................10
Free Association (warm-up)....................................................................10
Group Stop (warm-up)...........................................................................10
Guided Trip........................................................................................10
Hello (warm-up).................................................................................10
Hunter and Hunted...............................................................................11
I went to the market and I bought …..........................................................11
Introduction ball..................................................................................11
Jeepers Peepers (warm-up)....................................................................11
Lap Sit..............................................................................................12
Malapropism (warm-up).........................................................................12
Mirrors.............................................................................................12
Name with a feeling.............................................................................12
Name with Action................................................................................12
Pass Catch (warm-up)...........................................................................13
People Knot (Ice Breaker / Trust Builder)....................................................13
Pie (Little kid math).............................................................................13
Revise ball.........................................................................................13
Self Portrait.......................................................................................13
Shapes .............................................................................................14
Simon Says… (Warm up & Game) ..............................................................14
Simulclap (warm-up).............................................................................14
Slow Motion Samurai (warm-up)...............................................................15
Socks, Warm up, remember to do your laundry first.......................................15
Steal the keys.....................................................................................15
Trust Fall/Circles - the place to start.........................................................15
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Tug of war..........................................................................................15
Twins...............................................................................................16
Two Truths and a Lie.............................................................................16
Vocal Mirror.......................................................................................16
Whisper Forest....................................................................................16
Who’s The Leader. ..............................................................................16
Wired up...........................................................................................17
Word Ball (sometimes sock!)...................................................................17
Yes Lets (warm-up)...............................................................................17
Zip, Zap, Zoom (warm-up)......................................................................17
CHAPTER 2:
FROM ACTION TO WORDS & BACK..............................................................19
Environment Building (exercise)...............................................................19
Environment Shift (exercise)...................................................................19
Family Portraits...................................................................................19
Freeze Tag (exercise)............................................................................20
Gift.................................................................................................20
Incident............................................................................................21
Leaving the Couch ...............................................................................21
Look at it..........................................................................................21
Open Your Eyes...................................................................................21
Tray Full of Fun (Simple game).................................................................22
What Do You Hear?...............................................................................22
What’s in the Magic box? .......................................................................22
What’s in the Closet?............................................................................22
Where are you going? ...........................................................................23
Where were you?.................................................................................23
CHAPTER 3:
BUILDING BLOCKS FOR DIALOGUE..............................................................24
Alphabet scene...................................................................................24
Corridors...........................................................................................24
Emotional Boundaries...........................................................................24
Emotional Symphony ............................................................................25
Emotional Transfer ..............................................................................25
Encounters........................................................................................25
Foreign Film ......................................................................................25
Gibberish Exercises ..............................................................................26
Just a Minute......................................................................................26
Last letter/Last line.............................................................................27
Last Letter.........................................................................................27
Monarch (exercise)...............................................................................27
Name Six...........................................................................................27
Oh Henry!..........................................................................................28
One Sentence Story with Entrance/Exit Words..............................................28
Party Game........................................................................................28
Questions/No Questions.........................................................................28
Rope................................................................................................28
“What are you doing?”..........................................................................29
Where are we, where have we been and where are we going?...........................29
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Where are we?....................................................................................29
Who am I?..........................................................................................30
Word Ball (sometimes Sock!)...................................................................30
CHAPTER 4:
SETTING THE SCENE...............................................................................31
1-2-3-4.............................................................................................31
60 Second Play - Adverbs.......................................................................31
A Walk In The Park...............................................................................31
Age Walk...........................................................................................32
Beginning / Middle / End.......................................................................32
Double Talk........................................................................................32
Dubbing Games...................................................................................32
Endowment Scenes (handle)....................................................................33
Party Game........................................................................................33
Entrance/Exit Words.............................................................................34
Free Speech.......................................................................................34
How dare you! Insults on the telephone......................................................34
Hunting The Whatsit ............................................................................34
Image Association................................................................................35
Journalists.........................................................................................35
Last Sentence Scene ............................................................................35
Living Freeze......................................................................................35
Moving People ....................................................................................35
No Laughs Scene .................................................................................36
One sentence story..............................................................................36
One word story...................................................................................36
Open Scene .......................................................................................36
Options ............................................................................................37
Paper Chase.......................................................................................37
Past, Present, Future or “Time Warp”........................................................38
Progressive Phrase...............................................................................38
Push In.............................................................................................38
Sit, Stand, Kneel, Lie Down.....................................................................38
Soundscape .......................................................................................39
Split Environments...............................................................................39
Stage Directions .................................................................................39
Subconscious Scene .............................................................................39
Switch Characters................................................................................40
Three Way Dubbing ..............................................................................40
Touch To Talk .....................................................................................40
Word Association.................................................................................40
Word Association.................................................................................41
CHAPTER 5:
STORY TELLING.....................................................................................42
5-4-3-2-1 (long-form)............................................................................42
Balladeer (long-form)............................................................................42
Die Game .........................................................................................42
Do Run Run Song (handle).......................................................................43
Fully Interactive Story...........................................................................43
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Gregorian Chant (handle).......................................................................43
Modern Fairy Tale ...............................................................................44
Narration with Sound Effects...................................................................44
Self Narration – Feeling from Action..........................................................44
Self Narration – Action from Feeling .........................................................44
So I'll ...............................................................................................45
Superhero Eulogy ................................................................................45
The Casting........................................................................................45
This Is Your Life...................................................................................45
CHAPTER 6:
RECENTLY ADDED..................................................................................47
Adam and Eve.....................................................................................47
Alphabet Shapes..................................................................................47
Boom chica Boom................................................................................47
Duck Duck Goose.................................................................................47
Group Animal Mime..............................................................................48
Group Focus.......................................................................................48
Group Household Item Mime...................................................................48
Group Vehicle Mime..............................................................................48
Line Greetings....................................................................................48
Musical Instruments!.............................................................................49
Poor Poor Animal.................................................................................49
Songs...............................................................................................49
Touch Your Partner...............................................................................50
What Occupation Am I?..........................................................................50
Quick Fire Mime..................................................................................50
Believable Entrances............................................................................51
Emotion Mime.....................................................................................51
The Selling Game.................................................................................51
Mime Activities. In Group........................................................................51
Group Focus.......................................................................................51
Group Vehicle Mime..............................................................................51
Group Household Appliance Mime.............................................................52
SECTION A...........................................................................................54
Getting to Know You.............................................................................54
Move to the Spot.................................................................................54
Do you like your neighbour....................................................................54
Human Noughts and Crosses....................................................................54
You are you?.......................................................................................54
Name Game.......................................................................................55
Convince us!......................................................................................55
Sherlock Holmes..................................................................................55
Tangle..............................................................................................55
Tick Tock...........................................................................................55
Structures.........................................................................................55
SECTION B...........................................................................................56
Adverstisement...................................................................................56
The Continuing Story............................................................................56
Control Tower.....................................................................................56
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You can’t laugh...................................................................................56
Fists................................................................................................57
Three Feelings....................................................................................57
Merry-go-Round...................................................................................57
News for you......................................................................................57
Speakeasy.........................................................................................57
Walk my walk.....................................................................................57
SECTION C...........................................................................................58
Mime and Action Memory.......................................................................58
Emotions: Play and Freeze frame.............................................................58
Comic Strip........................................................................................58
Chinese Mime Chain..............................................................................58
Chain Statues.....................................................................................58
Fit the Reader....................................................................................58
Dialogue Environments..........................................................................59
Paper Bag Scene..................................................................................59
Prop Scene.........................................................................................59
Opening & Closing Line..........................................................................59
Situations..........................................................................................59
SECTION D...........................................................................................59
It’s Obvious........................................................................................60
Verbal Boxing.....................................................................................60
Word Wizard......................................................................................60
Pig, Wolf and Farmer............................................................................60
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CHAPTER 1:
ICE BREAKERS, TRUST BUILDERS & WARM-UPS
Alien, Tiger, Cow
Also known as rock, paper, and scissors. There are three things that the players can be.
The first is an alien. The alien is signified by making antennae with your fingers and
leaning into the circle making the noise "zeep zeep zeep". The second thing you can be
is a tiger. The tiger is signified by leaning into the circle exposing your ferocious claws
and roaring. The last is the cow. The cow's udder is exposed by putting your hand on
your stomach and mooing loudly. Someone in the circle briskly counts to three. On
three everyone commits to one of the three character types alien, tiger, or cow. Keep
repeating the cycle of 1-2-3 until everyone does the same creature. Generally dissolves
into complete chaos before there is any synchronicity.
Variations 1
Increase the number of options i.e. cow, android, fridge.
Variation 2
Majority Rules-- if there are six tigers, four cows and two aliens the two players that
chose aliens are out of the circle.
All Change. “All those wearing…”
Simple game where everyone is seated in a circle and the leader stands in the middle.
When the leader says "all those wearing blue change" everyone wearing the colour blue
must change seats; the leader will also try to find a seat so that one person will be left
without a seat standing in the middle. Start the game focused on clothing e.g. all those
wearing jumpers change, then combine items of clothing with colours, all those with
blue bras etc.
Alternatives: all those with two sisters, all those with a dog, all those who like pizza,
all those who have been to Benidorm.
Autobiographies. Ice Breaker
In a circle each player takes a turn to speak about themselves for about thirty seconds
and then the rest of the players are invited to ask questions. There are various versions
of this; one is to ask players to speak about themselves for as long as they can hold a
lighted match. Another is to displace the focus from the speaker to an object, any
object, could be a magic sock or a motivating pen. The leader of the group throws or
passes the magic article when the action stops the person holding the object speaks.
Other variations define the area of personal description for example get the person to
speak for thirty seconds on their home or family or focus on likes and dislikes.
Bend and stretch and reach for the sky, Warm up
Have all players stand in a circle full arms length from each other. Do the puppet on a
string. Reaching upwards palms facing the ceiling and fingers splayed. Imagine a string
attached to the top of your head, your fingertips and palms. Feel yourself being drawn
towards the ceiling as the strings are pulled. Feel yourself being stretched further and
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further until you are almost lifted off the ground. Hold the position for about a minute
and then imagine the strings have been cut and flop to a relaxed position with the
hands and arms dangling free.
Next step:
Standing as before, make the movement in five thrusts holding for ten on the fifth and
flopping with the whole body above the waist so that head trunk arms hands and head
are hanging down relaxed. Hang limply for some moments and repeat.
Next step:
Touch the shoulders with the fingertips. Thrust out lower jaw, bending back the head
and stretch the chin upwards. Stretch the muscles of the neck. Hold for a moment,
then let head, hands and trunk flop loosely forwards with hands and head hanging
limply. Bring back to relaxed erect posture, start a whole lot of shaking; first only
shake the fingers, faster and looser than typing, as if you were trying to get rid of
them. Then shake the hands, palms down. Then combine fingers and hands. Move over
the body to joints, elbows, shoulders, neck, ankles and feet, knees hips and waist.
Combine and try to get as many going on at once. Hold it shaking and then flop.
Biographical Portraits
Another variation on Autobiographies: Work in pairs of A and B. Player A is interviewed
by player B for two to three minutes, roles reversed and then players A and B should
attempt to draw a portrait of their partner. The portraits should be collected and then,
at a later date, displayed around the room for the people to try and recognise
themselves from the information they gave.
The activity is good for bringing new groups together, getting names and one or two
hobbies that you can later explore.
You can prepare for this activity by asking the players to prepare written
autobiographical profiles you specify the questions.
Biographies. Ice breaker, listening and presenting
Players pair off into A's and B’s. First player A speaks for two minutes about aspects of
themselves the Leader chooses the subject, professional life, educational experiences,
ambitions short or long term etc, Basic details should be included such as name, place
of Birth where you live etc. Player B just listens, no questions no notes. Then players
reverse roles. Now the Leader explains that A will present us to B for one minute or
thirty seconds. This presentation can be made to the group as a whole or to groups of
four. Everyone should be introduced by the end of the activity.
You can prepare for this activity by asking the players to prepare written
autobiographical profiles you specify the questions.
Blind Friends
Players pair off. Studying their partner they try to think how they could identify each
other if they met blind. They should be encouraged to touch each other’s hair, skin,
and the fabric of the each other’s clothes. After a few minutes of exploration the
players are told to close their eyes and walk in a random direction being careful how
they bump into others. Partners should be well and truly mixed, give the order to try to
meet up without talking. Once partners have been reunited they should move to the
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side of the room leaving space until the final two unite. A second step is the players
follow the same procedure as above but must find their partners without using their
hands.
Blind Stalker (warm-up)
We need four people on each wall, and everyone else milling about in the centre of the
room. The people on the outside are spotters. Ideally there will be more than four
spotters. Remember safety first. The people that are milling about in the centre of the
room close their eyes and are asked to keep their hands at their sides. They continue
to move about slowly bumping into each other with their eyes closed and being safely
redirected towards the centre of the room by the spotters.
This activity continues for a while once the milling group manages to remain quiet.
Then one of the people with their eyes closed is selected as a vampire. The vampire
will blindly mill about the room. When the vampire encounters another player she will
grab her by the wrist. The players are informed that if they are grabbed by the wrist
they yell out a scream, open their eyes and move to being a spotter. This continues
until there are no players left in the centre. The spotters can make spooky noises as
the vampire gets close, don't pick a vampire and let them wander for hours.
