The Encyclopedia of Interactive Performance

Once in a while you may need to address spects as themselves, not their characters, while still maintaining the fiction. These are times for in-and-out-of-story communication which addresses both the spect and the spect’s character. Your words make sense within the fiction, while also communicating something in real-life. There are three situations where this type of communication is useful.

Anachronistic questions – When spects ask questions outside the context of the story, respond with an in-and-out-of-story answer.

In a séance show, Max (spect) asks Elvira what time the show will be over. Elvira answers, “I sense that the spirits will take their leave by the time the clock chimes ten.” Max looks confused. Elvira repeats, “When the clock chimes ten.” Understanding spreads across Max’s face. “Ten o’clock. Got it. Thanks.”

When answering questions in this way, stay aware of spects’ understanding. If they become frustrated because they don’t feel that their real-world question is being answered, take them aside and answer the question privately out-of-story.

Reassurance – Another time to use in-and-out-of-story communication is when you need to address spects’ real-life feelings that get in the way of their playing.

When Rubén (spect) is told that he’s about to face a group of hostile reporters, he becomes visibly nervous. His breath shortens and his eyes dart about. Chuy, his assistant, takes Rubén by the shoulders. “Hey. They’re just reporters. You’re the one in charge.” Chuy looks meaningfully into Rubén’s eyes, “Answer their questions any way you like. Got it?” The spect takes a deep breath and settles in, “Got it.” Chuy straightens his boss’ tie, “Alright, let’s do this.”

Call-outs – It doesn’t happen often but, once in a while, you may need to address spects’ inappropriate behaviors directly.

Louie and Claude (spect) are shaking down a local store owner. The spect gets over-enthusiastic and shoves the owner against the wall with too much force. Louie gets between Claude and the store owner and admonishes his partner, “Claude, we don’t get physical like that.” Louie holds Claude’s gaze until he’s sure he understands, then he turns to the store owner, “You OK?” The store owner nods. Putting an arm around Claude’s shoulder, Louie heads for the door, “We’ll be back next week.”

Be careful when doing an in-and-out-of-story call-out. Don’t do it to punish the spect or control them unnecessarily.

The one time never to use in-and-out-of-story communication is when there’s a real and immediate danger. In this case, break character and address the issue. Maintaining the fiction is never worth putting anyone’s safety at risk.

When you need to address something in the real world without breaking the world of the fiction, in-and-out-of-story communication can be a useful tool.