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Let’s start by defining “difficult” spects. They’re not spects who are hesitant, unsure, or tentative. These are normal behaviors when spects first begin to play. Basic interactive techniques help these spects become connected, activated, and invested. Difficult spects are those who challenge the standard tools.
Exercises
A scene is played in which Player A is the inter-actor and Player B plays as a difficult spect.
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Interactive performances need spects. It only makes sense that you also need spects when you train. During rehearsals and performances, the spect wrangler coordinates the spects. When you’re training and there isn’t a spect wrangler, it’s up to you.
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When you finish playing with spects, as wonderful as the experience may have been, the most significant value is still waiting to be had—the opportunity for spects to reflect on the journey they just traveled. This not only serves spects by giving them the time to consider their experience, it also provides you with valuable feedback to hone your interactive skills. Whenever possible, debrief spects after playing with them.
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A magician climbs the steps to a platform, high above the stage. He is covered with a cloth. There’s no place he can hide. The platform is raised up into the air. At this point, if you try to figure out how the magician is going to disappear, you’re too late. It doesn’t matter how closely you watch. The trick has already been done.
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When spects play as characters, they’re freed to say and do anything. They no longer need to worry what others might think because they’re playing as characters, not themselves. Spects can play in whatever way they like, and when it’s over, chalk it all up to the character.
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In interactive performance, spects are co-creators of the story. When they initiate offers on their own, spects are activated. Some spects are fully activated from the get go. They’re saying and doing things all on their own. However, most spects have some degree of hesitation. Here are ways to activate spects when you need to.
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Fiction isn’t real, but spects still need to care about it as if it were. Stories are more compelling when everyone cares about the fiction. This is why spects need to become invested.
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Spects are your co-creators. You want them making offers. When they do, the way you respond depends on how they’re playing. Here are some good rules of thumb.
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a spect who tries to be funny at the expense of the story
Comedian spects are easy to spot. They make jokes and comments that put them outside the story. Their acting is fake and disconnected. This can be appropriate in certain genres, such as farce, melodrama, and telenovela. However, it can be frustrating to play for keeps while the comedian plays in a disconnected fashion. There are ways to work with comedians, but first let’s consider why they play in this way at all.
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