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Improv Games

2 Headed Expert Interview (one voice)

Two players combine to become a single entity with two heads. The 2 headed Expert speaks by the two players saying the same thing at the same time. The person is an expert in a field of study and is being interviewed about their expertise by a third player.

Game Genre(s)

Restriction

Set Pieces/Props Required 

Chairs (optional)

Rules

  • Two players put their arms around each other and become a single person (the 2 Headed Expert)

  • Whenever speaking, the 2 Headed Expert does so by each person saying the same words at the same

  • A third player acts as an interviewer, asking questions of the 2 Headed Expert about themselves and their area of expertise

Number of Performers Required 

3

Suggested/Required Opening Offer Request(s) 

What is the area of expertise of the 2 Headed Expert?

Example Introduction

This game is called “Two Headed Expert”. For this, Player A and Player B will merge together and become a single entity, speaking at the same time in “perfect” synchronicity. Now this individual is an expert in a particular field and is being interviewed by Player C. What is the area of expertise of the Two Headed Expert?

General Notes

  • Avoid focusing on the fact (or even bringing up in the scene) that the expert has two heads. The joy of the game is the two performers trying to work together to create the sentences. Rather, treat them as a normal person with one head and let the fun of the two performers trying to be on the same wavelength bring the fun.

  • Following the previous point, the 2 Headed Expert should refer to themselves in the singular I rather than the plural we - it is a single person after all.

  • Making the setup of the scene a television or live presentation with an audience opens more opportunities to play out and acknowledge the actual audience. It is possible however to also perform it in a more scenic fashion where the two are alone in some location conducting the interview.

  • When playing the 2 Headed Expert:

  • When speaking in one voice, neither player should lead or follow - often easier in theory than in practice, but the key is to try and achieve it.

  • Avoid trying to dictate the speech and instead trying to figure out where both you and your scene partner are trying to say. This method will lead to more “group mind” moments, where it seems like magic that the two know just what to say.

  • Tip of the Tongue techniques can be really useful here to find the next word together

  • Be sure to vary the tone, pacing and manner in which you speak; this is a 2 Headed person, not a monosyllabic robot. Emotion, pausing, volume, intonation, there is a lot to work with so use it to the fullest.

  • Eye contact is really useful between the players portraying the 2 Headed Expert to check in and help find what to say next, but try to avoid spending the entire scene looking into each others eyes (plenty of time for that after the show).

  • The 2 Headed Expert can also be physical: stand up, walk around, dance, and more. One player doing an action on the other (e.g. one player scratching the others chin) is also immensely enjoyable. Just be mindful of your scene partners comfort levels when it comes to physical activity and types of physical contact.

  • For the Interviewer:

  • With the field of study known, consider what your role is: are you a television host (if so, what is the title of it and what is it about)? Are you a reporter for someone? Why are you interested in interviewing this expert (note - scene more enjoyable if your character wants to interview this expert)? What information about the topic is important or useful for people to know?

  • Be sure to ask some personal questions of the expert: how they got into their field of study, anything that has been “reported” recently about them, aspects of their history or work they have produced.

  • Often the answers produced might not be clear or unusual (a lot of the fun of the scene); be comfortable clarifying any answers given to help your scene partner, but look for and have fun with any opportunities for unusual facts or ideas that emerge in the answers and follow them.

  • If a show format for the scene, consider throwing questions to the “audience” (either the improv show audience or other performers in your group situated around the room).

  • A nice end for the scene is to allow the expert to share a final, succinct quote for people to always remember in relation to their field. For this, be sure to use the answer given during the scene as reference to draw inspiration.

2 Headed Expert Interview (one word at a time)

Two players combine to become a single entity with two heads. The two players take it in turn to say each word in the sentence when speaking. The person is an expert in a field of study and is being interviewed about their expertise by a third player.

Game Genre(s)

Restriction

Set Pieces/Props Required 

Chairs (optional)

Rules

  • Two players put their arms around each other and become a single person (the 2 Headed Expert)

  • Whenever speaking, the 2 Headed Expert does so by each person taking it in turn to say a single word; they may go back and forth saying single words as many times as they like

  • The players portraying the 2 Headed Expert must not say more than one word before allowing the other to speak, nor should they speak at the same time

  • A third player acts as an interviewer, asking questions of the 2 Headed Expert about themselves and their area of expertise

Number of Performers Required 

3

Suggested/Required Opening Offer Request(s) 

What is the area of expertise of the 2 Headed Expert?

Example Introduction

This game is called “Two Headed Expert”. For this, Player A and Player B will merge together and become a single entity, speaking one-word-at-a-time [indicate the players A and B saying one word each]. Now this individual is an expert in a particular field and is being interviewed by Player C. What is the area of expertise of the Two Headed Expert?

General Notes

  • Avoid focusing on the fact (or even bringing up in the scene) that the expert has two heads. The joy of the game is the two performers trying to work together to create the sentences. Rather, treat them as a normal person with one head and let the fun of the two performers trying to be on the same wavelength bring the fun.

  • Following the previous point, the 2 Headed Expert should refer to themselves in the singular I rather than the plural we - it is a single person after all.

  • Making the setup of the scene a television or live presentation with an audience opens more opportunities to play out and acknowledge the actual audience. It is possible however to also perform it in a more scenic fashion where the two are alone in some location conducting the interview.

  • When playing the 2 Headed Expert:

  • Try to avoid getting a cheap laugh or trying to “win” by intentionally saying a word that doesn’t make sense in context of the previous or makes saying the next word difficult for your scene partner. Not only will this make the scene difficult for your partner and less enjoyable, but makes it difficult to build a scene that can last more than a minute, and can often be less enjoyable to watch. Instead, sincerely try to say a word that makes sense: you will look like geniuses with magical abilities if it makes sense, and if it doesn’t then the audience can see you really tried and it just didn’t work (which they will love).

  • Be sure to vary the tone, pacing and manner in which you speak; this is a 2 Headed person, not a monosyllabic robot. Emotion, pausing, volume, intonation, there is a lot to work with so use it to the fullest.

