The Encyclopedia of Interactive Performance

Some interactive forms are played in imagined worlds where the location lives in the imagination. Engaging with imaginary elements in the environment is referred to as space work.

Space work can be used to establish locations and activities, keep players from becoming talking heads, and get spects physically activated.

Pantomime skills are a part of space work, but it’s more naturalistic than the stylized work often associated with mime. Here are a few tips to get you started.

The hand mirrors the object – When you hold imaginary props, let your hand assume the shape of the object it holds. If it’s a curved object, the hand curves. If the object has flat surfaces, the hand is flat. Hold small or thin objects at the fingertips and large ones with the full hand.

Tension communicates presence – A bit of extra tension reinforces the illusion of the object’s presence. The relaxed hand locks into position when taking hold of an object. Maintain the tension in the hand while holding the object. When setting it down, the hand releases the tension.

Use the whole body – Do space work with more than just your hands. Use other parts of your body. Hold the door open with your hip; close the cupboard with your knee.

Maintain objects in space – Be careful that objects don’t appear and vanish. When you need an object, pick it up. When you’re done with it, put it away. Pay attention to large space-work objects too. Remember where imaginary tables, counters, walls, and doorways are established. it breaks the illusion when you walk through the space where a large object existed earlier. When playing on a proscenium stage, it’s good practice to place large space-work elements like counters and cupboards downstage. This keeps players from upstaging themselves when they engage with the imaginary set.

Clarifying the invisible

Space work communicates imaginary props and sets through implication. However, what’s obvious to you may be ambiguous to others, which inhibits their ability to play. Here are some ways to keep your space work clear.

Slow down and be specific – The most common problem with space work is speed and generality. Fast, generalized movement is hard to interpret. Slow down. Be precise and specific in your movement. This makes it easier for others to understand what you’re doing.

Model the use – If you want others to engage with an invisible prop, it helps when you model how it’s used.

Juliet picks up a space work object and dabs it on her wrist. She sniffs her wrist. “Ooh, that’s nice.” Juliet hands the object to Alma, “What do you think?” Alma smells it and makes a face. “Seems kind of strong.”

Oblique and clarify – Space work can be useful when establishing an object, location, or activity. If other players seem unclear about what’s been implied, follow up with a defined offer to make it explicitly clear. Name what can’t be seen.

Reggie glances around to make sure he and the spect aren’t being observed. Then, he pulls a space work object out of his jacket pocket. “Here’s my cash. Where’s yours?” The spect pulls out some imaginary money and says, “It’s right here.” Reggie pulls something else from his pocket. He shakes it in his loose fist. “I’ll even let you shoot first.” Reggie holds out his fist and clarifies, “My lucky dice.” He drops them in the spects hand. “How much you gonna bet?”

Playing with space work

Mind the sightlines – When doing space work, keep the action visible to spects and other players so they know what’s going on. If there’s an audience, put objects downstage so they can continue to see the players faces as they engage with the objects. You can make things magical by using your peripheral vision to take in another player’s space work. When you engage with an invisible object that you (apparently) didn’t see established, it makes the imaginary world seem even more real.

Have what you need – When using space work objects, there’s no need to walk to the far side of the performance space to get what you need. It’s all imaginary anyway, so use the fanny pack principle—anything you need can be within arm’s reach. Need a hammer? It’s right next to you on the workbench or holstered in your tool belt.

Walk and chew gum – When doing space work, it’s tempting to talk about the activity you’re engaged in. Use language to clarify, but don’t spend the entire scene talking about the activity. Instead, walk and chew gum—talk about something other than what you’re doing.

Get the spect active – It’s fine to start off a scene by doing space work yourself, but don’t forget about the spect. If there’s something to be done, get the spect involved too. The reverse scalpel is a useful tool to help get spects physically engaged in the story world.

The spect decides the outcome – A fringe benefit of space work is that it allows spects to decide details of imagined physical elements. Invisible outcomes, like the hand they’ve been dealt in a poker game, can be decided by the spect. They can also determine content of invisible props, such as pictures, letters, and reports.

Amanda has been tested for a possible STD. Instead of announcing the outcome, her doctor hands the space-work test results to Amanda. She looks them over, and breathes a sigh of relief.

Space work can be an effective way to establish elements of imagined-world stories. It’s also a way to get spects physically activated. When sets, props, and costumes live within the imagination, anything becomes possible through the process of space work and make believe.