Variations:
No vampire--some groups are so intense that just closing their eyes is enough of a trust
builder, let alone being touched by someone; Healer--the players touched by a vampire
become vampires, if two vampires touch they heal themselves to become non vampires
Blind Walk/Run - moving on
Players should make one large circle with players standing at arms' distance from each
other with their hands as in the exercise above. With a blind fold or with eyes wide
shut, one player should be placed in the centre of the circle, spun around and told to
walk normally until stopped at the edge of the circle where they will be redirected to
walk across the circle again. Again it is important that the circle is not breached and
that the guardians at the edge stop the walker gently and gently redirect them.
Variation:
Blind Run, in an open space, gymnasium, out doors as above but with the person in the
centre running and the guardians moving quickly to make sure the circle is not
breached.
Chinese Whispers
All players sit in a circle. Two messages or statements are written out and concealed
from the group. One message is whispered from one player to the next in one direction
and the other message is sent in the opposite direction. Compare final messages with
original messages.
Variation:
Before revealing the final and original message, have all the players write down what
they understood the message to be. Then read the original message followed by each
consecutive message until at least the final message is reached.
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cc
Cross Circle
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This exercise is complicated to learn. It is started by one person (called person Eh) who
randomly picks another person out of the circle (called person Bee) and gets their
attention by stating their name "hey Bee". Once person Bee acknowledges that their
name has been called person Eh starts to walk towards them. You think that this is silly
and that person Eh is going to crash into person Bee who is standing in the circle. Well
person Bee calls out to another person in the circle (let's say person See). And when
See acknowledges Bee then Bee can start walking. So Eh and Bee are moving across the
circle (hence the name) at the same time. See does the same to Dee. By now Eh should
be stationed in what used be Bee's spot. Eh will wait patiently, listening, but not
moving until she is called on by someone else in the circle. Complicated, yes,
Impossible, No. Walk through it slowly at first and it will start to make sense.
Variation 1
People cannot move until they say the name of the person that they have chosen. This
forces people to learn names fast. If the group is big enough you can have more than
one cycle going at once. More than one person can be moving at the same time.
Therefore two separate cycles are crossing the circle.
Variations 2
It can be done with just pointing and no names. Even more attention would be required
to do this warm-up with just eye contact. Once this warm-up is mastered more it can
be combined with Word At A Time Story. Combining the story with two continuous
cycles that creates two simultaneous stories. There are few people that I have met
that can keep track of both stories at once.
Duck! Jump! (Warm up game)
An attention grabber! Everyone lines up in a semicircle. The teacher has a few pair of
socks. He/she yells “Duck!” at someone and throws the sock over or near the person’s
head. Repeat the activity with everyone at random until everyone masters the word.
Alternately use the word “Jump!” and throw the socks at people’s feet. Repeat this
activity on other days to reinforce the words and keep people on their toes.
Fish in the Sea / Birds in the Air (Warm up & Game)
This is a variant of musical chairs. Group is seated in a circle. Go around the circle
giving each player the name of a fish. Example: SALMON, TROUT, COD, HADDOCK. Give
the names out like 1-2-3-4, 1-2-3-4, etc. Tell each person to remember their fish-name
and explain that when you call out “SALMON” all the SALMONS must get up from their
seat and run around the circle in a clockwise direction to return to their seat. Practise
with each type of fish and then send 2 or 3 types of fish running at the same time.
Create confusion: SALMON! (pause) COD! (pause) HADDOCK! (pause)… Introduce “The
sea is troubled.” (ALL FISH AT THE SAME TIME.) “Change at sea.” (CHANGE DIRECTION.)
“The Sea is calm.” (FREEZE). “Here come the fishermen!” (CONTINUE RUNNING).
When you train each command introduce the concept of removing chairs by turning
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them towards the centre of the circle – going towards a winner. This has many
variants!
Flock Dance (warm-up)
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This is best done with music, but you can improvise around that. The first person starts
to move or dance. The two immediately behind her mimic the movements. Each row
follows the row ahead. It is fun to watch the movements decay as the line gets further
back. The leader alternates as the music changes, or as others come forward from the
back ranks. To finish the lead person turns around so the flock must turn around, but
can no longer see what is happening. Doing the splits ends it quite effectively as well!
Free Association (warm-up)
The group can be structured in circles, and one person starts off by saying any word.
The person to her left lets fly with the absolute first thing that comes to mind when
they heard the previous word. There should be no pause to find "something funny" or to
edit their thoughts. This is not a psychoanalysis exercise, but one to get people pulling
down those barriers to creative thoughts. Associations like "boss-napalm" are quite
common, and not too much to worry about.
Variation 1
Try it in gibberish.
Variations 2
Firing line is where one person is required to do all the word associations. Six people
line up and fire off words that they have pre planned the player on the firing line
responds immediately with a free word association.
Group Stop (warm-up)
Everyone quietly mills about the room. One person will elect to freeze in position
unexpectedly. As soon as one notices that someone else has frozen in position they
freeze as well. So the effect of one person freezing causes everyone to freeze. Once
everyone is still the group starts milling around again. The goal is to see how quickly
the group can freeze in position.
Variation 1:
The warm-up can be made more interesting by having the players make noises as they
move around. Increasingly noisy characters make it harder and harder to notice the
group stop, and therefore makes it more challenging.
Guided Trip
Players lay on the floor with their eyes closed. You walk them through a trip to a
familiar place in their mind.
Hello (warm-up)
The players mill about the room. At some point the workshop leader asks them all to
greet each other by shaking hands. Greet one person and move on, greet another and
so on. This continues for a while. Then endow each of the greetings with an element.
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For example, "greet each other like you are long lost friends". You can continue to
endow the greetings with elements like: ex-lovers, someone you have a crush on,
someone you are afraid of, someone you love, a smelly person, etc. The greetings can
be embellished with emotions like: greet everyone angrily, greet everyone happily,
greet everyone like you have a secret, greet everyone like you are a Scottish Chieftain,
etc. Have fun with it, and keep the greetings short and superficial.
Variation 1
Combine it with Cross Circle, form two lines and have the greeters meet on stage
together.
Hunter and Hunted
Players sit in a circle with their eyes shut. The weapon (e.g. rolled up newspaper) is
placed in the circle. Two players are selected by tapping them on the shoulders.
Keeping their eyes shut they try to find the weapon. Whoever finds the weapon
becomes the hunter the other the hunted. The objective being that the hunter touches
the other player with the weapon
before the hunted person can find the hunter’s chair and sit down in it.
I went to the market and I bought …
a basic list and memory game, the students sit in a circle and say ‘I went to market and
I bought’ which is followed by an object of some sort, for example, an apple. The next
student then repeats this phrase and adds their own object. There are many variations
to this game for objects to go through the alphabet using a different letter to begin
each new word. Another idea would be to only allow objects larger than a television,
or only animals, or illegal things. The choice is wide and the game can be used to teach
specific vocabulary.
Introduction ball
Warm up activity. Students pass a ball around a circle introducing themselves. Once
warmed up, every time that they pass the ball they should ask a question, trying to be
as specific as possible e.g. what’s your name? , and increase speed.
An alternative is to ask more open questions e.g., Tell me about your country/home or
Tell me about your job/work. Etc.
This can be used as a revision activity.
Jeepers Peepers (warm-up)
This warm-up is designed to try and get us all in synch. Everyone get into a tight 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 players make eye contact, both
scream and step out of the circle. This activity is continued until all are out of the
circle.
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Lap Sit
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The leader asks everyone to stand in a tight circle with their shoulders touching and
then asks everyone to turn 90ş to the right. Tighten the circle even more by asking
everyone to take a side-step toward the inside of the circle. Everyone should be
touching or almost touching the person in front and behind them. Now everyone should
grab the shoulders of the person in front of them and when the leader says “OK”,
everyone must sit on the lap of the person behind them. If everyone does it right, no
one falls! Lap sit builds teamwork and coordination.
Malapropism (warm-up)
As the players are milling about they are to point at objects in the room and call out
what the object is not. If they point at a light they may call out "fish", or "wallet". The
goal is to call out loud and clear like that is what the object is. Watch for people that
saying the same thing over and over again. It works better if people free associate with
each new object that they point at. The exercise continues until boredom sets in.
Variations 1
If people are stuck on the exercise, start out identifying objects in gibberish. The
objects can be named in various accents, or emotions.
Mirrors
Players stand in pairs face to face and decide who will be player one and who will be
player two. Player one is the leader and begins to move slowly, player two is the
reflection and must try to mirror player ones movements. After a few minutes the roles
are changed. Players should work towards the changes being impossible to see and
therefore who is leading and who is following. This activity demands that the players
see the "whole" of the other player, to concentrate and to work together. Another
option is to state a place where the action takes place i.e. on the farm, in the changing
rooms, at the hairdressers.
Name with a feeling.
Work through on the board a number of standard adjectives to describe feelings and
teach the formula, also use the words that the students know. Ask them individually
how they feel.
E.g. Happy, sad, cold, hot, hungry, angry, tired, bored, interested, optimistic, pleased,
sporty, rich, poor,
Hi, I’m … and I’m wild!
Have each person in the circle introduce themselves with a walk appropriate to the
feeling they use by walking into the circle. Then everyone should walk into the circle
and use the third person, He’s … and he’s wild!
Name with Action
Players stand in a circle. One player says his/her name and at the same time invents a
matching action or movement. The player to the left then repeats the name and action
and adds his/her own name and action. Then the next player does exactly the same,
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including the names and actions of the people before and so on around the circle. If
any player makes a mistake, the action returns to the first player.
Pass Catch (warm-up)
In a circle make sure that the players have enough space to move freely without
accidentally clouting each other in the head. One player in the circle throws
themselves into a bizarre stance and makes a corresponding noise along with it. This
gesture is made to the player to their right in the circle. That player immediately
reflects back the gesture and noise, imitating the other player as best she can. Once
she has done that she immediately turns around and creates a new gesture and noise to
the player to her right. The process is repeated and goes around the circle for a few
minutes. It is important that the players not stop to think in between the poses. The
player should receive, reflect, turn and create a new pose without pause.
Variations 1
The player to the right can dispense with reflecting the gesture and quickly turn around
and give the gesture to the player to their right. This will result in a continuous noise
and shape flying around the circle at high speed. Eventually the gesture is altered. The
result can be stunning. The gesture can also be thrown across the circle. This keeps
players from being prepared and gets people more in the moment.
People Knot (Ice Breaker / Trust Builder)
Players stand in a circle, shoulder to shoulder. Placing their hands into the centre each
player takes hold of the hands of the other players. It is important that players
understand that they should not join hands with the player immediately beside them or
join both hands with only one player. Without letting go of the hands they hold, players
attempt to untie the human knot. They should speak to each other to unravel with up
and down and round and under and over.
Have several attempts.
Pie (Little kid math)
The players must say “pie” to anything that is a multiple of 3, contains the number 3 or
the number 7. For example: 1. 2. Pie. 4. 5. Pie. Pie. 8. Pie. 10. 11. Pie. Pie. Pie. Pie.
16. Etc.
Revise ball
A ball is thrown around a circle. Any question (or topic) that has been covered on the
course may be asked (about).
Self Portrait
All players are given a piece of paper and pen. They are then given 30 seconds to draw
themselves and include in their drawing the answer to a series of questions that has
been put on the board: i.e. What do they do for a living? What do they want to be?
Where do they want to go? What do they dream of? Something they are very
embarrassed about. Something they love very much.
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The drawings are then passed on to the person next to them. The person who receives
the drawing must introduce the artist BUT ONLY according to what they ACTUALLY SEE
or can presuppose from the self-portrait.
Variation 1
Ask people to create ridiculous stories about one another according to the drawing they
are given. Encourage creativity by modelling and example first.
Shapes
This exercise calls for instant reaction from the entire group to an order from the tutor
telling them to form a shape. They must act as one unit, but nobody should speak,
although members of the group may physically guide others to complete the required
shape quickly. The tutor only gives the order once so that the group must listen and
then move swiftly and silently into the shape. As soon as one shape is completed, the
tutor gives the order for the next shape and so on. Speed, discipline and economy of
movement are required.
Some examples are:
Square, equals sign, multiplication sign, question mark, exclamation mark, division
sign, circle, the letter Z, the number 4, triangle, straight line.
Simon Says… (Warm up & Game)
Simon Says is the traditional game of concentration, repetition and listening
comprehension. Everyone imitates the leader who must direct the rest by giving them
commands that either start with “Simon says…” or not. The participants must only do
what the leader indicates with “Simon says.”
Variation 1
Those who move or respond to anything else must sit down until there is a winner.
Simulclap (warm-up)
One player starts off by clapping their hands (a singular clap), while facing another
player. The goal is for both the players to clap their hands simultaneously. The player
that received the applause then turns and claps simultaneously with the next player in
the circle. This produces a cycle of simultaneous claps racing around the circle. It takes
some time for a group to get this going. Once the simultaneous clapping is moving
nicely the player that is receiving the applause may opt to give it back to the person
that clapped at them. This will reverse the direction of the clapping. What the player
does to reverse the direction of the clapping is to not turn to the next person in the
circle, but stand her ground and clap directly back at the player that handed her the
applause. There is an overwhelming urge to try and screw up the other players in the
circle. This is to be discouraged as more can be learned from trying to make the circle
flow quickly rather than fail frequently.
Variations 1
Once a group gets really good at the simulclap clap focus can be added to the warm-up
letting people point at someone directly across the circle from them. The circle can
also tell a word at a time story each time that they receive the applause.
