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It’s important to know the character you’re playing. It’s equally important to be flexible. If you find yourself thinking, “My character wouldn’t do that,” don’t let that stop you. There are reasons to do things that feel out of character.
When you identify fictional locations with details and titles, they feel more real. “Home” is generic. “Condo” adds detail. “The condo at Glenwood Estates” conjures up the feel of a real location.
A good way to modulate resistance is by applying the rule of three. If someone wants something, and your response is to resist, limit your resistance to two times before following the request.
When reflecting on scene work or exercises, one person’s observation is sometimes followed by several others chiming in with the same observation stated in different words. This process of voiced agreement eats up precious time. A more efficient way to indicate agreement is with a nodding fist.
Let your body be inspired by an evocative piece of music. Move without resorting to actual dance moves.
Two players stand two arm’s length away from each other and look into each other’s eyes for one minute. Without breaking eye contact, they move to one arm’s length away for one minute. Then they move toe-to-toe, while still looking into each other’s eyes for another minute. Finally they move to where their noses touch, and stay there for one minute.
When you say what it seems like the spect is thinking, you may be right or you may be wrong. If your observation is right, they’ll agree with you. If not, they’ll correct you. Either way, their response clarifies what they’re thinking.