  • Eye contact is really useful between the players portraying the 2 Headed Expert to check in and help find what to say next, but try to avoid spending the entire scene looking into each others eyes (plenty of time for that after the show).

  • The 2 Headed Expert can also be physical: stand up, walk around, dance, and more. One player doing an action on the other (e.g. one player scratching the others chin) is also immensely enjoyable. Just be mindful of your scene partners comfort levels when it comes to physical activity and types of physical contact.

  • For the Interviewer:

  • With the field of study known, consider what your role is: are you a television host (if so, what is the title of it and what is it about)? Are you a reporter for someone? Why are you interested in interviewing this expert (note - scene more enjoyable if your character wants to interview this expert)? What information about the topic is important or useful for people to know?

  • Be sure to ask some personal questions of the expert: how they got into their field of study, anything that has been “reported” recently about them, aspects of their history or work they have produced.

  • Often the answers produced might not be clear or unusual (a lot of the fun of the scene); be comfortable clarifying any answers given to help your scene partner, but look for and have fun with any opportunities for unusual facts or ideas that emerge in the answers and follow them.

  • If a show format for the scene, consider throwing questions to the “audience” (either the improv show audience or other performers in your group situated around the room).

  • A nice end for the scene is to allow the expert to share a final, succinct quote for people to always remember in relation to their field. For this, be sure to use the answer given during the scene as reference to draw inspiration.

2 Headed Letter (one word at a time)

Four players split into two pairs, with each pair becoming a single entity with two heads. One of the pairs has recently purchased a product they are unhappy with and are writing a complaint letter to the maker of the product (the other players). The two players writing the complaint letter take it in turn to say each word in the sentence when speaking the letter they are writing. Once they have written and sent the letter, the makers will write a response letter in the same fashion.

Game Genre(s)

Restriction

Set Pieces/Props Required 

Chairs (optional)

Rules

  • Two players put their arms around each other and become a single person (the 2 Headed Customer), the other two do the same to become a different person (the 2 Headed Maker/ Company Representative)

  • Whenever speaking, the 2 Headed person do so by each person taking it in turn to say a single word; they may go back and forth saying single words as many times as they like

  • The players portraying the 2 Headed person must not say more than one word before allowing the other to speak, nor should they speak at the same time

  • Each pair gets the opportunity to fully write their letter (starting with “Dear...” ending with “Yours sincerely...” before a response from the other pair)

  • The people are in different places and only communicate via theses letters

Number of Performers Required 

4

Suggested/Required Opening Offer Request(s) 

What is the product the customer recently purchased?

Example Introduction

This game is called “Two Headed Letter”. For this, Player A and Player B will merge together and become a single entity, speaking one-word-at-a-time [indicate the players A and B saying one word each]. Player C and Player D will do the same. Player A and Player B recently purchased a product from Player C and Player D that they aren’t happy with and so are writing a complaint letter. What was the product purchased?

General Notes

  • Avoid focusing on the fact (or even bringing up in the scene) that the people have two heads. The joy of the game is the two performers trying to work together to create the sentences. Rather, treat them as a normal person with one head and let the fun of the two performers trying to be on the same wavelength bring the fun.

  • Following the previous point, the 2 Headed people should refer to themselves in the singular I rather than the plural we - it is a single person after all.

  • Work together when writing the letter physically: type, write with a quill, whatever makes sense.

  • The people are in two different locations. Avoid eye contact with the other pair when they are writing their letter. Instead, be reading the letter and react to what’s being said as if reading it for the first time.

  • Physicality and facial expressions always fun, play with them to show your feelings in the letter you’re writing or reading.

  • In general the letters sent will be:

  • First: initial complaint letter

  • Second: response to the complaint letter

  • Third: response to the response to the complaint letter

  • Fourth: response to the response to the response to the complaint letter

  • (Fifth and sixth letters may be written if host feels energy is high)

  • Be emotional but honest in the letters: we can be silly and exaggerated in our letters while also basing on the reality of what people do/would write in these types of letters.

  • When playing a 2 Headed Person:

  • Try to avoid getting a cheap laugh or trying to “win” by intentionally saying a word that doesn’t make sense in context of the previous or makes saying the next word difficult for your scene partner. Not only will this make the scene difficult for your partner and less enjoyable, but makes it difficult to build a scene that can last more than a minute, and can often be less enjoyable to watch. Instead, sincerely try to say a word that makes sense: you will look like geniuses with magical abilities if it makes sense, and if it doesn’t then the audience can see you really tried and it just didn’t work (which they will love).

  • Be sure to vary the tone, pacing and manner in which you speak; this is a 2 Headed person, not a monosyllabic robot. Emotion, pausing, volume, intonation, there is a lot to work with so use it to the fullest.

  • Eye contact is really useful between the players portraying a 2 Headed person to check in and help find what to say next, but try to avoid spending the entire scene looking into each others eyes (plenty of time for that after the show).

  • A 2 Headed person can also be physical: stand up, walk around, dance, and more. One player doing an action on the other (e.g. one player scratching the others chin) is also immensely enjoyable. Just be mindful of your scene partners comfort levels when it comes to physical activity and types of physical contact.

  • For the Customer:

  • Consider what has gone wrong with the product, how should it be used and why is it not fulfilling its function?

  • Address how this has affected you emotionally and in your daily life

  • Feel free to be silly but keep sound grounded reality (e.g. screwdriver you bought probably wasn’t meant to be used to eat cornflakes, but it not working may have meant you couldn’t put up a bookcase which your book loving partner decided was the final straw and left you).

  • For the Company Person:

  • Be aware of how this complaint might look on you: you don’t need to agree with the complaint, but you may be willing to placate to avoid bad publicity.

ABC

Two players perform a scene, but each line of dialogue must start with the next letter of the alphabet.

