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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.

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Characters need names. It’s how they identify one another. It’s easier to say, “I spoke with Barry,” than “I spoke with that little, funny guy who was here a little bit ago.”

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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.

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resisting twice before following an offer

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.

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moving the fist up and down to indicate agreement

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.

Exercises

Let your body be inspired by an evocative piece of music. Move without resorting to actual dance moves.

Exercises

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.

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make an observation about a thought that someone has not yet voiced

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.

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Encyclopedia of Interactive Performance