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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.
When playing from a scenario, you also follow the spect. This may take you far off the scripted path which is a good thing because it puts spects in the driver’s seat of the story. However, sometimes you need to get back to a scripted plot point or introduce an important story element. Bridging is a way to do this while making it feel as though it was the spect who got you there.
The beginning and middle of a story are described. Then, a randomly selected story ending is chosen and played out.
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.
Player B tells a story while Player A exhibits concurrent emotions related to the events of the story.
Presents the history, techniques, and principals of the interactive form, Playback Theatre, developed by Jonathon Fox, in which stories told by the audience are “played back” by improvisational performers. Includes chapters on ritual, use of music, and conducting.
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.
Everything that happens within the context of the narrative is treated as fictional, whether it is true in real life or not.