Game Genre(s)

Restriction, Character, Scene

Set Pieces/Props Required 

None

Rules

  • A letter of the alphabet is chosen to start on (e.g. B)

  • The two players act out a scene based upon a suggestion from the audience

  • The player who delivers the first line of dialogue must The first word in the first line of dialogue must begin with the letter chosen by the audience (e.g. Ben, so good to see you)

  • The next player the delivers a line of dialogue, the first word of which starts with the next letter of the alphabet after the previous one (e.g. Catherine, it’s been too long!)

  • Continue back and forth, each line of dialogue starting with the best letter, until returning to the first letter chosen for the game

Number of Performers Required 

2

Suggested/Required Opening Offer Request(s) 

A letter of the alphabet to start on - an activity two people might do on the weekend

Example Introduction

This game is called ABC. Player A and Player B are going to act out a scene for you, but every line of dialogue has to begin with the next letter of the alphabet. For example, if Player A’s line starts with the letter ‘B’, Player B’s response would have to start with the letter ‘C’ and so forth. To begin with, could we please have a letter of the alphabet to start on? And now could we please have an activity two people might do on the weekend?

General Notes

  • KNOW YOUR ALPHABET - it’s okay if you struggle with the alphabet for whatever reason, but if you are uncomfortable knowing what letter is next it is best to practice before performing this game. The occasionally slip up - missing a letter, repeating - will be forgiven by the audience and will often add to the fun, but done too often it can come across as either intentionally avoiding letters or that you are struggling.

  • Focus on the scene as two people interacting doing an activity - it is far too easy to let the scene become about two people saying random words with the next letter in the alphabet that starts. The dialogue should relate to the people, their situation, relationship, activity etc.

  • Really listen to what is being said and respond to that, just makes sure you start with the next letter in the alphabet

  • Breathe - while the game shouldn’t take 20 minutes, try to avoid panicking feeling you need to snappily respond instantly. The audience will allow you a few seconds to respond. Look at doing something physical during a quiet point to draw attention while you find your response.

  • Tip of the Tongue techniques can be useful here: you may not know the next word but you know the letter, so start making the sound of the letter and allow your brain to find the word for you.

  • Using the first letter for a sound effect can be fun (e.g. “*buzz* oh, that’ll be the phone for me!”), though make sure not to over use it.

  • There is a temptation to cheat (e.g. for X “eXperts say...”) or to say something tangental to the scene (e.g. “Xylophones are nice. But back to what we were doing...”). While occasionally fun, audiences will feel the players have not really tried to find a word (which can come across as lazy) and it can feel less rewarding for players. Instead, always try to use a word that starts with that letter; if it is initially tangental, find a way to justify it in your scene (e.g. “Working late into the evening I see” “Xylophones aren’t going to test themselves, and you know I take pride in my craft”)

  • X and Z are difficult. If you get one in the scene, you’ll get the other. Become familiar with lots X and Z words (and names) to pull out in the scene; there aren’t too many, and when you use them you will look like the poet and the genius you are!

Alternative Olympics

Based upon either a normal everyday task or any sort of activity that is not a normal sporting event, this game sees 1-2 players compete as “athlete(s)” at the Olympic event for that activity. A commentary team of two call the action play-by-play.

Game Genre(s)

Mime, Physical

Set Pieces/Props Required 

Chairs (optional)

Rules

  • An activity is chosen for the Olympic event

  • Player(s) performing as the athlete physicalises doing the activity in silence

  • The commentary team provided play-by-play calling of the action from offstage

  • Scene will normally begin with athlete warming up and the commentators indicating when the event begins

  • Commentators will announce when the event has ended and if the athlete has won or loss

Number of Performers Required 

3-4

Suggested/Required Opening Offer Request(s) 

Could we please have an everyday task that someone might do? What is normal, regular activity you have to do everyday? What is an activity that you would not expect to see at the Olympics?

Example Introduction

For this game, Alternative Olympics, Player A will be competing at the Olympics but in an event that is rather unusual to find at the grandest sporting event in the world. Player B and Player C will be the commentators provided play-by-play commentary of the action. For you, could we please get a normal, regular activity you do most days?

General Notes

  • Number of Performers Required: 3-4 (2 Commentators, 1-2 athletes)

  • Easier with one athlete, but if there are two then it can be fun to have them as rival athletes and play with the competitive element (just don’t forget to remember that you’re both still trying to “win” the event by completing the task).

  • As this is a sporting event, the commentators can call for things which are common in that presentation format: action replays, close-up shots, slowdown. While being cautious to not overuse, throwing some of these in can make the performance even more fun.

  • During a cut-aways, the action is still technically happening, bear in this in mind when returning to the athlete in the current state: what have they been up to? have they been affected in any way when away from action?

  • For the Athlete:

  • Think of the real-world version of the task you are doing the event for and use that as inspiration. What are the items, equipment, clothing, people, subtasks/steps involved in completing the task?

  • Make sure to really try and do the activity. While it will be an exaggerated version of the normal task, the audience should still be able to see the connection in what you are doing to it.

  • An athlete warms up before competing, consider how you would warm-up to do the task (e.g. what pre steps are required?)

  • The rule of 3 is useful here: to help focus the mind, think of 3 components of the task and ways you could do them.

  • Injuries are often fun (at least, mimed improv ones are). Look for opportunities while doing any part which could be “dangerous” (even if in the real world they would not be). How would that injury appear? What effect would it have on the performance? How would you address it to allow you to continue?

  • Use the space as much as possible - run around, have different parts of the stage correspond to different parts of the task, play with height for added (pretend) danger!

  • Throughout, go for BIG exaggerate physicality: facial expression, body movements, actions, scale of parts of the task or objects within.

  • Feel free to make task/subtasks more dangerous and complex

  • Be sure to listen to the commentators and incorporate where possible, though avoid appearing to listen (as the athletes don’t normally hear the commentary)

  • For the Commentators:

  • Commentators are characters in the scene, with a history and point-of-view. They also have some form of relationship with each other as they work together. In addition to calling the action, feel free to explore that in the dialogue.

  • Often commentary teams of two have one who is an expert but never performed and another a retired professional of the sport.

  • Commentary can talk about the athlete - their background, their history/journey, personality etc - so play with it.

