The Encyclopedia of Interactive Performance

A lot of scene work is done facing in the general direction of the spect, which is why it can be so potent when the spect sees nothing but your back.

When there’s a strong connection between your character and the spect, playing from a distance away with your back facing the spect can be very compelling. You don’t need to see them, but put all your energetic focus on them. Be patient. Hold the silence. Play the tension of the distance. If someone’s going to move, let them come to you. There’s a magnetic kind of draw that happens when you play your back.

Haruki and Yuuka have gone through a devastating bankruptcy in which they’ve lost everything. They’re about to vacate their now-empty offices. Haruki goes to the windows for one last look over the city. He stands there silently, his back to Yuuka. After a few beats, Yuuka says, “We need to go.” Haruki nods, but doesn’t move. She reassures him, “We’ll bounce back, we always do.” He quietly says, “I know,” but continues to look out the window. After a few moments, Haruki crosses the room and puts her hand on Haruki’s shoulder. “Come on. I’ll buy you a hot dog.”

Playing your back is also a fun way for your character to discover spects’ presence in the scene. You can turn and be surprised by them, or allow them to alert you as to their presence. Either way is a satisfying device.