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Slow Motion Samurai (warm-up)
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Players mill about and are told to start moving in slow motion. Once a stable rate of
speed is determined the players all become Samurai with poisonous blades built into
their fore arms. The object is to kill all the other Samurai in the room. If anyone is
touched by the fore arm of another player they must die a poisoned death in slow
motion. It is important that players keep their speed continuous. The point is not to
win the warm-up, but to have fun. If players are moving too fast and massacring
everyone else simply tell them to slow down. It helps people work together. The warm-
up usually ends when there is a large pile of bodies on the floor.
Variation 1
Players are allowed to block attacking Samurai poison fore arms with their own fore
arm. The workshop can be divided into two groups, having a little feudal war.
Socks, Warm up, remember to do your laundry first
Players should form a circle arms’ length apart. Leader starts off by throwing one pair
of socks to another player and asking them to catch the socks and then throw them on
to another player who catches and throws on to the next. Players are given the
instruction that they must remember who they received from and threw to. Keep it
going until a rhythm has built up and the socks return to the leader. Speed up and
introduce another pair of socks with the same procedure applying. Increase speed and
more socks until you have six pairs juggling around the circle.
An alternative is to play socks with names. i.e. Ed to Paz, Paz to Pilar etc
Steal the keys
All players sit in a circle. One player sits in the middle of the circle, blindfolded, and
is given a water-gun or a few socks as a weapon. One of the players from the circle
must try to steal the keys from under the chair without getting shot by the water-gun
or getting hit with a sock before returning to his/her chair. The player in the middle
must listen carefully. Emphasise the importance of no-one else making noise.
Trust Fall/Circles - the place to start.
Form players into circles of between 6 to10. Players should begin shoulder to shoulder
with their hands palms open in front at shoulder height. One player moves to the
centre of the circle and is told to close their eyes or is blindfolded. The instructions are
that the player in the centre is to allow himself or herself to fall, keeping the feet
together and the arms by their side. The players forming the circle must not allow the
falling body to breach the circle; they must gently allow the body to circulate among
them. Repeat until everyone has had a go in the centre.
Tug of war.
Pairs stand facing each other. Look each other over, eyeing up in a competitive way tell
them to mime holding a heavy rope in both hands and to move back to a distance of
about two metres from their opponent. Instructions are simple, imagine the weight and
texture of the rope, take the strain is leaning back on your own weight and then pull.
Allow partners to pull each other around the room then repeat with teams.
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Twins
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Three players create an interview scene. One player is the interviewer the other two
the guest.
The guest must answer the interviewer's questions at the same time saying the same
thing, trying to develop a "twin connection".
The group may suggest a well-known character to be interviewed and another option is
to have three or four or the whole group as the guest.
Two Truths and a Lie
Players break into groups of 3 to 6. They must each state 2 true things about
themselves and 1 lie. The others must guess which the lie is.
Vocal Mirror
In pairs the players perform the mirror exercise i.e. one player being the reflection of
the other. The players then take the activity one step further by including vocal
reflection by speaking at the same time and saying the same thing.
Comment: This activity makes the players really work together. They should start
slowly and gradually try to increase the pace.
Option: Ask them to choreograph perfect simultaneous speech. Let them practice
before leaving the room and coming back in to see if you can tell who the leader is and
who is the mirror.
Whisper Forest
Prepare in advance either a secret message containing a few words or a prize or object
of interest. Announce that everyone is going to be a tree in a forest called the Whisper
Forest. In this forest, you are blind but the trees whisper to you and tell you where to
go to find the thing you are looking for. Tell everyone to spread out and take the shape
of a tree (raising their arms.) Show everyone the object or message that will be
searched for. Example. Part of a three part message that says “The train… will…
come!” written on three different pieces of paper. If you have three parts to the
message then you will need to send three searchers (one at a time.)
Now choose someone to be the blind searcher. Put a blindfold on them and place them
somewhere. Now place the object somewhere else. When you say “go.” Everyone (the
trees) must start to whisper directions to the searcher in order to help them find the
object. Once the message if found read it out loud.
Great for prepositions and commands.
Who’s The Leader.
Leader of the orchestra or The Sports master.
In a circle or at the board compile a list of musical instruments or sports along with a
mime of how to play them on the spot.
Get the players to form a circle. Practise the mimes. Explain that one player will be
asked to be the leader. They lead the orchestra by miming playing an instrument and
all the others follow suit. Demonstrate how this works taking the group through simple
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changes of instrument or sport until everyone has the idea. Then explain that one
person will be asked to leave the room while a leader is appointed. The player leaves,
a leader is appointed and a rhythm is established with changes of the instrument/sport.
The player outside is invited back in to stand in the centre of the circle. They have
three attempts to identify the leader.
Comment: This activity encourages quick responses and the players working together
as a team.
Wired up
The group forms a large circle and begins to walk normally in a clockwise direction.
They are asked to imagine that there are strings attached to various parts of their body
as if they were puppets.
Then as they walk ask them to imagine being pulled by one of the strings. The
shoulders, the chin, the nose, the belly, the nipples, the buttocks, the small of the
back etc, Ask players to discuss how it felt to have their walk led in different ways and
the signals that walks give about personality.
Word Ball (sometimes sock!)
Have the group stand in a circle and explain that as the sock is passed from player to
player each person must say a word beginning with the letter A. When the A's are
exhausted or when a player pauses too long, move on to the B's and repeat the process
through the alphabet.
Once players are comfortable with the idea of words moving with the sock start to
throw the sock around randomly from player to player if the sock is dropped you move
on a letter.
Yes Lets (warm-up)
Someone will loudly suggest an activity for the entire group to mime. Everyone
simultaneously yells 'yes lets', and starts the do the activity. Once the activity has been
mimed for a while another one is yelled out and the group responds with 'yes lets' and
starts the activity. For example, if someone calls out let's all dig holes. The group
responds with "yes let's all dig holes", and every manner of hole digging mime will begin
(complete with sound effects). The someone will suggest a new activity and the cycle
continues. Leader after time can shout 'let's finish this exercise', or 'let's all sit down'.
Zip, Zap, Zoom (warm-up)
This is another motion around the circle warm-up. In this warm-up one of the players
points to another player to one side of them and says 'zip'. That player turns to the
next player in the circle, points to them and says 'zip'. Thus the 'zip' zips around the
circle in one direction. At any time a receiving player can say 'zap' to the person
pointing at them. When they do the player that said 'zip' and was pointing at them must
change direction of the pointing. This means that they must quickly turn around, point
and say 'zip to the person that just pointed at them. Now the 'zip' can zip around the
circle, but changing direction every time there is a 'zap'. Lastly the person that
receives the 'zip' may elect to yell 'zoom' and point at someone anywhere in the circle.
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That player then restarts the 'zip' going in the direction of their choice. The group must
really pay attention for this to work.
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CHAPTER 2:
FROM ACTION TO WORDS & BACK
Environment Building (exercise)
This is a silent exercise. An environment is called out at the beginning of the exercise.
Each player comes on stage and mimes one object in the environment. Each following
player also adds an object to the environment, but before they do so they must use
each mime object previously created within the context of the environment. So the
first player gets it each easy, but the fifth player would have to use all four of the
previously mimed objects in the environment before adding hers. The exercise helps
with mime, visual listening and attention to detail. Commitment is an important
component of this exercise because players will often be faced with mime objects that
do not make any sense to them at all. It is also informative to have the players tell
what each of their objects was once the exercise is over. That way everyone can find
out what each player really mimed.
Variation 1
Once all the players have mimed an object they start a scene using the environment
that they created.
Environment Shift (exercise)
In this exercise a group of players will create an environment within a few seconds.
The players can be objects in the environment, sound effects, or characters typical to
that environment.
Once the environment is called out the players will create the environment. It is done
without conversing or planning. Players will become trees, rocks, birds, or characters.
No scene is started, just the creation of the environment. The 'shift' comes in when all
the players are on stage and the environment has been established. Another
environment is called out and the players must make a seamless transformation into
the other environment.
Variation 1:
The players create an environment without getting one called out. Each player comes
on stage in one second intervals and an environment is created.
Family Portraits
Optional preparation: have players write five descriptive adjectives about other people
in the group. Encourage long legged, short-sighted, hungry, rich, etc. Collect
descriptions and request more as you compile a list on the board. Then explain that
you are going to use these descriptions in Family Portraits. Organise the players into
groups of three or four. Ask one group to create a "family portrait" based on a type of
family indicated by the leader. After three seconds the players freeze in their portrait.
Take a picture or pretend to. Quickly move on to the next group and form another
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portrait. After repeating several times get the whole group to call out the family
they’d like to see represented.
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The Stupid Family. The Enormous Buttocks Family. The Angry Family. The Elephant
Family.
Freeze Tag (exercise)
Everybody gets in a line. The first two players start some shared physical activity.
At any time during the two person scene that is taking place someone calls out freeze.
The two players immediately stop what they are doing and 'freeze' into whatever
positions that they were in when the 'freeze' was called. The next player in the line
immediately tags one of the players that is frozen on stage and assumes their exact
position. For the exercise freeze, as opposed to the performance handle freeze, the
player must assume the exact physical position of the player they chose to tag out. This
ensures that the player was paying attention to the physical detail of the scene as
opposed to just the words. They must be listening with their eyes. Once they assume
the position they must start a whole new scene that justifies the position that they are
in. This scene must be completely different from the preceding one. This means that
they must be paying attention to the scene, so as to assure that their new scene is
completely different. If the player breaks any of these rules stop the exercise and give
a note. It is also a good idea to put a moratorium on those activities that can be called
upon which justify any position: fighting, dancing, adhesive accidents, painting models,
store mannequins etc.
Variation 1
See the handle freeze tag for all kinds of variations. It can also be good to randomly
pick players from the workshop as opposed to the next person in line. This ensures that
everyone is paying attention to the scene at hand.
Gift
Preparation:
Using the blackboard, get your group to make an exhaustive list of gifts received or
given. To help, ask them to think of gift giving occasions. When do people give and
receive? Valentine, birthday, anniversary, wedding, Christmas, etc. Get individuals to
make their own lists, say of five things. Make it interesting the five best ever gifts you
have been given. The five things you would give your worst enemy, the five biggest
gifts they’ve been given and the five smallest gifts they have given etc what has given
most/least happiness. When they have finished with their own lists compile a master
list on the board.
Organise the group in a circle or horseshoe with chairs. Explain that you want each
person to imagine a gift and one by one to enter the centre of the circle or the open
end of the horseshoe and collect their gift. They should pick it up and return with it to
their seat and in doing so describe to the rest of the group the weight and size of what
they have got. When they get to their seat they may interact with their gift.
The object of the game is for the rest of the group to identify the gift through the
mime. Stress that players should not immediately interact with their gift. I.e. if the
gift is a fishing rod they should take it to their seat and assemble it before launching a
cast.
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Options: Allow the mime to take place in silence and at the end ask the question
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“what is it?” Another is asking controlled and repetitive questions during the mime
such as, is it heavy? What shape is it? Is it big or small? Is it slippery? Is it alive? Etc.
Another alternative is to allow people to volunteer answers during the mime but this
can be chaotic and not give the performer the opportunity to finish what they have
thought of.
Incident
This is basically a "freeze frame" exercise. The player is to describe an event or
incident through three freeze frame shots representing before it happens, as it is
happening and after it has happened. Each posture is to be held for about three
seconds. Stress that it is like a photo story, they are not to mime or act but through
their posture and gesture describe the action. After the incident is shown ask the group
if they knew what was happening. Ask the performer to repeat and at each posture ask
the questions where is he now, what is he doing what do you think is going to happen,
what has happened etc.
Options: theme the incident ask the players to think of or write down five things which
happened to them on holiday, or five things which happened the last time they went to
the swimming pool, the bank, a restaurant, a football match, shopping, going to school
etc.
Leaving the Couch
Three players are sitting on the couch; one of them begins a repetitive activity. In the
beginning this could be a subtle hand tapping combined with a quiet noise. The other
players on the couch are supposed to mimic the activity. Other players on the couch
contribute actions such that the four are creating a fidgeting chorus line between
themselves. Eventually the actions become stronger and stronger and the four
simultaneously get up off the couch. Watch for people leading the exercise.
Look at it
Using a list like that in Gift or allowing more freedom ask the players to think of
something animate or inanimate that they can look at in the acting area. They may not
touch it or act with it but just look and react to. So no petting the little dog which runs
up to you or tossing the cape as the raging bull charges. Give the players time to think
of something and then you demonstrate, showing how the face and eyes can suggest a
shape. Be prepared with one or two. Tell your group that this is a more technically
demanding exercise and get them to volunteer answers on what the actor is looking at.
Open Your Eyes
(Observation, looking at surrounding environment in a different light. Vocabulary
learners, colours, numbers you mention it!)
Ask the class to name five red items in the classroom, then five green items, five blue
items etc. Alternatively for the wee ones ask the question another way, How many
green items can you find? (teaching numbers).
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Teachers can list the items on the board. Examples: 5 green, red, blue items, 5
triangular, rectangular, square items, 5 different textures, etc.
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Objective: look at your everyday environment in a different light, discover and study
more closely your daily surrounding, etc. A fun way to get numbers, colours, etc into
the lesson with the kids working individually or in groups.
Options: competition. Various groups create lists that are then passed to the teacher
who shares the results with the rest of the class as he/she writes all the items on the
board.