  • Commentators should, however, avoid focusing too much on talking to each other and ignoring the athlete. If too focused on their relationship and back-and-forth, the player performing as the athlete can easily feel abandoned as their actions being ignored give the impression that it is not interesting (which is obviously not true). Balance between focusing on your fellow commentator and the action so that nothing is missed.

  • Be sure to watch what the athlete does and justify what you see - what are they doing, what does it mean and was it successful?

  • The Commentators will indicate when the event has ended - either calling it due to time or noting when the athlete appears to have completed the task. They then decide if the athlete won or not, and can even throw it out to the audience by, for example, asking three members as “countries” to give a score.

As If

A game where 2-3 performers begin acting out a scene based upon an audience suggestion. The scene is then frozen several times and the performers asked to continue the scene but as if their characters or the situation was different (based upon audience members suggestions). One player (or host if there is a dedicated one) offstage will act as the “As If Conductor” freezing the action and stating the next “as if”.

Game Genre(s)

Character, Scene

Set Pieces/Props Required 

None

Rules

  • As If Conductor gets a list of “as if” suggestions from the audience

  • 2-3 players then begin a scene based upon an audience suggestion and establish a Base Reality

  • The As If Conductor calls “freeze” which brings the scene to a temporary halt

  • The performers are then instructed to continue the scene as if something about the reality or situation was different (from the audience supplied list)

  • The performers continue to perform the scene but with the updated context

  • The As If Conductor calls “freeze” again and provides a new “as if”, which the performers continue with

  • Repeat a until either all suggestions used or a good point to end the scene is reached

Number of Performers Required 

3-4

Suggested/Required Opening Offer Request(s) 

Could I get types of film, plays or books? Could I get a some emotions? What could the performers be if not people? Could I get some locations? What are some unusual physical traits a person could have? What are some “as if” the performs could continue the scene as? As an opening offer for the scene, can I please have an occupation, activity or hobby?

Example Introduction

For this game - As If - our players will start by acting out a scene based on your suggestion. At various points the scene will freeze and the players will be asked to continue the scene but “as if” something is different; for example, as if you are cats, as if you are in space, as if this is now a Broadway musical, as if you are suspicious of everyone. What are some “as if” the performs could continue the scene as? As an opening offer for the scene, can I please have an occupation one of your parents did or do?

General Notes

  • Number of Performers Required: 3-4 (1 As If Conductor, 2-3 Performers)

  • Establish your Base Reality. The key to the this game (and similarly ) is for the performers to build up strong characters with points-of-view, relationships, objects and tasks, which will either be directly affected by - or reinterpreted by - the “as if” suggestion.

  • The game gets very silly very quickly with the “as if” element. As such, it is easier and more enjoyable to create a very normal Base Reality to begin (and have a very normal opening offer to start) as it is easier to heighten unusual from normal and the difference will be more greatly emphasised.

  • As If Conductor - give performers space to establish their Base Reality (who where what) before calling first “as if”.

  • When the "as if" involves a significant change (e.g. going from humans to animals, changing time period, genre of film), look at the continued scene as a new interpretation of the story you're telling - you’re telling the same story, just with a slightly different context.

  • e.g. The Lion King is Hamlet as if they performers were animals in Africa in a Disney film

  • Think of how characters like Sherlock, Robin Hood and more have been reinterpreted in new settings and for different audiences

  • If an aspect the Base Reality was altered for an “as if” (e.g. the task being done, vehicle used) and the next “as if” would work with either the original or updated version, then performers can use either, though the most recent can make things easier for the audience. If the new “as if” means the item no longer makes sense, returning to the original Base Reality version should be the default unless, again, it doesn’t make sense and needs to be reimagined.

  • Can be a lot trickier than it seems at first, as it is easy to get caught up focusing on each “as if” and forgetting the characters or story established. Focusing on just the "as if" and not the characters/relationships/stories created can lead to each “as if” feeling unconnected and fall into cliché territory

  • Often easier to get the “as if” list before the start of the scene, though some groups opt to freeze and get the “as if” at that point to emphasise the lack of pre-preparation

  • A good idea to get a varied list of “as if” items (e.g. genres, emotions, locations)

  • Multiple “as if” items suggested by the audience can be combined together to enhance. Use this technique sparingly however and avoid combining very different ideas into one (as this can overwhelm the scene).

  • When stating the next “as if”, the conductor can decide whether the previous one should be dropped (default), or kept and added to. If adding, be sure to clearly state if the next “as if” involves dropping the previous ones or not.

  • Play with the length of time an “as if” is played for: some will really just be a one line joke, others might have a good 30-60 seconds in them. Ideally new “as if” ideas should still be fairly frequent (2-3 every minute).

Beastie Boys Rap

A rap battle game performed either by the group as a whole to the audience or in two teams. The players take turns to deliver lines in a wrap, but only the set-up to the final word; the final word must be guessed and called back by the audience/group and rhyme with an initial starting word provided by the audience. If a player fails to rhyme, a new word is chosen and the game restarts.

Game Genre(s)

Musical, Rhyming

Set Pieces/Props Required 

None

Rules

  • An initial word is chosen as the rhyming word (e.g. “hat”) Version 1 - One Group

  • No teams, all the performers playing out to the audience

  • Group together sing the in-between song: “ba dah, ba dah, ba, dah ba dah ba dah”

  • One person steps forward and presents a setup rap which ends on the initial word (e.g. “I put in on my head, it is my...”)

  • The audience members and fellow performers shout the rhyming word (e.g. “HAT!”)

  • Group together sing the in-between song

  • Another player steps forward and presents a setup rap which ends on a different word that rhymes with the initial word (e.g. “It’s a feline creature, it’s called a...”)

  • The audience members and fellow performers shout the rhyming word (e.g. “CAT!”)

