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Players stand in a circle. All turn to the right, facing the back of the person in front of them. Each player puts feet together and takes hold of the hips of the person in front of them. On the count of three, everyone sits on the lap of the person behind them. Then they remove their hands from the hips of the person in front of them. When ready, everyone stands on the count of three.
There’s something elegant about using oblique offers to imply characters, relationships, activities, locations, and objects. However, if implication leaves things ambiguous, it’s hard for others to play. This is why you need the skill of clarifying.
There are plenty of times when you’ll play without having everything fully defined. That’s part of the process of interactive play. But when a lack of clarity gets in the way of your ability to play, a clarifying question is well in order.
When spects play as characters, not themselves, they’re wrapped in the cloak of fiction. Everything they do is the behavior of their character.
”Where did you go for your holiday?”
All players assume a character and then mingle and chat, as though they were at a cocktail party.
At the end of a shower, turn the water to totally cold and don’t flinch. Stand in the spray for one minute, breathing evenly and deeply. Pay attention to what it feels like without judging the feeling as good or bad.
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.