Tray Full of Fun (Simple game)
Unload many things onto a tray (it can be useful to use the same items previously used
in “What’s in the Magic Box?”). Gather everyone around the tray so that all may see
the items. Identify each object with the help of the whole group. Once everything is
identified the leader asks everyone to turn their backs to the tray so that no one may
see it. The leader then removes an item and hides it in a box or bag. Everyone is
allowed to look again at the tray of objects and must decide what has been removed.
After a few times, the leader should remove more than one object.
What Do You Hear?
Listening, memory and concentration activity. Everyone sits with eyes shut for a few
minutes listening to all the sounds that they can hear and trying to identify them. They
then make a list and then compare their lists. Lists might include birds, breathing,
chairs moving, shoes squeaking, etc.
Option for older groups: Can they distinguish between similar sounds? Truck or bus?
Man’s or woman’s footsteps? Etc.
Variation1 teacher selects ten everyday items, key-ring, coins etc. Class closes their
eyes and the teacher creates noise using the different items and the class lists or
shouts out what it is they hear.
What’s in the Magic box?
Fill a box with lots of objects. Blind-fold someone and place that person in the middle
of the room. He/she must reach into the box grab something. Before pulling it out for
all to see he or she must either describe it using feel/touch (more advanced) or simply
try to identify it (elementary). The teacher may offer options to help: Is it long or
short? Is it heavy or light? Etc. Once identified the student pulls out the item for all to
see.
Variation1: The blindfolded person pulls the object out of the box for all to see but no
one must say what it is. Instead the teacher chooses people to describe the object so
the blindfolded person may guess what it is. When he/she guesses correctly, someone
else may try. Make it harder by having the blind folded person pick up the object with
thick gloves on!
What’s in the Closet?
You think there’s something in the closet. You must open the door and make like a
scream.
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Where are you going?
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Through the players mime you have to establish where he/she is and where he/she is
going when they leave. The mime finishes when the player opens the door to leave.
Also you can ask for the mime to be repeated and question many things like is he/she
tired? What are they wearing etc
Where were you?
As above. Through the players mime you have to establish where he/she has just come
from and where he/she is now. This time the mime ends when the door is opened to
enter. Questions can be used to practise tenses.
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Alphabet scene
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CHAPTER 3:
BUILDING BLOCKS FOR DIALOGUE
Two players establish a scene. Players alternate lines only saying one sentence at a
time but each new line must follow the sequence of the alphabet. So player one begins
with a sentence beginning with A, player two with a sentence beginning with B and so
on until the end of the alphabet.
Corridors
The two players down stage wait for the first player from the line to join them. The
player from the line approaches the player on their left. In one sentence the player
defines a relationship between the two of them. "Carol would you marry me?" would
suffice. This clearly defines the relationship between a suitor and her spouse to be.
The player then responds with a one sentence conflict, finds a reason to leave the
room, and confer with another character. That character just happens to be down the
corridor in the next room. The player might say, "I am happy to marry you I must first
confer with my mother." She promptly leaves the room, travels down the corridor and
to the player on the right of the line. Gives the news, and then the player there
responds in the character that she was endowed as. For instance, "finally getting
married you little schlaghunte. Good riddance." The player on the right goes to the
back of the line, and the process is repeated with a whole new set of characters and a
new situation. All the players should rotate through each of the parts in the exercise.
Emotional Boundaries
In this activity the stage will be divided into three zones. Each zone will be designated
with a particular emotion, as the players move about on the stage they must adopt the
emotion of the zone that they are in. The introduction pretty much explains the game.
It is important that the players use the entire stage to explore each of the emotional
areas. The transitions are best done crisply as the player crosses the boundary. The
host setting the scene up should make sure that the emotions are contrasting and
simple.
Variation 1
Rapidly crossing the stage and altering every word in the sentence with the emotion.
Straddling the boundary and combining emotions.
Variation 2
Obviously there can be more than three zones, and emotions can be assigned to
furniture and props. There are genre variations where each zone is assigned a type of
entertainment. Again the common list of categories can apply to the zones: emotions,
genres, animals, professions, political parties.
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Emotional Symphony
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Five of the players are lined up in a performance fashion. One person is chosen to
conduct the players in the symphony. Each player is endowed with some emotion. It is
good to get a range of contrasting emotions for the players to use. Once each player is
given their emotion the conductor points from one player to another. The players do
not speak, but express their emotions through physicalization and noise. The intensity
of the emotion is increased as the conductor raises her hand while pointing at the
player. The conductor moves from player to player conducting an emotional symphony.
Point at two players at once!
Variation 1
This exercise is fun, and does have some performance value. A way to make it closer to
the audience is to ask for names from the audience, and get the players to speak only
that name, tainted with the emotion that they were endowed with.
Emotional Transfer
In this activity the two actors will be assigned contrasting emotions. At some point in
the scene they must switch the emotions from one player to the other. The emotions
must be contrasting (love, and hate), and the players must make strong choices in the
beginning of the scene. The transition is best appreciated if it is done subtly and the
transfer is somehow justified within the context of the scene.
Variations 1
This can be done with status (high versus low), and the players must make a switch in
status within the scene. Any of the endowments can be switched: political beliefs,
animals, appliances, vehicle types, etc
Encounters
Players are given occupations or character type: traffic cop, warden, spy, priest,
nymphomaniac, lawyer, gossip, etc. In groups they must design and present sketches
showing where you are and what’s happening with the help of dialogue. The objective
is to reveal the identity of your character without saying directly who he/she is.
Option: Players take a piece of paper. A number of them are sent into a scene. It must
become obvious who they are by what they do and say. All characters should be
recognisable characters. Therefore it may be a good idea to create a list of
familiar/recognisable characters on the board.
Foreign Film
The following activity is going to be done in a non-existent language called [get
language name]. The players on stage will speak only in that language. Luckily there
will be players offstage dubbing the scene into English. This is essentially a dubbing
scene. The foreign film dub is done so often that it requires a note of its own. The
players that are acting out the scene in the non-existent language must be very clear in
defining their environment and making solid physical offers for the translators and
audience to work off of. It helps the players that are talking in gibberish to think of
what they are saying in English.
The standard translation gag is making a really long gibberish sentence and translating
it to one English word, or vice versa. Translators can also struggle for the correct
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English word, caught in gibberish idioms. Translators can also refuse to translate things
that are too crude in English, gibberish censoring. These last two gags can really kill a
scene (not that all gags don't), and really are just disguised lack of commitment
(wimping). Another gag is where the translator rambles on and the gibberish players
stop him and end the scene in chaos.
Variation 1
Blind dub the scene (translators cannot see the gibberish players. Use a real language.
Translate an opera.
Gibberish Exercises
Player one turns to their left and greets their neighbour in a gibberish tongue. That
player responds with a gibberish 'hello' that mimics the other player. That player turns
around and greets the next in the circle and so on. Once the gibberish greeting has
gone around the whole circle the gibberish gets embellished. For instance, all the
gibberish could be sad gibberish, or happy gibberish, Italian gibberish, Scottish
gibberish, Cantonese gibberish, Computer gibberish. The gibberish can also be used to
communicate intent like, 'used car sales' gibberish, 'pick up line' gibberish. The goal is
get people communicating emotions and concepts without depending on words. If going
around the circle gets boring the exercise can be combined with the exercise Cross
Circle to get the players moving.
Variations 1
On/off gibberish is an exercise where the players switch from gibberish to their native
tongue when called to do so from off stage. Translating gibberish has one person
assigned to translating another's gibberish. There is a handle called Poet's Corner that
uses this gimmick.
Just a Minute
Taken from the classic BBC radio game. Players are given one minute to speak on a
subject chosen by the teacher or group. One player is chosen to begin and given the
instruction that if they repeat themselves, hesitate or deviate they may be challenged
by the other player(s). A player makes a challenge by interrupting the player who is
speaking and saying “REPITITION,” “HESITATION,” or “DEVIATION.” The referee decides
(with the group’s help) is the challenge is valid. If it is, then a point is awarded to the
player who made the challenge and that player must then begin talking about the
subject for the time that remains or until challenged.
When a player is incorrectly challenged s/he is awarded a point and can continue
talking about the subject.
The player speaking at the end of the sixty seconds is awarded two points and a player
who speaks without interruption for the full minute gets 5 points. Encourage
competition.
Alternatives to the rules can be made to include errors of grammar, syntax or
vocabulary. Also, simple vocabulary, like colours can be combined with other
vocabulary themes to create simple phrases like: “My house is white. My dog is brown.
My car is blue…”
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Last letter/Last line
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As in the last activity the players establish a scene. This time the player’s sentence will
begin with a word that starts with the last letter of the last line given by the other
player.
Last Letter
The players sit in a circle and initiate a rhythm through slapping their thighs, clapping
their hands and then snapping first the fingers on their right hand and then the fingers
on their left hand. Player one starts by saying a word on the second snap, player two
must then say a word beginning with the last letter of the first word on the next second
snap.
Alternatively the players must say a word beginning with the second last letter or
change the direction if the last letter is a vowel!
Comment: All of these word circle activities are designed at varying levels of difficulty
to increase speed, mental agility and improve players creative spontaneity. The
possibilities of adapting this series of activities to any classroom situation are endless.
Monarch (exercise)
We need one player on stage to act as a royal monarch. Everyone else will try to win
favour with the monarch. The monarch sits proudly on stage and is persistently
approached by all of the other players in the workshop. The players approach the
monarch making strong character choices and making offers to please the monarch.
Offers such as "a box of chocolates for your royalness" or "a new necklace for my
monarch" are common. The role of the monarch is to accept the offer and decide
whether the offer was worthy of that player sitting beside the monarch in an exclusive
place in her court. Other players are constantly coming forward in an attempt to gain
that exclusive spot by offering better and better goodies for the monarch. An ideal
monarch will not base her responses on the goodies themselves, but how well they are
presented by the player. If a player offers the monarch a rock but does it with a strong
and committed character the monarch will place them at her side. Only one player may
be in the monarch's favour at any one time. Like all good royalty no commoner may
touch the monarch (this keeps the monarch from getting a 10 minute massage instead
of accepting new offers). See also Park Bench
Variations 1
If the monarch is bested with an offer she dies and the new player becomes the
monarch. Saint Peters Gate, each player approaches Peter with a reason they should
not get into heaven, and Peter finds a reason to get them into heaven. If Peter cannot
find a reason to get the player into heaven he is replaced by that player. Beware of
these competitive games, the improv rules of story and making everyone else on stage
look good must still apply. If things get to competitive just stop the exercise.
Name Six
Players stand in a circle passing around a rolled newspaper. One player is in the centre
with his/her eyes closed. When the player in the centre shouts stop, the player holding
the newspaper must name six items in the category selected by player one before the
newspaper makes a complete circle. If the player is successful then he/she moves into
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the centre and selects the next category. Categories can be for example, six breeds of
dogs, six types of flowers, vegetables, and films with one-word titles.
Comment: Players have to think quickly and focus on the task of naming the items. It's
interesting to notice that the players tend to take more interest in the moving of the
newspaper and the countdown.
Oh Henry!
The leader says the entire phrase, “Oh what are you doing now, Oh Henry?” the group
repeats the phrase. The person next to the leader must then repeat the phrase cutting
off the last word. The next person does the same, eliminating the last word each time
consecutively until the last person simply says “Oh.” The full phrase then begins again
with next person. The important thing is to have the sentence always make sense by
adjusting your intonation.
One Sentence Story with Entrance/Exit Words
Players either memorize each other’s Entrance/Exit Word or each player writes it out
on a piece of paper and holds it at chest level so that the rest may see. A story is told
and the story’s narrator only changes when someone else’s special word is said. Note:
no one actually enters or exits but simply changes turns being the narrator.
Party Game
Similar to Encounters players are given an identity which may be an occupation or a
personality. One player is chosen to be the host of a party. Guests arrive and should
show who they are without saying it directly. The host should try to guess the identity
of his/her guests.
Questions/No Questions
Following on from the previous two exercises and introducing a competitive element.
Two players are chosen to start. The group establish the who and where of a scene and
the two players must produce a dialogue consisting of questions only. The first player
to hesitate for too long or to answer with a statement must sit down and be replaced
by another with the same situation or a different one, depending on consensus.
Rope
Everyone into two columns. The players at the front of the columns step forward. The
player on the right turns away from the player on the left. The player on the left
begins to do a repetitive activity that uses at least three limbs. The player on the right
cannot see this activity. Before turning around to look, the player on the right endows
the player making the repetitive motions with some role (profession, person,
relationship). The job of the player on the left (the wiggly one) is to justify their
activity in the context of what character they were endowed with. It goes something
like this. The player on the right turns away so she cannot see the player on the left.
The player on the left begins to pump her legs and ring circles around her head. The
player on the right makes her offer and endows the player on the right, "Constable
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Flaherty the gnomes are on the grass again" The player on the left, who is pumping her
legs and ringing circles around her head, must justify what she is doing within the
context of her character. Her reply is, "I am tracking them with my radar officer
Corkley." The exercise is good for getting players away from planning and driving
scenes. It also helps work on strong commitment to something that is obvious
completely wrong. Both players return to the back of the line that they were not in.
Once everyone has tried both endowing and justifying the exercise is done.
Variations 1
Rope is a variation where the main goals are learning commitment, and being fearless
on stage. The remainder of the workshoppers decide if they liked the justification or
not. If not they all scream rope and are generally abusive. The player getting harassed
must step forward and bow to the crowd, not being concerned at all with the abuse
they are receiving. If the player flinches in any way she must immediately repeat the
exercise. This version is not for the faint of heart.
“What are you doing?”
