The Encyclopedia of Interactive Performance

When someone does something and your emotion changes, that’s “taking the hit.” It’s a bit like stunt fighting. Someone else tries to affect your character, and you complete the illusion by taking the hit.

Elwood is relaxing in his chair. Cassandra approaches and exclaims, “Congratulations! You’ve won first prize!” Elwood’s face lights up. He jumps to his feet, pumps his fist, and exclaims, “Yes!”

You can take the hit when others are trying to impact you, but you can also do it when they’re not. Taking the hit off an ordinary offer gives it more weight.

Louis and Maya are on the plane. Louis turns to Maya and says, “We’ll be home soon.” Maya’s brows furrow. “I know” she replies with a worried tone of voice.

Spects don’t always make the most potent offers. Taking the hit makes ordinary offers interesting. When taking the hit off the ordinary, you don’t need to figure out why first. Go before you know. Take the hit, then justify why after. It’s easier to justify once you’ve embodied the change.

You can also take the hit concurrently. Show how you feeling change while spects are speaking. When your hits are aligned with spects’ perspectives, they feel supported. When your hits are at odds, they feel the need to explain more. Either way, it makes spects feel like you’re engaged with what they’re saying.

You don’t even need others to make offers to use this tool. You can make a discovery and take the hit off that.

Pierre is enjoying a glass of wine at a cafe. He discovers a newspaper on the table next to him. His eyes widen and he gasps. His picture is plastered across the front of the page, the headline identifying him as a terrorist.

When you want a moment to feel significant—take the hit.