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Exercises

Play a scene that is as boring as possible.

Topics
to respond to an offer as though it were false

Blocking is the opposite of accepting. Accepting supports the truth of an offer; blocking contradicts it. When offers are blocked, players have to negotiate what’s true and what’s not before they can continue to play in a shared fiction.

Exercises

Move to a beautiful piece of music in a blissed-out fashion. Don’t use dance moves, act out a story, or "perform" in any other way. Engage in a deep state of movement bliss.

Exercises

One player has eyes closed, the other has eyes open. The blind player takes the arm of the sighted player. Without speaking, the pair walk around the space. The blind player sets the pace and the sighted player guides the route. As comfort is built, the blind player may speed up the rate of travel.

Exercises

Players scatter randomly around the space. All close their eyes. Without speaking, players attempt to line themselves up in order of height.

Topics
reinterpreting an offer so it fits within the story

Sometimes you need to change a spect’s offer. They may have blocked a critical story element or introduced an anachronism. Instead of blocking the offer, which disempowers the spect, reinterpret the offer in a way that makes it appropriate to the story.

Topics

Spontaneity is the current of flow. Things happen smoothly and effortlessly. When spontaneity gets blocked, it feels like you’ve got nothing. This is usually because of two obstacles: thinking and judgment. Here are ways to deal with each of these blockages.

Exercises

Players do a simple activity that involves an object. Then they break down the activity into segments. They do the activity again, saying “Begin” at the start and “End” at the completion of each segment. The activity is repeated a third time, without saying “Begin” or “End.”

Topics
a list of the steps of action in a scenario

A scenario consists of a progression of beats. Each beat is defined by a step of action within the scene. A beat breakdown lays out the progression of action, helping the inter-actor map the journey of the scene. It also serves as a series of steps that assist with memorization of the scenario.

Topics

When you stop acting, you become vulnerable. It can feel embarrassing to drop your defenses and be seen in a completely vulnerable state. The thing is, others love to see you when you let down your guard. That’s why it’s so compelling to watch children play. When they let loose and dance like fairies or roar like dragons, it’s compelling to behold.

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Encyclopedia of Interactive Performance