Players stand in a circle with enough room to move their elbows. Player One steps
forward and begins miming an activity, any activity such as shearing a sheep. Player
Two, to the right asks player One, ‘What are you doing?’ Player One is to answer
without hesitating with the first action which comes to mind OTHER than the one they
are doing i.e. tying my shoelaces. Player Two then begins doing the thing announced by
player One and is asked by player three ‘What are you doing?’
Comment: Teacher can pre-teach simple actions with flashcards/drawings and use
these to keep the game fluid. Alternatively compile the actions beforehand form the
kids suggestions.
Variation 1
Get players to speed up and start to eliminate if they hesitate, repeat or make a
mistake.
Where are we, where have we been and where are we going?
Two players present a scene with dialogue where they demonstrate to the rest of the
group 1) where they are, 2) where they’ve been and 3) where they are going without
actually saying it directly. For example: two people ordering beers (they are in a bar)
talk with excitement about the possible team selection available and what the weather
will be like (they are going to a football match) and moan about the inflexibility of
their boss regarding flexi-time (they’ve just come from work).
Where are we?
One player, using only mimed actions and objects, shows to the rest of the group where
he/she is. When the “where” is identified by the other players, they join in to
reinforce the “where” by making it more specific. For example, if the first person
pretends (mimes) to be at the checkout in a supermarket, the other players mime the
checkout person, another pushing a trolley etc.
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Who am I?
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Prepare ‘Post-its’ with the names of famous characters, fictional, historical or real.
Place a ‘Post-it’ on the forehead of each player telling them that they have now
acquired a new name and identity and that they have to find out who they are. When
all players have been given their new identity they should walk around meeting other
famous characters. To find out who they are players can ask each other questions that
can only be answered ‘yes’ or ‘no’. When the answer is yes they may continue to ask
questions of the same person, if the answer is no they must allow the other person to
ask a question or search for another character to help them.
Typical questions can be pre-taught: Am I alive? Am I a woman? Do I have children?
Am I real? Can I speak French? Etc.
Variation 1
Have your group prepare the famous characters by writing the living person they would
most like to be, the person in history they most admire/dislike their favourite fictional
character. Compile a list on the board or simply select your ‘Post-it’ characters from
their lists.
Word Ball (sometimes Sock!)
Have the group stand in a circle and explain that as the sock is passed from player to
player each person must say a word beginning with the letter A. When the A's are
exhausted or when a player pauses too long, move on to the B's and repeat the process
through the alphabet. Once players are comfortable with the idea of words moving
with the sock start to throw the sock around randomly from player to player if the sock
is dropped you move on a letter.
Variation 1
The sock is passed around the circle until the leader says stop. The person in possession
of the sock must say a word related to the previously chosen theme.
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1-2-3-4
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CHAPTER 4:
SETTING THE SCENE
Groups of three. One sentence only. Each step in the scene building represents one
sentence.
0 – ENVIRONMENT: Player One creates an environment based on the set up of the scene.
The environment is created through mime, similar to where are we from the day
before. Once the environment has been defined player two enters. E.g. In a kitchen.
1 – RELATIONSHIP: Player TWO accepts the environment that the first player has
defined through mime. Player two contributes only one sentence to the scene and no
more. That sentence defines the relationship between the two players i.e. Hi mum, I’m
back.
2 – CONFLICT: Player one speaks one sentence. This sentence creates a conflict based
on the environment or relationship. i.e. ‘you’re late your dinner will be ruined’
3 – IT GETS WORSE: Player two gets another chance to speak one sentence to make
things worse i.e. mum it’ll probably taste better after an extra hour in the oven, your
cooking is awful.
FOUR – RESOLUTION: Players one and two remain silent. Enter player three accepting
the environment and speaks one sentence to end the scene and resolve the conflict.
The resolution must tie things together i.e. Hello dear. Hi son. How was school? Hey,
there’s a great offer on at the Indian tonight. Let’s eat out!
60 Second Play - Adverbs
Players create a scene. This can be created in any number of ways: 1) as in “Where Are
We?” with one player starting and others joining in 2) as in Incident but with words
added to the mime or 3) the scene can be created by one “Director” who sticks others
in the scene as he or she sees fit. The scene should be performed and should last
approximately 60 seconds. No adverbs are collected on the board and the scene is
repeated with players adjusting their performances according to the adverb selected.
A Walk In The Park
Compile a list of all known greetings and put them into context. Ask the group to
choose their preferred form of greeting and to walk around the park meeting and
greeting. Next step is to ask the group to repeat the exercise, only this time in addition
to the greeting the person who initiates the conversation must pay a compliment to the
person he/she meets. The person being complimented should only reply ‘thank you’
and walk on.
Variations 1
Include handshakes or kisses or personalised physical greetings. Examples: “I like you
eyes.” “I like your ears.” Divide the room into zones (morning, afternoon, evening – for
example) and oblige them to use the appropriate greetings.
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Age Walk
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From the same circle of Word Association begin walking in the same direction round the
circle. Call out an age, starting with 3. The participants should become that age,
adjusting the way they talk to each other, the way they walk and interact, the types of
relationships they form. Once the idea is established increase the age from 5 to 7 to 10
to 12 to 15 to 16 to 18 to 20 to 25 and increasing in five year intervals. Before each
change give time for the participants to work on the physical, vocal and emotional
qualities appropriate for each age. At the age of eighty end the exercise by returning
to 3 years old. During the walk arbitrarily 'remove' participants from the circle. Killing
them off or having them emigrate (sit down!)
This exercise is about making fast choices for establishing characters and varieties of
dialogue as well as the obvious fun of physically representing different ages.
Discuss in groups of three the choices made for different characters, When did they
first fall in love, go to school, what jobs did they have, when did they have their first
cigarette/drink/kiss/sex. Did they marry, have children, divorce, retire etc.
Did their characters mirror their own experience or were they totally made up?
Beginning / Middle / End
Three groups of 2 or 3
Have two participants establish the who, what and where of a scene and begin the
action. When this has been established, call change and have two others come in
assuming the previous participants' characters and physical positions, continue the
scene, and add a middle to the scene. Then call change and have a third pair bring the
scene to a conclusion.
Repeat until everyone has been involved in starting continuing and finishing a scene
Double Talk
In groups of three. Player one sits facing players two and three. Player One’s objective
is to listen and respond fully to each of the simultaneous conversations from players
two and three. Player’s two and three’s objective is to command 100% of Player ones
attention at all times. Each may say or do anything short of physical contact to hold
P1s attention. Run for two minutes. Player 1 decides which of the two held his
attention best. Rotate Player One.
Dubbing Games
In this activity there are two actors offstage and two actors on-stage. Actor A's (on-
stage) voice will be supplied by actor B (offstage) and actor C's (on-stage) voice will be
supplied by actor D (offstage). However the actor's supplying the voices (B and D) will
not be able to see what the other two actors (A and C) are doing. The actors supplying
the voices must make distinctly different voices. It is also important that the actors
that are being dubbed move their mouths like they are speaking when the dubbers are
talking. It is important to have an activity and to justify what is being said through
activity. The moving actors should make large obvious physical choices that they must
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justify when their dubber makes a contradicting statement. A chainsaw becomes an
axe, a hug becomes a punch and so on.
Variations 1
Straight dubbing: the dubbing players can watch the actors. Cross dubbing: the two
actors on stage dub each other's words (very hard). Three-way dubbing: actor one dubs
actor two and actor two dubs actor three and actor three dubs actor one.
Endowment Scenes (handle)
In this activity a player is asked to leave the stage. The player offstage has committed
a crime. She is willing to confess to the crime, however she cannot remember what the
crime is. If her interrogators can let her know what the crime is she will confess. Ask
for [unusual crime, unrelated device, location]. When the criminal is close to getting
the crime you-all (audience), must ooh-aah to let her know. When she gets a part of
the crime clap. If she confesses to the crime completely go wild.
The chosen introduction is for a crime endowment. The first note is really to the host
introducing the scene. It is essential that the game be explained properly to the
audience. If the audience doesn't give ooh-aah getting close feedback then the
confessor will most likely be lost. The detectives getting the confession must stick to
the order of their clues (crime, item, location), and not advance until the actor
properly confesses. The detectives will have a lot more fun if they keep to subtle clues
in the beginning of the scene, saving the obvious ones for when things are getting slow.
The confessor should try and maintain a story within the confession. Giving reasons for
the actions. There are ample opportunities for crossovers to help out the detectives.
(if the confessor gets the clues too early she may play stupid, and draw out the game).
Variation 1
The crime endowment was explained above. The home late scene is identical except
that a youngster is explaining to her adults why she has come home so late. The host
can get any items she wants, although the confessor (person being endowed) has to
know the order of the items. The Santa scene is usually Santa Claus trying to tell a
child what she wants for Christmas (usually one item). The repair shop is where some
poor soul is returning a broken device, and they have no idea what it is. Who am I? gets
an actor to deduce what famous person that she is. The possibilities are endless.
Party Game
Each player in this scene will be assigned an emotion. The emotion is kept secret from
the each player, but it will be taped to her back on a large piece of paper. It is up to
the other players in the scene to get the player to express the emotion on her back.
The game is over when all players have expressed their emotion. [send all players out
and write down some emotions]. The players should subtlety nudge the player into
expressing the emotion written on her back. This is one instance where it is good to
occasionally turn your back to the audience, reminding them of the emotion that has
been assigned to you.
Variation 1
There are the standard endowment variations that exist: emotions, animals, clichés,
political parties, genres, famous people, long words. The situation need not be a party
either, the scene could take place at work, school, in prison, with the same goals in
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mind. In word on the back the players must get each other to say a word that is taped
onto their back.
Entrance/Exit Words
Each player is assigned an entrance/exit word. All players must know each others
words. (Players can write their words in large letters on a piece of paper that they will
hold in front of them at all times.) Two players establish a scene while the others wait.
A player can enter/exit only when his/her "code" word is said by another player. For
example an observer whose has the code word “ugly” can not enter until the word
“ugly” is said by someone in the scene. When this word is said again he/she must find a
reason to leave the scene.
Although all players can participate only three or so should be on stage at one time.
The players in the scene must decide how one of them will leave before another can be
brought up. The players’ entrances/exits must be justified.
Free Speech
30 seconds of non-stop talking on any theme chosen by the player or alternatively
chosen for them by the rest of the group.
How dare you! Insults on the telephone
Compile a list of insults and nasty language.
Two characters are seated in chairs faced away from each other, telephone in hand.
Begin a conversation, perhaps with a theme or the characters suggested by the group
and in three minutes try to use as many of the swear words and expressions without
looking at the board. Appoint a counter.
Variation 1
“How dare you! Insults on the telephone”. Two players stand behind the seated
players. They are given a conflict and characters. The seated players are told to
translate the lines spoken by the person standing behind them into foul language.
Variation 2
Conversation goes from foul to fair!
Hunting The Whatsit
The player that is on stage becomes a hunter. She is kind of an Elmer Fudd of hunting,
because she starts to talk out loud about what it is that she is hunting. "it is a lovely
day for hunting deer". The next player in line hops up on stage as a deer, and kills the
hunter. The player that was endowed and entered the stage becomes the hunter, and
the hunter heads off stage. The hunters can look for anything that they want: winged
rhinoceros, happy limping Scotsman, aggressive washing machines, etc. It is up to the
player that is called on-stage as the prey to sneak up on the hunter and vanquish them
in character
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Image Association
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In the same circles or groups as with Word Association. But instead of exchanging only
single words, players now use a short phrase or sentence to express a visual image.
Encourage players use only visual images: a dark night, a man petting a cat, etc. It is
like sharing pictures. Build speed.
Journalists
Players witness strange behaviour from teacher at the beginning of class and at the end
of the routine are asked to write down all that they have observed. In groups of four
players compare stories and compose a more complete story. Each group’s story should
then be read to the whole group.
An alternative ending is for the teacher to repeat the strange routine again after the
various stories have been read.
(i.e. Enter with shoes on backwards (or sweater, suspicious walk, secret to someone,
suspicious look at someone, take off shoes, sweater, listen, clap 3 times, listen, clap 2
times stomp 1, listen clap once, stomp 2, listen, stomp 3 times listen. Look satisfied.)
Last Sentence Scene
This will be an open scene. The only constraints on this scene will be the first sentence
and the last sentence of the scene are chosen by the audience. [get a first sentence
and a last sentence from the audience]
One of the actors must state the first sentence as the first words out of her mouth.
Feel free to set up the environment without speaking. Don't be afraid to build into the
first sentence. The last sentence of the scene is a bit harder to manage, and it is much
better appreciated by the audience. The players must remember that they have only
been asked to do two things in the scene, and you are expected to do them.
Variations 1
First and last word can be used instead. There can also be a middle sentence, or word,
that must appear at any time between the first and last sentence/word.
Living Freeze
Player one uses other players to create a living picture. Player one places others in the
playing area and chooses for them the necessary postures, gestures, expressions and
also chooses a title for his/her "portrait". For example figure one is crouched down,
pointing. Figure 2 is looking at where Figure 1 is pointing. Figure 3 is taking something
out off Figure 2´s pocket. The title: "Criminal Cooperation".
Adaptation for young ones will depend on teacher. It should be led/directed by the
teacher. It can be in relation to something they’re working on or something at school,
something in the playground etc.
Moving People
The players in this scene will be unable to move. For some reason they must have
helpers controlling there bodies to move around in the scene. The players can speak
and will supply dialogue for the scene, but someone else will supply their motion.