  • Repeat until either the performers can’t think of a rap or it is not guessed correctly; at which point the game is frozen

  • A new word is suggested by the audience (e.g “red”)

  • The game resumes with the new initial word Version 2 - Two Groups

  • The team is split not two groups with 1 person the “Rap Master” (normally also introduces the game and gets the suggestions)

  • A coin toss decides which team goes first

  • Everyone together sing the in-between song

  • One person from the first group steps forward and presents a setup rap which ends on the initial word

  • The audience members and fellow group members shout the rhyming word

  • Everyone together sing the in-between song

  • One person from the second group steps forward and presents a setup rap which ends on a different word that rhymes with the initial word

  • The audience members and fellow group members shout the rhyming word

  • The rap goes back and forth between the groups until a performer can’t think of a rap or it is not guessed correctly; at which point the game is frozen

  • Rap Master gets a new word is suggested by the audience

  • The game resumes with the new initial word, the losing side getting to go first

Number of Performers Required 

All

Suggested/Required Opening Offer Request(s) 

Could we please have a word to rap with?

Example Introduction

For this game, we harken back to the 1980s and the phenomenal rap group The Beastie Boys, famously for each member taking turns to rhyme but all joining in on the final word in each line. For this game, our players will embody the spirit of The Beastie Boys by setting up raps with the final word being said by the other members. Now these end words all have to rhyme, and rhyme with an initial word suggested by you. So, could we please have a word to rap with?

General Notes

  • Number of Performers Required: All (either in two teams or out to the audience)

  • Think of a rhyming word then justify - sometimes a simple “it is this thing” can be helpful.

  • The setups don’t have to form a cohesive narrative or be connected except by the words rhyming - though, if your team is good at the game, that is an optional next step.

  • Have fun with physical actions and playing the character of The Beastie Boys.

  • Energy is key here: in your rapping, in your excitement of others raps, in the in-between song. If you provide the energy, the audience will feed on that and send it back, which will in turn feed the shows energy.

Celebrity Request

A naive game where a performer has to guess which celebrity they are, where they currently are on tour and what their unusual rider request was.

Game Genre(s)

Naive, Character, Scene, Mime, Physical

Set Pieces/Props Required 

None

Rules

  • One player is the Celebrity on tour. They will be asked to leave the room.

  • From the audience, who the celebrity is, along with where they are on tour and what unusual

  • item they have requested on their rider.

  • The Celebrity reenters the room and the scene begins as a two-person scene with them and

  • the Celebrity Manager

  • The Celebrity must first guess who they are (Celebrity Manger and other player give hints)

  • The Celebrity then guesses they are (Celebrity Manger and other player give hints)

  • The Celebrity finally guesses the rider request (Celebrity Manger and other player give hints)

Number of Performers Required 

2

Suggested/Required Opening Offer Request(s) 

A famous person, real or imaginary? A location where this person is currently on tour? What is an unusual item to request on a rider?

Example Introduction

For this game, we’ll need to as Player A to leave the room. Now that they have left, Player A is a very famous celebrity currently on tour and they have a rather unusual rider request. Now of course Player A has no idea what these are and so will need hints from Player B, who will play their manager, along with the other players. Could we please have a real or fictional celebrity? And a location for this tour to be in? And finally an unusual item to request on their rider?

General Notes

  • For the Celebrity, while there are no definitive rules, it is useful to consider the following

  • Some suggestions will be contentious figures a performer might not be comfortable playing and the audience less comfortable watching a scene about.

  • A person the majority of the room know can be more enjoyable as they will better understand the clues. The naive person does not need to be familiar with them.

  • The location and rider request should be unrelated to each other and the celebrity, this allows for two things:

  • It’s not as easy to guess one from the other.

  • There will be more ideas put into the world of the scene and more opportunities for interesting combinations.

  • For location/rider request: detail is wonderful! Although one should be cautious about too much detail, the specificity for these items (e.g. exact location within a building, material rider request item made from) can add to the fun.

  • A great joy from this (and many comedic scenes) is a contrast; bringing together two opposing or very different ideas for something unique. If the naive person comes in as a strong character (physicality, voice, POV) that is vastly different to the celebrity they are this can be hilarious. Once they know whom they are, the person can choose to either keep the character they brought in or act more like the celebrity (the latter making sense if they can do that impression well and will be a source of fun).

  • For the Celebrity Manager:

  • To help build the scene, consider why the celebrity is on location here.

  • You are familiar with the Celebrity: you already know and work with them. Your job depends on them being happy.

  • For the rider request item: you know this is something they always ask for, but were you able to source it or not? What does it mean if you were not able to?

  • As always with naive games, though the player is guessing who they are, the character is not naive and knows the who, where, what. When something said is “incorrect” it is correct (or understandable) in the world of the scene, so be sure to find an in world justification for all incorrect guesses.

  • When giving hints:

  • GO ONE ITEM AT A TIME! Naive games have a lot of spinning plates and it can become easily confusing if giving hints for all the items at the same time. Instead, focus on each of the items to be guessed on their own and avoid moving on until the person has guessed that one correctly. You can of course refer back to something that had been guessed correctly.

  • Subtlety is key - start with gentle hints that the audience will understand that will likely go over the naive person’s head and slowly ramp up to more obvious hints

  • Avoid clues that are completely unrelated to the scene and are designed just to say the item being guessed. While this can be a good technique if a player is struggling to guess - even going so far as to break down the syllables - when done too early and/or too often it can remove the audience from the scene itself and focus instead on just the guessing aspect.

  • Outside players can and should come in to help give hints during the scene, so always be ready to jump in. Be sure to have any hints complement the reality of the scene. It can however become a cacophony of hints if too much outside help happens, so use sparingly.

Chain Murder

The players, through gibberish and mime only, have to communicate a location, occupation and object to one other performer; however, only the first player knows what all three of those are.

Game Genre(s)

Naive, Mime, Physical

Set Pieces/Props Required 

None

Rules

  • All performers but one leave the room.

  • The remaining performer (Player A) gets from the audience a location, occupation and an object.

  • One of the performers from outside (Player B) reenters the room.

  • Player A and Player B start a scene of gibberish and mime in which Player A tries to communicate the location.

  • Once Player B thinks they know what it is, they will give Player A a thumbs-up. Player A reciprocates to acknowledge.

