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Exercises
A scene is played in which Player B periodically dictates how much Player A should resist by holding up one to three fingers. One finger is a speed bump, two fingers is a pushback, and three fingers is full conflict.
Exercises
Players intentionally play a scene that is going nowhere. After a while, an outside observer calls out a scene booster from the list below, which one of the players applies.
Topics
ending a scene by calling out the word, “scene”
This convention is used in training, rehearsals, and theatrical performances. The word “scene” is called out to indicate that the scene is over. This may be done by someone observing the scene or by an inter-actor playing within the scene. In theatrical performances, the stage manager calls the scene in the booth to bring down the stage lights.
Topics
Causality moves a story from scene to scene. It can also shape the progression of the scene itself. Let what spects say and do cause your responses, which then cause their responses. Moment-to-moment causality helps you avoid playing for the spect and keeps you playing with the spect.
Exercises
Two players play a scene with an outside observer identifying causes and telling each player what to do next. (E.g., “Because she sneezed, you hand her a tissue.”)
Topics
something that makes a character uniquely identifiable.
A good character is distinct and memorable. You can accomplish this by giving your character a hook.
Exercises
Close your eyes and imagine a day in the life of your character. Then, write a first-person journal entry in your character’s personal journal or diary. In addition to writing about the events of the day, include your character’s hopes, fears, and feelings. Repeat the process once a day for a week.
Exercises
Do research into aspects of your character’s life. Create a list of ten things that you learn from the research. Create a “because of that” list for each of the ten items. Turn three of those items into playable actions.
Topics
something said or done to slip quickly into character
When actors perform with an accent, they often have a phrase they say to get into it. You can use a similar approach when playing a character. Find something physical or verbal that makes you feel like your character, and make that your shoehorn. It’s might be anything: a gesture, a facial mask, a costume piece, a catch phrase. Whenever you need to drop into character, simply use your character shoehorn. It’s a basic conditioning technique that helps you get into character quickly and easily.
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