[select audience members to move the players-MAKE SURE THAT THEY ARE NOT
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INTOXICATED]. Move the players by pushing on the body part you want to move. Don't
force their backs or necks, and be careful pulling on their clothing
Description:
It is important for the players to get themselves an activity to do. This will force the
people doing the moving to move the players. This game is such a gimmick that players
often forget to set up an environment and establish a relationship.
Variation 1
One player can be responsible for moving all the players on the stage. The more
players the more work.
No Laughs Scene
In this scene the players will not actively attempt to create any audience response. If
at any time a player makes you all laugh then they are removed from the scene and
replaced by another 'more serious' player.
The players simply generate a scene as they would any other. Playing things a little bit
dead pan. At some point the audience will find some element amusing and the player
responsible will be switched out. If no one giggles at all hopefully you are involved in
an enjoyable serious scene. Something that improv is very capable of. The built in gag
of the game is that players replaced are usually the wrong sex, wrong height, or wrong
race. Then things get even more amusing.
One sentence story
With the passing of the sock players hold on the narration of the group story.
Alternative is to use the Entrance/Exit words.
One word story
In the same circles players construct the sentences to build a story each contributing
one word at a time. Players may use punctuation marks in the place of words.
Open Scene
This is what improv is all about. The creation of scenes from very little. The scenes can
be comedic, or not. It is entirely the choice of the players, and they should let
themselves be in the 'moment.' All of the handles and games are there to train the
skills of the improviser to do open scenes. Games will make your audiences laugh. Good
open scenes without gimmicks will bring them back. Open scenes work best when
players are accepting and advancing the scene; when they have created a real
environment that is respected by all the players on the stage; when the characters are
real and consistent throughout the scene; when the characters are complimentary and
related through reality; and when the scenes end when they are over, usually through
some element of reincorporation, not when they hit 'the right gag.' Those are the
elements of an open scene that we all strive for, and continue to strive for. The games
pay our improv bills, and hone the skills of listening, focusing, characterization, and
story telling. Handles give us a cocoon to get our chops on stage, to let us realize that
we can perform and help people laugh. It is the open scene that makes improv worth
doing.
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An element of structure can help give direction to those that want to embark on open
scene work. Every scene has a beginning. In the beginning of the scene the
environment is usually defined. It is smart to define the environment with just one
player on stage alone. In the beginning there should also be characters defined, and
even the relationship between the characters. The next part is the middling of the
scene. Here is where the story should start to unfold. The conflict needs to
established, interpersonal conflicts work well. Any routines that develop should be
broken and the scene advanced. It is easiest to advance by adding to the initial offer,
and not by adding new things all the time. The ending should resolve the conflict. That
will make everyone feel whole. The cleanest endings somehow reincorporate some
earlier offer. Deus Ex Machina gets tiresome. The characters should be complimentary
to each other, and remain consistent through the whole scene.
Now go out and break every guideline. That is how we push back the envelope.
Variation 1:
Scene from nothing. In a scene from nothing a player hurtles onto stage, and starts a
scene. It is good to explain what is happening to the audience (they may sense a that it
is a scripted scene). Object based ask fors. Like, what fits in my hands. Scene based
asked fors. Like, a restaurant scene.
Options
At various points in this scene the actors will be asked to freeze. At that point we will
ask you [audience] for some vital piece of information from the story. The players must
immediately incorporate the suggestion into the scene.
The players simply go about the scene as they normally would. Like all freeze games it
is important to hold position when the freeze is called. Attempt to incorporate the
suggestion immediately into the scene. The less one thinks about it the easier it is, and
the more appreciated by the audience. The goal of the players is to keep the scene
sane and on track while rationalizing the distracters. The ask fors can be words,
emotions, secrets, props, physical ailments, genres, etc..
Variation 1
If the audience is particularly destructive it might be worth while getting a list of
suggestions that are called out by the host. This game is often called shopping list. A
roller coaster is the same as a shopping list, except that all of the suggestions are along
the same track: all genres, all restaurants types, all textiles, all occupations, etc. An
Umm Err scene is just an option scene where the players ask for a suggestion, by
pausing and saying um..err, and the audience suggests the player's dialogue. In What
Happens Next? the players are frozen and the audience is asked what happens next in
the scene.
Paper Chase
During this scene the players must occasionally stop and introduce sentences that
written on these little pieces of paper that are scattered all around the stage. The
sentences written on here are unknown to the players, and myself. They must
immediately incorporate the sentence into the scene as it is written on the page. [set
up involves getting someone to write out some sentences that will be incorporated in
to the scene. Getting the audience to write them out is a nice touch]
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This is a scene just like any other. It is most similar to an Options scene, in that there
are offers interjected throughout the scene. Don't worry about stooping to pick up the
suggestions. Make sure that you don't spend any noticeable time looking over the
sentence. It only appears that you are concocting an easy way out for yourself.
Audience members really notice if their particular sentence is sidestepped around.
Variation 1
Activities can be substituted for sentences
Past, Present, Future or “Time Warp”
(Variation of BEGINNING / MIDDLE / END )
Three groups of 2 or 3
Related to “Beginning Middle and End”. Same groupings: three pairs. Establish a scene
and have the first pair of participants establish a scene in the past. Once the scene
develops, call change and have the second pair come in to play the same characters in
the present. Repeat the process for the third pair who must play the same characters
in the future. The difference now is that you will experiment with time differences:
not all the scenes take place in the present. Instead you may call out “10 minutes
later…”, “An hour later…”, “40 years later…”, etc. between each scene and the next
group up must pick up from there.
Progressive Phrase
Players get in a circle. A phrase is given by the first player and an adverb/adjective is
also given. The phrase must then be repeated by those players in the circle with the
phrase being stated more and more or less and less emphatically according to the
adjective. The phrase stops and a new one is chosen when the players decide it can no
longer be topped.
Push In
Again in groups of threes decide on players A, B and C.
Players A and B are to establish a scene with dialogue from which they cannot be
diverted. Player C must try by any means other than physical contact to attract their
attention.
Sit, Stand, Kneel, Lie Down
Divide into groups of four. At no time in the scene can the players occupy the same
position on the stage simultaneously. One player must be lying down, another player
must be standing etc. If any two players occupy the same position, let them know
about it. Try to create a story, justify changing position, let the others know in advance
when and why you are going to change position. All changes in position should have a
reason within the story.
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Soundscape
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In this scene you, the audience, are responsible for the sounds effects in this scene.
When a player walks across the stage we will need foot steps, when a door is opened
we will need a door sound.
Do a normal scene. In the beginning move a bit more slowly than normal so that the
audience can get the hang of what is happening. Like any other scene activity is a good
thing. It is essential here. Accept the reality of the sounds, try not to comment on the
nature of odd sounding doors, or sick sounding carpets.
Variations:
Sometimes a microphone is given to one player that is responsible for all the folly in a
scene. This is a good idea with a really large, or destructive audience.
Split Environments
In this scene two players will be in the same scene, however each player will believe
that she is a different environment. If one player believes that she is in an air traffic
control tower, she will respond to everything that the other player does as if she were
in an air traffic control tower. However the other player will believe that she is in a
batter's cage. [get two contrasting and physical environments]
In this scene the two players interact as described. Each must maintain her reality as
strongly as possible, and react to what the other player does as if it were in her reality.
Now that I have repeated that often enough... If the player that is in the batter's cage
says, 'okay let them fly.' The player in the air traffic control tower might give clearance
for take-off. If the player in the air traffic control tower types at her console, the
other player might think that she is doing special pre-batting finger warm-ups. Etc. It is
a very hard scene to do. There are enormous payoffs when the players listen, accept
and advance within their own well defined environments. Does this sound familiar?
Stage Directions
In this scene each player will be supplying the other players actions in the form of
stage directions. Each time a player supplies a line the other player in the scene will
supply that player's action in the form of a stage direction.
This scene is good for ensuring that players that don't give themselves activities on
stage are endowed with them. The usual form goes like this. Player one says, "hello
there Jill." Player two immediately follows with, "she said running her fingers through
her hair." Player one then runs her fingers through her hair in response to the stage
direction. This continues through out the entire scene. There is obvious potential for
massive pimping. "she said doing an interpretive dance." If that becomes necessary in a
scene then try and leave it until the end.
Variation 1:
Stage direction are given by players offstage, who may or may not be able to see the
players on-stage.
Subconscious Scene
The players in this scene will reveal to you their innermost secrets by letting you in on
their subconscious thoughts.
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At certain points in the scene the players break from their regular dialogue, and turn to
the audience and let them in on their subconscious thoughts. These may be conflicting
to those that the player is portraying on stage, or they may reveal further information
that helps advance the scene. This subconscious information should be employed by
the other players in a subtle fashion. This is similar to a soliloquy scene.
Variation 1
The subconscious voices can be played out by players offstage that may or may not
(blind subconscious scene) be able to see the scene. The players can play each others
Switch Characters (handle)
Switch Characters
When the word switch is yelled all the players must change characters by replacing the
character to their immediate right. The right most player will exit stage right.
Not much to add here other than most of these scenes decay into some form of chaos.
Be careful not crash into each other when moving from character to character. It is one
scene where having a lot of players on stage makes the gimmick more fun. Brisk
changes are better, and rapid choices about which character you are supposed to be
(eventually you will be wrong) make the game more fun for everyone.
Variation 1:
Typewriter switch
Three Way Dubbing
In this scene there will be three characters, and each of the character's voices will be
supplied by one of the other players. [it is important to introduce all of the players and
have each one test out the voice of the other]
This is an extraordinarily challenging focus game. Accurate lip synching is so essential.
You not only have to be paying attention to when the actor that has your voice is
speaking (you have to lip synch), you also must offer voice for another actor in the
scene.
Touch To Talk
The only time that players are allowed to talk during this scene is when they are
physically touching each other.
This scene is meant to build non-verbal communication skills in the players. There
certainly can be a fun scene in it as well. It is no fun to cheat and hold hands for the
whole scene for no particular reason. There must be solid reasons for making physical
contact within the context of the scene. Only speak during those brief moments of
physical contact.
Variation 1
Touch to shut up. The players have to talk constantly until they make physical contact
somehow (an exercise to show how irritating constant blabbering can be).
Word Association
In this scene one player will be typing out a story. As characters are introduced players
will join in and act out the story. Occasionally they will add dialogue to the story.
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The typist/author usually sits aside from the other players and starts to type out a
story. Everyone appreciates it if the typist bothers to mime typing as she speaks. As the
scene progresses the players acting out the scene share more and more with the typist
that drives the scene. Ideally they will share the advancement of the story, switching
from the typist to the players when she slows, and back again once the players slow.
This game is wrought with internal gimmicks. Obviously the typist can pimp the players
mercilessly. If this becomes the point of the game, i.e., the story has been lost, then it
is recommended to start with little pimps and up the stakes later. The typist can also
stop things and rewrite scenes.
Variation 1:
This can be played as a switch game where everyone has a chance to be a typist
Word Association
Groups of six to eight, like Word Ball only this time as the socks are passed or thrown
from hand to hand players exchange words which are directly associated with the
previous ones. Build speed.
Note: It may help for the instructor to step into the middle and act as a sort of pace-
keeper or pendulum, in order to avoid large pauses and too much thinking. If one
player can’t think of anything s/he is simply skipped.
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5-4-3-2-1 (long-form)
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CHAPTER 5:
STORY TELLING
We will get five suggestions from the audience for five scenes.
Five entirely unconnected scenes take place in succession based on the five offers from
the audience. The next wave of scenes will consist of continuations of only four of the
previous scenes. The four can be chosen by audience vote, host's choice, or by random.
Those four scenes are done in succession. These scenes can start to generate loose
connections between the each other. The next wave of three scenes will exclude one of
the developing plot lines. This wave of scenes should be quite heavily interconnected.
The process of elimination is repeated again, and then two heavily connected scenes
are played out. The last scene will tie everything up. Good luck.
Balladeer (long-form)
The follow improvisation will be longer than usual. It will be directed by a balladeer,
yet remains entirely improvised.
:The structure of the balladeer is a very simple one. The accompanist and the singer
start off with a simple song that may introduce a character, a location, or foreshadow
some event. The musical bits are meant to be short. Thirty seconds to a minute is
usually enough to pass on some information from the story. Simultaneous to the ballads
the players are acting on-stage. They work silently while the balladeer sings, and start
to vocalize as the ballad ends. The ballad is used as a chance to change scenes, rescue
a scene that not working out, or to bring closure to a scene that has come to some kind
of conclusion. There usually are no blackouts during a balladeer, all the changes are
made by the balladeer. The players should also recognize that if the balladeer gets into
trouble then the players need to step in with a scene. A smart group will put their best
storyteller as their balladeer, not the best singer.
Gimmicks:
*A new musical genre can be used for each new ballad: rap, rock, opera
Die Game
In this game all the players on stage will be telling a story. Each player is responsible
for the story while the director is pointing at them. When the director switches from
one player to another, the other player must pick up the story without stuttering,
repeating words, or making grammatical errors. If any of the players makes such an
error the audience should yell DIE!!
There is not too much more to add beyond the introduction. The players should tell a
story through action, and not waste time having the character thinking about things.
The director should change from player to player slowly at first, allowing a sensical
story to build. As the game goes on she can switch from one player to another faster
and faster.
Variation 1:
Elimination Die: Each player that makes a mistake is eliminated until only one player is
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left. Theatrical Die: After making a mistake the player acts out a death on stage. Make
a story: Same thing with no die or elimination. Genre Story: Each player is given a
different genre and continues to tell the same story through that genre. Genre story
can be emotional story, appliance story, occupation story, etc.