  • Player A and Player B start a scene of gibberish and mime in which Player A tries to communicate the occupation.

  • Once Player B thinks they know what it is, they will give Player A a thumbs-up. Player A reciprocates to acknowledge.

  • Player A and Player B start a scene of gibberish and mime in which Player A tries to communicate the object.

  • Once Player B thinks they know what it is, they will give Player A a thumbs-up. Player B then takes the object and “kills” Player A with it.

  • Player A clears the stage, Player C enters and the cycle repeats with Player B giving the clues and Player C guessing.

  • Continue until everyone has played.

  • Line everyone and ask them to state what they thought each item was, going from the last person in the room to the person who knew what the three were.

Number of Performers Required 

4

Suggested/Required Opening Offer Request(s) 

Could I please have a location? Could I get an occupation? Could I get an object?

Example Introduction

First, let’s have all but one performer leave the room. Now we are left with Player A. In this game, Player A will have to communicate three things - a location, occupation and object - to one of the people out of the room. However, they can only communicate through gibberish and mime. Once they have communicated all three, the person who was guessing will have to communicate to a different person currently outside. This continues until everyone have guessed and we’ll see at the end if we managed to communicate them successfully. Could I please have a location? Could I get an occupation? Could I get an object?

General Notes

  • Number of Performers Required: All (two-person scenes)

  • Classic final game in an Absolute Improv! show.

  • NO SPOKEN LANGUAGE UNTIL THE VERY END.

  • A naive game where it’s about people being physical to give clues.

  • A matter of personal preference, but sometimes fun not to mention the murder part of the game until we see it happen for the first time, as the surprise adds to the fun for the audience.

  • Make sure the location, occupation and object are completely unrelated - helps to avoid scenes looking similar and for things to be easily guessed.

  • Details can be fun and should definitely be considered for the location, occupation and object. There is a balance though, as obviously too much detail is likely to not be passed down the line successfully or easy to communicate. While some lose of detail is fun, if too much is put at the start it can come across to the audience as unrealistic to achieve and so the game is redundant; the audience should believe there is a chance the performers can “succeed”.

  • Have a scene, with characters and objectives. Guesser, join in where you can and have the interaction. This will bring life and engagement to the scene, while making the whole experience more enjoyable.

  • Eye-contact important, especially because there is no talking. Check in with your scene partner to make sure that they are following (if you’re providing clues) and that you don’t miss anything (if you’re trying to guess).

  • A thumbs-up can be used to communicate when the guesser thinks they know what the item is, so make sure to both acknowledge this before moving on to avoid confusion.

  • In general, when someone is guessing and has given the thumbs up, as the person giving the clues it is best to just accept and move on even when you think they haven’t got it, as a no can cause the scene to drag.

  • As the guesser, try sincerely to figure out what the item being communicated is. Misinterpretation is part of the game and an enjoyable part, but wilfully misinterpreting comes across not caring about the game and just “trying” to be funny.

  • Allow your gibberish and physicality be influenced by the specific thing you are giving/ receiving clues on. Communicate the emotions, intentions characters through them. It can often be easier to think of each item guess being its own “mini-scene”.

  • Vary your mimes and clues, try to find a new way of representing the location, occupation or object. If the exact same mimes are seen then this will become less engaging for the audience.

  • The length of time for each two-player scene should decrease over time (e.g. first two players have 2 minutes, next one 1 minute, next only 30 seconds etc). This keeps the pace and energy of the game and avoids any drag that could happen.

  • When going through the items at the end, often best to go one at a time (starting with the last person in to the first player), as it is easier to see where changes happened and in what way.

  • When guessing, feel free to add details you genuinely thought were there, though avoid adding things to “be funny”.

Da Doo Ron Ron

A singing game for four performers based on the classic 1960s track by The Crystals.

Game Genre(s)

Musical, Rhyming

Set Pieces/Props Required 

Musical accompaniment (either live of pre-recorded)

Rules

  • Singing structure:

  • Four players stand up in a row facing the audience

  • All singing “Da Doo Ron Ron, Da Doo Ron Ron”

  • First player in the row sings a line

  • All players sing “Da Doo Ron Ron, Da Doo Ron Ron”

  • Second player in the row sings the next line

  • All players sing “Da Doo Ron Ron, Da Doo Ron Ron”

  • All players sing “Doo Doo Doo Doo Yeah!”

  • Third player sings line

  • All players sing “Doo Doo Doo Doo Yeah!”

  • Fourth player sings line

  • All players sing “Doo Doo Doo Doo Yeah!”

  • First player sings line

  • All players sing “Da Doo Ron Ron, Da Doo Ron Ron”

  • Second player sings a line

  • Pattern repeats until all 4 players have started/ended a verse

  • All players sing “Da Doo Ron Ron, Da Doo Ron Ron”

  • Two main ways to get topic for song:

  • A member of the audience is selected to have a song performed about them (name, occupation, hobby, something they love, embarrassing story)

  • 4 different topics are chosen for each verse; each player assigned a topic their verse should start with.

Number of Performers Required 

4

Suggested/Required Opening Offer Request(s) 

Four topics version: What is something you really love? What is something you really hate? What’s an activity every adult has to do? What’s an activity you never get to do nowadays that would be great? Person Version: What’s your name? What’s the main thing you do (job, vocation)? What’s a hobby you really enjoy? What’s the best thing that’s happened to you recently? What’s an embarrassing story you’re happy to share with a room full of strangers?

Example Introduction

For this game, we’re going to harken back to the 1960s and to the internal classic song by The Crystals “Da Doo Ron Ron”. Unfortunately our players have forgotten the original lyrics, but that’s okay because they’ll create brand new lyrics based upon [topics / person] from the audience.

General Notes

  • AVOID BAD SINGING FOR COMICAL EFFECT. A classic move for those who are less comfortable with regards to their vocal abilities, rather than coming across humorous it can be grating for an audience and come across as not trying. If you try your best - even if you’re not an expert singer - the audience will enjoy and appreciate it more. Let the comedy come in the lyrics you sing.

  • I generally, avoid clicking fingers, as it’s easy for that to get out of sync or (far worse) be on the 1 and 3 counts.

  • Movement as a group is good, although make sure deliberate and in sync where possible. Random sways or shuffles not to the rhythm can become distracting.

  • Energy and fun is the key - this is a fun, silly song so be sure to make eye contact with your fellow players and enjoy yourself.

  • Rhyming structure does not need to be strict (especially if starting out) as timing and melodic sound will be more noticeable. However, for those who are ready, a rhyme structure of A A B B A or A A B B B can work well.

  • If doing the version based on an audience member:

  • Be polite and patient with them where getting information, avoiding pushing them to reveal anything they are not comfortable with. At the same time, make sure to keep control as it is your show and not theirs.

  • It is also important to be respectful of the person when singing: it might be fun to make out they are a horrible person who commits atrocious acts in the context of the song, but remember there is still a real person there that this is being sung about. There will of course be opportunities to be slightly tongue-in-cheek (an no doubt the audience member will enjoy the joke), just remember not to take things too far.

Debate

Two players debate a “hot topic” from the audience.

Game Genre(s)

Character, Scene

Set Pieces/Props Required 

None

Rules

  • A topic is chosen for the debate to be about

  • The two players who will be the Debaters stand on opposite sides of the room

  • The Moderator introduces the audience to the debate and the debaters

  • Moderator assigns each Debater their name, character and if they are for or against

  • Each Debater takes it in turn to present their opening arguments

  • The Moderator asks a few questions of the Debaters around the topic and their stance

  • Questions can be taken from the audience

  • The Debaters give their closing arguments

  • The Moderator then asks the audience to vote whether they are for or against the topic

Number of Performers Required 

3

Suggested/Required Opening Offer Request(s) 

What is a subject that someone can be for or against (e.g. condiments, plastic straws)?

Example Introduction

For this game, we’re going to have a Debate. For this, Player A and Player will be our debaters, while Player C will act as moderator. For this, could we please get a topic which people can be for or against, for example adding pineapple onto pizza?

General Notes

  • Number of Performers Required: 3 (2 Debaters, 1 Moderator)

  • For the topic, choose something that a person can clearly be for or against. This makes it much easier and clearer to see the opposing ideas.

  • Avoid genuine, high-profile real world problems. Aside from serious topics potentially causing uncomfortableness in the room, the fun of the game comes from taking tribal topics and treating them with the sincerity and importance of actual real-world issues.

  • Treat the topic as serious, no matter how silly or trivial it really is: in the world of the scene, this topic is as genuine a big. Think about the precedents, problems, positives and how this affects people, animals or the environment. Feel free to map an actual topic that would be a matter for debate and some of the arguments that are made in that.

  • The Debaters are characters, consider their jobs, history, family, social life, point-of-view, hobbies, scandals, accomplishments when playing as and playing opposite; this extra detail is not only fun to play but easily adds depth to the debate, their reasons for their point of view, and the relationship between them during the scene.

Directors

A game in which 2 players act out a scene, but each have their own personal Director who will interject to offer their directorial tips to heighten their performance.

Game Genre(s)

Character, Scene

Set Pieces/Props Required 

Chairs (x2)

Rules

  • Two chairs placed stage right and stage left

  • A player sits in each chair - they will be the Directors

  • The two other players stand downstage centre - the will be the Actors

  • The Director/Actor combination should be the nearest pair

  • A title for a new film is got from the audience

  • The Actors begin a scene from the film and establish a Base Reality

  • After around 1 minute, one of the Directors will call “Cut!”

  • The Directors step downstage and their respective actor joins them

  • The Director who called cut gives their actor feedback first, followed by the other Director

  • The Directors sit back in their chairs. The one who called “cut" will instruct if redoing the scene, picking up from that point or jumping to later in the film, followed by “Action!”

  • The actors resume acting in the movie, incorporating the feedback they have received

  • Repeat two more times

  • Once come to a nice end, one or both Directors shout “Cut - That’s a Wrap!”

Number of Performers Required 

4

Suggested/Required Opening Offer Request(s) 

The title of a movie that does not exist yet? What’s a movie you would love someone to make?

Example Introduction

It’s movie time folks! For this game, Player A and Player B are actors in a brand new film and we’re witnessing it being made. Now these are such high profile actors that they each have their own director: Player C is Player A’s director, while Player D is Player B’s. During the course of filming the directors will call cut and give some useful directions to their respective actor to heighten their performance. Now what we need from you to get started is the title of a movie that does not exist yet.

General Notes

  • Number of Performers Required: 4 (2 Actors, 2 Directors)

  • Directors:

  • In general, want to have at most three cuts in a scene.

  • Give space at the start for the players to establish a Base Reality before the first cut. Later cuts can be quicker but time should still be given for the actors to do the scene.

  • Avoid spending more than 30 seconds per Director/Actor interaction; longer than this can cause the game to drag.

  • Remember that while the other Director/Actor interaction is happening to remain “in the moment”: avoid just dropping character and staring at them, instead continue your “conversation" but in silence.

  • Be a character, this a great opportunity to have a little fun as a type of director.

  • When giving directions, remember it is to the “actor" and not the player

  • Generally directions will start with “Play the scene more like/with a...” and can compliment what has been said, an unused idea, a running joke in the show or something left-field.

  • Listen to what the other Director offers to their actor. While your directions do not need to match or compliment, it is good to still be aware of what is happening and opportunities to enhance.

  • Add/remove/tweak previous advice in each cut.

  • Be sure to have a dialogue with the actor - you are they personal director so know them well and worked with that actor before.

  • Avoid suggestions the actor do something that could fall into inappropriate territory. Remember this is still a comedy show where all the players work together and you are supporting your fellow partners.

  • Know the player as a particular talent or skill (e.g. physicality, rapping)? Feel free to direct them to do that in the scene - it will make them look good and in turn everyone else.

  • Equally, avoid forcing someone to do something you know they’re uncomfortable with - that’s not smart or cool.

  • Make sure to take turns who calls “cut”.