Do Run Run Song (handle)
The players are going to tell a story in the format of a classic pop song.
Several players line up and start to sing in the following pattern. A, A, B, B, B. This is
best explained by example:
Player one, "I went to the store to buy some pop."
All players, "a do run run run a do run run."
Player two, "And on the way there I met a cop."
All players, "a do run run run a do run run."
Player three, "hey and that cop was lean."
Player four, "hey she started to make a scene."
Player one, "hey and she was really mean."
All players, "a do run run run a do run run."
Player two, "the cop pushed me up against her car."
All players, "a do run run run a do run run."
Player three, "that's how I got this terrible scar."
And so on.. Until the story is told. There are all kinds of variations to this. It's format is
particularly forgiving of those who cannot sing all that well. It is recommended that the
player doing the solo line step forward from the line of players.
Variation 1
It can be turned into a die type game, where the players that slip up are dropped from
the line. There are an infinite number of variations that can be made to the song itself.
Fully Interactive Story
This should be introduced with a demonstration/example of how Interacting uses
people as props and effects in all our shows. A good example is of course Shafter or
Wayne. Once teachers grasp the concept that people can also help us visually create
our story and provide our sound effects and dialogue put teachers into groups; they
must think of a famous tale or if they are imaginative enough they should create their
own short story. In their groups they discuss how they can create the story using the
rest of the larger group as their props and aids. Spoken parts can be done by the other
members of the working group. Keep it all short and to the point.
Teachers then have to come up with useful and working variants or adaptations for
their classrooms. Don’t forget that a box of simple props can be a continuous source of
help.
Be encouraged to play around but not to forget the discipline of beginning middle and
end of scenes.
Gregorian Chant (handle)
In the fashion of a religious chant the players will now sing you a story based on your
suggestion.
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This scene requires a moderate amount of practice and no singing expertise at all.
Although all singing stuff sounds better if you can sing. I have chosen three players to
demonstrate this scene. The first player sings a single sentence of about 8 to 10
syllables in length and repeats it twice. Player number two sings the next most logical
sentence in the scene. Player one continues to repeat her line, but steps back on the
volume throwing the focus to player two. The third player kicks in with her line, while
players one and two continue to repeat their lines in the background. The cycle returns
to player one, and she sings the next most logical line in the song while players two
and three continue their lines as background. This continues until the story is told.
Structurally it is easiest when the players line up and step forward to sing their part.
Modern Fairy Tale
In this scene the players will combine a well known fairy tale with a genre of movie.
[be sure to recap the fairy tale and recap the genre]
This scene involves altering a known story with characters and genre clichés from
commercial film. Remember to tell the story as it was recapped. If you are combining a
fairy tale and a specific film it is important to get an idea of what the film was about.
If you have no idea, offer some support, background or sit back and enjoy. What makes
this a useful scene is that players can introduce topics from either genre, and it is
likely that they will know one or the other.
Variations:
Combine any known story with a contrasting genre: science fiction, war movie, love
story, Shakespeare, triple-X, political party, occupation, etc.
Narration with Sound Effects
For developing earlier storytelling. Start, for example, with only one sentence stories
and then get more complex. The story-teller must use the rest of the group to provide
sound effects. E.g. “Outside the constant throb of city traffic was punctuated by the
cry of the rag and bone man saying 'bring out your dead!'” or “Brian's daydreaming was
brought to a halt by a knock-knock at the door. 'Who's there?' he called weakly. No
reply. But the knocking got louder. And louder. Etc.”
Variation: Narration with Sound Effects and Stage Directions. As above, only this time
it’s done in twos or threes telling a story with an actor and a narrator. Give time for the
preparation of the story. The actor is almost like a puppet doing as the story-line
dictates.
Self Narration – Feeling from Action
Students narrate what was/is happening and the surrounding circumstances. From the
narration students must guess how the narrator was/is feeling.
Self Narration – Action from Feeling
Students narrate how they were feeling and their interior dialogue during a situation
without directly saying what was happening. From the narration students must guess
the surrounding circumstances.
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So I'll
Everyone into a circle for a very structured one sentence at a time story.
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This exercise forces listening and gets players taking smaller, more logical steps with
their story building. It also helps players when they draw a blank in a performance
setting. The first player makes any kind of statement. For instance, "It is a lovely day
out." The next player in the line says, "WHAT YOU ARE SAYING IS THAT--It is a lovely day
out, SO I WILL--go for a walk." The goal is to say the next most logical thing in the
story. The next player would say "WHAT YOU ARE SAYING IS THAT--I'll go for a walk, SO I
WILL--get my shoes." The story that builds should be a logical one. It will not be a story
that will win Pulitzer prizes, but it will make sense. This a great way of combating
troupes that are suffering from 'offer suffocation' in their shows.
Superhero Eulogy
We are all saddened by the recent demise of our local superhero [get the name of a
superhero that doesn't exist]. Some of her friends are gathered here today to pay their
last respects.
Several players get up and tell what they know about the deceased superhero. There is
a common pattern of someone knowing her before she developed her powers, a family
member, her arch villain, and eventually her demise. The audience likes to hear how
the superhero met her fate. It makes it easier for the players if this is left to the last
speaker. The previous structure is just an example for those who have not seen the
eulogy done before. It might be obvious to most, but doing a eulogy about a real person
usually just brings the audience down.
The Casting
Player One is the Director at a casting for a movie. Roles are written on the board (i.e.
characters from a book that was just read as a class.) A scene is described or chosen.
The Director calls in Player 2 (and any other players that may be needed in the scene.)
The scene is run and the Director tells them s/he wants more/less emotion, anger,
expression, love, etc.
This Is Your Life
Based on the well known TV series where a celebrity is confronted with faces from
their past, not necessarily in chronological order and they reminisce over times gone
by. Relate to earlier The Age Walk only this time the life history is a group effort.
Discuss briefly the significant moments and relationships that can make up a life.
One participant sits in a chair at the open top of your horseshoe of chairs. It is to be
their life but at the moment they know nothing about it. Individually participants
approach the central character and initiate scenes from the character's life. Each
actor 'tags out' the previous actor and begins a completely different scene. Each scene
must include both who and where the characters are and when in the life the scene
takes place. A participant can interact with the actor more than one time as long as
their character remains constant. I.e. the boyfriend of the first date becomes the lover
who wrecked the marriage and then be the one who sold the second hand car that
killed the only child, etc. The role can change but the character stays the same. When
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repeating the exercise with different central characters, urge the group to invent
radically different lives.
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Adam and Eve
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CHAPTER 6:
RECENTLY ADDED
In this game the group makes a circle. Two players are chosen, one is Adam one is Eve.
Adam is then blindfolded and has to try and capture his Eve. He does this by shouting
out ´Eve, where are you?´, Eve must respond by saying ´Here I am Adam´. Adam
following her voice must try and catch her (see Robber, Robber, Where are You?).
Alphabet Shapes
In this team-building warm-up the leader shouts out a letter from the alphabet (saying
if it is a capital or small case letter) – the group have to make the letter shape using
everybody in the group. On the first few attempts no time limit is imposed but
gradually the leader should introduce a time limit and keep reducing it until the group
can effectively make alphabet shapes in ten seconds.
Boom chica Boom
Leader: Boom chica boom
Group: Boom chica boom
Leader: I said – a boom chica boom
Group: I said – a boom chica boom
Leader: I said a boom chica rocka chica rocka chica boom
Group: I said a boom chica rocka chica rocka chica boom
Leader: Uh huh
Group: Uh huh
Leader: Alright
Group: Alright
Leader: One more time
Group: One more time
Leader:
[chooses style, for example quiet, baby style, etc]
Duck Duck Goose
Players stand in a circle. One player is outside the circle and walks round tapping
everyone on the head and saying ´duck´ at the same time. If he taps your head and
says 'goose' then you have to chase him round the circle, trying to catch him before he
completes the full circle and takes your space! Alternatively, the player tapping heads
can choose any animal to chase him and say ´elephant´ and the chasing player has to
mime and make the noise of an elephant while chasing. When you’re picked, act like
your animal the entire time making the movement and sounds of that animal.
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Group Animal Mime
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In groups of five to eight the players choose an animal which they’ll mime together as a
team. The players should think about all the parts of the animal and how they work
together to create the form and movement of their animal. The animal should not be
static but should get up and walk around, make noises and then go to sleep!
Group Focus
In groups of five to seven the players have to decide on an event o action taking place
in front of them and they have to devise a quick sketch so that the other wider group
can guess what it is that they’re focusing on. For example, the group will decide
they’re watching a horse race, or a tennis match, a rocket launch etc. After miming
the group can repeat the sketch but this time with dialogue, they should not say or
reveal directly where they are or what they’re watching but just try to hint towards
what they’re doing.
Group Household Item Mime
In groups of five to eight the players have to decide on a common household item and
as a team perform a group mime of how the item looks, how it functions and the noises
that it makes. The group have to think about all the individual working parts of the
item and how they all work and function together as a whole. They should try and
demonstrate how the machine works, how it starts, does it get faster, slow down, how
does it stop. Maybe the group choose one player to be the machine operator. Some
suggestions are a vacuum cleaner, a blender, a washing machine, a toaster, a
typewriter, a television, a kettle.
Group Vehicle Mime
In groups of five to eight the players decide on a common form of transport and as the
team perform a group mime to show what form of transport they are, how it functions
and the noises that it makes. The group may choose for example a propeller airplane,
they could show the plane starting up, the propellers spinning, the wheels turning as it
takes of, the wings moving as the plane changes direction and comes down to land.
One player can be the transport operator.
Line Greetings
Players make two equal lines facing each other. One line is A the other B. Lines A and B
walk towards each other and meet in the middle _ line A in unison say 'Hello, how are
you?' Line B reply 'Fine thanks, and you?' They shake hands and walk on. Now line A
stands where line B stood and vice versa. Repeat this several times until the lines get
the rhythm. Then suggest that they walk towards each other but this time as two
snobs, they have to walk like snobs, talk like snobs ands be a snob until they reach the
other side. Then suggest : like beggars, babies, angry people, long lost friends, lovers,
spies etc. Alternatively try replacing the dialogue with numbers so line a will say ´1, 2,
3 and 4´ and line B replies ´5, 6, 7 and 8´. They should attempt that the intonation
and rhyme of the numbers convey mood and character!
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Musical Instruments!
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This is a warm-up game. Players mingle around the space until the leader shouts out a
musical instrument, the players stop and play the instrument and make the noise. After
going through as many instruments as you want the leader then instructs that when he
shouts out a musical instrument the players have to as quickly as possible find a
partner, decide who is musician and who is instrument and play the instrument, making
the noise. After several attempts you can get the group to choose a melody that
they’re all familiar with and when they play their instruments they all hum the same
melody.
Poor Poor Animal
Players sit in a circle. One player goes into the centre of the circle and decides what
animal he is and tells the other players e.g. a cow. He then approaches a player in the
circle and makes the noise of a cow three times – they must always maintain eye
contact. Then the player in the circle must while continuing to keep eye contact say
´Poor cow, poor cow, poor poor cow´. If the player in the circle smiles then he must go
into the centre and repeat the process. The game is a fun warm-up ready made to get
players laughing.
Songs
Vocal Warm-Ups
Whether the weather is cold,
Whether the weather is hot,
We’ll be together, whatever the weather,
Whether we like it or not.
Remember the money,
Remember the money,
Remember the money,
Remember.
A dragon will come when he hears the drum
At a minute or two 'til two today,
At a minute or two 'til two.
London’s Burning
London’s burning! London’s burning!
Fetch the engines! Fetch the engines!
Fire! Fire!
Fire! Fire!
Throw on water! Throw on water!
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Yo Ho Ho
When I was one I ____________________________
[ Fill in the blank with something that rhymes with one, such as ´had some fun´]
The day we went to sea
I climbed on board the pirate ship
And the captain said to me
Go this way, that way, back again
Over the Irish sea.
A bottle of rum to tickle my tum
It’s the pirate’s life for me.
Yo Ho Ho.
- 50 -
[Repeat with ´When I was two´ and so on through to the number ten. Be sure to add
movements, especially for the 'This way, that way, back again' part.]
Touch Your Partner
This warm-up activity starts with players mingling with their eyes closed. On the
leaders´ command they stop and find a partner with their eyes shut (it is advisable to
have a few helpers making sure players don’t wander off in the wrong direction). Then
the players attempt to identify their partner by feeling their height, their hair,
identifying objects such as glasses etc. then the partners say hello to each other
without mentioning their names – they continue to talk until the leader shouts for
everyone to open their eyes and see who is standing in front of you. It should then be
repeated as many times as necessary (see Blind Friends).
What Occupation Am I?
Players sit in a semi-circle. Leader stands up and demonstrates miming an occupation –
after the short mime the rest of the group shout out the occupation. The remaining
players have time to think of their occupation before jumping and performing their
mime after each other. There is no competitive element at this point, the players
should act spontaneously and without hesitation. After the first round then players can
continue with ´What animal am I?´ ´What sports am I?´
Quick Fire Mime
Players have a few minutes to think of a simple activity too mime. They then act out
their activity in front of the rest of the group. When the activity is finished the group
shout out what it was. The audience can also give a detailed account of what they saw
and evaluate how skilfully the mime was executed.
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Believable Entrances
Players are given entrance situations or invent their own. Given five minutes the
- 51 -
players rehearse their entrance as a solo performance. They must try through their
mime to convey as much information as possible to the audience.
Emotion Mime
Players have to convey through mime an emotional state. To help the players it’s a
good idea that they mime a situation in which their emotion would occur. For example,
sad could be mimed by saying good-bye to an old friend. Before doing the activity the
players can talk about as many situations that they can imagine experiencing the
different emotions.
The Selling Game
A player stands in front of the rest of the group imagining he’s entered a shop where
the shop keeper can’t speak his language. Through his mime he has to convey what it is
he wants to buy! The person who guesses first becomes the client. Players can either
be told what it is they have to mime or chose their own item, in the second case they
should write it down on a slip of paper and give it to the leader before starting their
mime.
Mime Activities. In Group
Group Focus
In groups the players mime a scene in which they focus all their attention on an
imaginary object, event or person. Each player should try to react individually to what
they are looking at, with fear, horror, fascination, repulsion etc. The players can
announce the title of their scene beforehand or it can be acted out and then the rest
of the group guess what it is. Players should be given enough time to prepare.
¬
dialogue.
Alternatively the group can perform a second time but with
Group Vehicle Mime
In groups players must mime a large moving vehicle. One player may be the driver or
passenger but the other must form the vehicle. Players should add sound effects.
Players should try to represent not only the part but how it functions. If we see train
doors, how do they open? To help the players they can look at different types of
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vehicles and examine their major component parts. Players should be given enough
time to prepare.
¬
As a warm up the entire group can look at ways of representing
one or two vehicles.
Group Household Appliance Mime
In groups players must mime a household appliance. One player can be the operator.
Ask for sound effects. As in the previous mime it helps if the players can discuss what
the individual components of their item are and how they function. During their mime
they should try to show all the possibilities and functions of their appliance. If they
mime a washing machine, they can demonstrate the machine filling with water, rinsing
and they can demonstrate the different speeds. They can also demonstrate off/on.
¬
As a warm up get the group to produce sound effects for different
appliances. How does the sound change when speed increases? How does a
breakdown sound?
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Getting to Know You
- 54 -
SECTION A
The group is spread over the classroom. At a given signal they must move around and
shake hands, introducing themselves to as many people as possible. They should try to
remember the names of other group members.
¬
Try introducing different forms of greetings, different walks and
different emotions.
Move to the Spot
Players find a space in the area. The leader tells them to concentrate on a fixed spot
somewhere across the room from where they are standing and then to move to that
spot but pacing themselves so as not to stop or bump into other players. Leader should
let players have time to (a) find and concentrate on new spot, (b) move at their own
pace and (c) settle into the new spot.
¬
Instructions for (b) can include moving backwards, in as few steps
as possible, as many steps as possible, in circles, in squares, with hands on
knees etc, reflecting emotions
Do you like your neighbour
Players are seated in circle. Players are numbered 1,2,3,4 etc Leader points to one
player and asks “Do you like your neighbour?”. If player answers “I like her/him”
everyone gets up and moves to another chair. The last one standing then is leader. If
the player answers “I don’t like him” – the leader replies “Who do you like?” – the
player then responds by calling out any two numbers, these two players plus the
players sitting to the right and left of the player and the leader must and try to move
to a new chair. Last one standing is the new leader.
Human Noughts and Crosses
Three rows of chairs. Three chairs in each row. Players in two teams standing at
opposite end of area to chairs. Leaders shouts out noughts, player from noughts team
runs and positions himself with arms across chest, leader allows five seconds then
shouts crosses, player from crosses team does the same etc until one team wins.
You are you?
Group stands together. Player one stands apart with back to group. Player two
describes one person to player two who then has to guess who the person is.
Description should be positive. Put a time limit for player two to guess. Player two
then chooses the next person.
¬
Player two asks questions instead of just listening.
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Name Game
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Group stands in a circle. A ball is passed round, each player saying his name when
holding ball. Then player one throws ball to player two, player two must shout out the
name of player one before then throwing to the next player, who in turn shouts out the
name of player two etc etc. Continue until everyone knows each others name.
¬
Increase speed and penalize mistakes or hesitation.
Convince us!
(Variation on Monarch)
Three players selected to be judges and given a few minutes to devise a points system.
Players come forward when told to by judges and must try and convince the panel that
they are worthy and deserve a prize (some chocolate bars or similar can be handed out
by judges). Points awarded for originality and persuasiveness.
¬
Players write their reasons to be awarded the prize.
Sherlock Holmes
Player one takes six items from his pocket and places them in front of player two.
Player two then writes down what he can deduce about player one from the items he
sees. Deductions then shared with group with player one adding and commenting on
deductions.
¬
Three items from each person placed on a table. Everyone
decides what belongs to whom and why..
Tangle
Players link hands. Leader leads chain through itself, under, over arms, between legs.
Chain moves slowly, gently and carefully. Tangle ends when chain is too tightly packed
to move. Last player in chain then stands and gives group instructions to untangle
itself.
¬
Tick Tock
People knot
Players in circle. Object passed to right,
Player one: This is a tick
Player two: A what?
Player one: A tick
Continues around circle but “A what” and “A tick” always going to and fro from player
one.
Another object starts to left and follows same pattern. Confusion and laughter should
be the results!
Structures
In sequence with Alphabet Shapes move to group constructing structures.
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A bridge, a tree, a crane, an aeroplane, a car etc, a church etc
¬ Also see group mimes
Adverstisement
- 56 -
SECTION B
Players write in 25 words an advert selling yourslef as a friend. Always keeping in mind
why other players would want to by you and not another player. You can only write
about yourself. Ads placed in hat, passed around and read out loud. Players try to guess
who wrote what.
¬
lover etc
¬
¬
¬
Advertisements selling yourself as parent, teacher, pupil, son,
Put large ads on wall.
Make cartoons for the ads
SEE OTHER ADVERTISEMENT GAMES AND ACTIVITIES SUCH AS
GIBBERISH COMMERCIAL OR THE SELLING GAME.
The Continuing Story
Four players chose a theme and characters. They begin to develop the story and
characters. At given point leader substitutes the four players by another four players
who continue following rules set by first group of four.
Possible themes: The Haunted House. The Great Escape. The Funfair. A day at the
Beach etc.
¬
Leader can introduce mystery characters to spice up the story!
Control Tower
(See blind obstacle course)
Player A (aeroplane, arms stretched out and humming like a plane) eyes shut is led
through obstacle course (runway) by Player B (control tower).
¬
Penalty point each time player A touches obstacles. Five points
and plane crashes!
You can’t laugh
Player A must make a very serious Player B laugh! Leader has to decide on rules e.g. is
tickling allowed?
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Fists
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A game of persuasion. Player A stands facing Player B with fists clenched tightly shut.
Player B must persuade partner to unclench fists. No violence allowed but you can
threaten!
¬
¬
With partner lying curled into a ball
With partner clenching teeth etc
Three Feelings
Group does a quick brainstorm on feeling words. Leader writes words on individual
pieces of card. The leader then holds up a card with a feeling word and players have to
complete the sentence “ I feel embarrassed when……..”
In groups of three players are given three feeling cards and quickly mime or act out
with dialogue the three feelings to rest of the group who have to establish what the
feelings are.
¬
angry was……”
Players can relate tru experiences “The last time I really felt
Merry-go-Round
Player A and B begin improvising a scene. Situation and characters being provided by
group. The scene being established enter Player C who has to completely change the
scene. Player A must find a reason to leave the scene in the context of the new scene.
Enter Player D to change the scene yet again. Player B finds reason to exit and so on.
Game continues as long as players can maintain a lively and creative flow.
News for you
Players in a circle. Player A starts “The nicest thing that happened to me today/this
week/yesterday etc was…………” continue round the circle. Leader explains that it can
be something big and exciting or simple and pleasant.
¬
best thing!
Speakeasy
Start with the worst thing…………then quickly follow that with the
A possible ending to each session. Chair placed in front of the group. Player A sits and
talks to the group, developing any subject of his choice (advisable to start with
something simple such a description of oneself). One way to air problems and attempt
to resolve them.
Walk my walk
Players in large circle. Player A walks across the circle several times. Players observe
and comment on Player A’s walk – positive comments. All Players try Player A’s walk.
w w w. i n t e r a c t in g . i n f o · h e l l o @ i n t e r a c t i n g . i n f o · t f : ( + 3 4 ) 9 1 5 4 0 0 7 8 3 · f x : ( + 3 4 ) 9 1 5 4 8 1 0 1 5
¬
Ask different players to take on roles and attempt to walk in
- 58 -
character such as a spy, a hooligan, a jellyfish.
Mime and Action Memory
SECTION C
In a circle the leader begins by making a movement with his finger e.g. a spiral
movement. Player A beside the leader then must repeat this movement plus add one of
his own e.g. stamping his foot. Player B then must repeat the two movements and add
one of his own. The action moves around the circle. If any Player misses, does a
movement out of order or TALKS they are out.
Emotions: Play and Freeze frame
In groups Players choose or are given a theme for a short improvisation. Then they are
given or choose three emotions to include in the improvisation so that the story
progresses from the first emotion, to the second and finishes on the third.
As the group works through their story they should be aware of how the three emotions
are physically demonstrated.
The group plays out their improvisation from beginning to end. Then demonstrate the
emotions in a quick fire three freeze frame sequence.
Comic Strip
(Sequence with above)
In groups Players devise an improvisation around any theme. When the improvisation is
played out though it must be as though we are reading a comic strip! The action is
shown as a series of frames. Dialogue of course can be added but no movement in each
frame is allowed.
¬
Use a well known story or fairy tale.
Chinese Mime Chain
Five Players leave room. The rest of group decides on a complicated mime e.g.
changing a baby’s nappy. Player A is called in and told what to do, Player B is called in
and watches Player A, Player C is called in to watch Player B and so on. As in Chinese
Whispers the result is usually completely different than the original mime. Ask each
player what they thought they were doing.
Chain Statues
Player A takes a statue position. Player B is asked to adjust or move Player A’s position.
Leader shouts freeze at any point and A & B remain frozen. Player C then moves or
adjusts A & B until leader shouts freeze. Continue until you have entire group up.
Fit the Reader
Short piece of written material is chosen by leader. Players are assigned the role of a
particular kind of reader. Players without preparation read article in the manner or
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- 59 -
style chosen by the leader. A horse racing commentator, children’s story reader, a lord
mayor making a formal speech, priest or church minister, a suspicious policeman, full
of insinuation and innuendo etc.
Dialogue Environments
(see environments)
In pairs players write down or memorize six lines of dialogue. They repeat the dialogue
but each time in a different environment: crossing the Sahara with no water,
newlyweds at breakfast, aliens coming out of a spaceship.
¬
Do the same but with emotions.
Paper Bag Scene
(Can be done in sequence with Prop scene)
Characters are written on pieces of paper and placed in a bag. Players in groups of six
each take a piece of paper from the bag. Leader then gives them 60 seconds to
improvise a simple sketch playing the characters.
Prop Scene
Players in groups are given one prop around which to build a scene e.g. an alarm clock,
a telephone, a key etc.
¬
¬
Groups are given several props
In addition they use the character bag from last activity
Opening & Closing Line
Each group is given a sentence with which to open or close (or both open and close) an
improvised scene. The sentence when said must have context. Examples: “Pass the salt
please”, “Nobody ever listens to me” I’ve something important to tell you” Can we do
this at home” etc
¬
Situations
Combine with Prop scene and Paper Bag scene
Each group is allocated a situation e.g. trapped in an elevator, waiting in a maternity
ward etc. Each improvisation is shown one by one. Then using the character bag the
scene is re-run but with different characters.
¬
c
Each group does same situation but with different characters
SECTION D
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It’s Obvious
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Groups of 4 or 5. Player A in each group is the focus and others start sentence with “It’s
obvious that you……”, to start there are no inferences allowed, start with what is
obvious e.g. you like a comfortable shoe. Players take turn to be focus. Then start
again but with statement, “ I see that………….” Maybe something that is not seen on
first looking e.g. an eye for detail with a lovely brooch. Lastly, “ I imagine that you……”
Here you are allowed guesses and wild imaginings! After check imaginings with focal
person.
¬
Share discoveries with the larger group
Verbal Boxing
Player A and B take to the centre for a 30 second bout. Winner is decided by group and
then can be challenged by the next contender!
Three types of bouts:
1. Insults. The leader should encourage colourful and inventive untruths, Should be
in the form of a conversation.
2. Long windedness. Challengers keep up continuous flow of talk both at the same
time.
3. Gibberish. Contestants given emotion both must keep up continuous flow of
gibberish remaining true the emotion.
¬
Invent other categories!
Word Wizard
Leader tells players they can only have four words in the world. Players have to choose
their favourite or most important words and write them down. Then finding a partner
they share their words explaining why they chose them and their importance – they add
their partners words to their original list of four, now each player has eight. The
process is repeated four or five times. Now using the list players have to try to write a
poem using just those words. Give enough time for players to think and write. Share
with the larger group.
Pig, Wolf and Farmer
Group forms two teams. This game is based on the classic game, paper, scissors and
stone. In teams they decide if they are going to be pig, wolf or farmer. The two teams
face each other and on the count of three reveal who they are by miming the
appropriate character.
Explanation: the pig is represented by pig nose (hand on nose) and oinking. The Wolf by
arms in air and howling. The farmer by digging.
The wolf beats the pig, the farmer beats the wolf and the pig beats the farmer.
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