  • Actors

  • You’re playing not one but two characters in this scene: the actor and the character in the film being made. For added fun, having these characters being distinct with their own voice, physicality and mannerism is wonderful.

  • As a character, you also have a point-of-view, history and personality - let this come out in when talking to your director.

  • Try sincerely to do the instructions that your director gives you; even if you struggle, the audience will appreciate the effort and enjoy the attempt (especially if you “fail” - audiences can be cruel!).

  • Director who calls “cut” will generally call “action”. They should also specify whether the actors are to redo a scene or move on to a different one (giving some details of what that is).

  • For scene energy, often good to go to a pivotal point of the film. Feel free to jump to a scene with high action or emotion.

  • For the final scene of the game, often ideal to jump to the “final scene” of the film for a sense of closure.

Entrances and Exits

A game that focuses on quick transitions, justification, and specific cues for players to enter or leave the scene.

Game Genre(s)

Restriction, Character, Scene

Set Pieces/Props Required 

None

Rules

  • Assigned Word/Cue: Each performer (who may or may not be on stage initially) is typically assigned a specific word.

  • Entry/Exit Trigger: If a performer hears their assigned word spoken in the scene:If they are offstage, they must enter the scene.
    If they are onstage, they must exit the scene.

  • No Self-Triggering: A performer usually cannot use their own word to force themselves to enter or exit.

  • Justification: Every entrance and exit should be justified within the scene. Players don't just randomly walk on or off; they need a believable reason for why their character is coming or going at that moment, incorporating the dialogue that triggered their move.

  • Scene Continuation: The goal is to keep the scene flowing and make sense, even with the rapid changes in who is on stage. The game should complicate the narrative, not derail it.

Number of Performers Required 

3

Suggested/Required Opening Offer Request(s) 

  • One unique, unrelated word for each player.

  • A location

Example Introduction

Next up, our improvisers will be trying to hold a scene together, but here's the twist: each of them has a secret word. If you hear someone say that word, the improviser who 'owns' it must either enter the scene if they're offstage, or exit the scene if they're already on it. They have to make sense of it all on the fly. Let's see how well they can keep up when the stage is a revolving door!

General Notes

Choose words unrelated to each other, or the scene offer.

First Date

The performers re-enact the blossoming romance and first date of a couple in the audience, with a bell and horn to guide the scene.

Game Genre(s)

Audience Participation, Character, Scene

Set Pieces/Props Required 

Bell and Horn (or equivalent)

Rules

  • A couple is chosen from the audience and briefly interviewed.

  • The performers act out the first meeting (and first date) of the couple.

  • The couple guide the scene with use of a Bell and Horn:

  • Bell: used when the performers do or say something that is either exactly what happened or close to reality.

  • Horn: used when the performers do or say something that did not happen, is incorrect, or not close to reality.

  • Both members of the couple should be able to access the Bell and Horn.

  • When the Horn is sounded, the performer who last spoke or did an action must discard their previous choice and choose a new one (continue until Bell is rung).

Number of Performers Required 

4+

Suggested/Required Opening Offer Request(s) 

Do we have any couples in the audience? Interview: What are your names? How long have you been a couple? Where roughly where did you meet? What roughly was your first date? What do you do as a profession or vocation? What hobbies do you have? [If applicable] what did you study at college/university? What one word would you use to describe your partner?

Example Introduction

For this game we need two members of the audience, a couple, to help us. Do we have audience members who would like to help out? [Select audience members, conduct interview using questions above] Thank you so much, now the reason for asking all those questions is that our performers will now re-enact your blossoming romance. To help them along, we have this bell and horn for you: if the player do or say something that didn’t happen or is just not right, give a hunk of the horn [demonstrate] and they will change it until they hear the bell [demonstration] which means that’s exactly how it happened, or is generally correct. Now make sure to have access to both of those, as we’ve found couples have different memories of the past at times. Folks, please put your hands together for the blossoming romance of [couples names].

General Notes

  • Number of Performers Required: 4+ performers (2 performers as the couple) 2 audience members (couple)

  • Before starting the game, you can have a practice using an obvious example of truth for the couple to try using the Bell (and similar obvious lie for the horn).

  • The performers who play the couple should only play those characters in the scene, as it makes things simpler for the audience couple to know who to Bell/Horn. Other performers can, and should, play multiple characters.

  • Make strong assertions about the people: what they like/dislike, what they think of the other person, where they are, what they are doing, their thoughts and opinions, opinions on relationships, their dating history etc. The key is STATEMENTS!

  • Game has multiple scenes, with performers changing scenes with “meanwhile...”, “cut to...”, or “[time period] later...”

  • Useful to have two separate scenes at the start introducing the of the couple separately before having their first meet. This is an opportunity for us to make a lot of assertions and to discover more about each person.

Foreign Poet

Two players, one a gibberish-speaking poet and the other their translator.

Game Genre(s)

Mime, Physical, Character, Scene

Set Pieces/Props Required 

Chairs (x2)

Rules

  • The Poet Recites (in Gibberish): The Foreign Poet steps forward and, often with great gravitas, emotion, and physicality, begins to recite their "poem" in gibberish. This gibberish should sound like a real language, complete with intonation, pauses, and a sense of rhythm, as if it truly means something profound. They perform a line or a short "stanza" of their gibberish poem.

  • The Translator Translates: After the Poet delivers a line or two, the Translator steps forward and translates what the Poet "just said" into the local language (e.g., English, Spanish, Catalan, depending on your location!). The translator listens carefully to the Poet's emotion, rhythm, and gestures, and then justifies what the Poet "meant" with a poetic translation. The translation often contrasts humorously with the gibberish, or it might take the scene in an unexpected direction.

  • Back and Forth: The Poet and Translator continue this back-and-forth, line by line or stanza by stanza, building the poem together. The Translator should continue to be inspired by the Poet's delivery, and the Poet should try to give the Translator clear "offers" through their gibberish and physicality.

  • Climax and Bow: The game continues until the poem reaches a natural conclusion or the host calls "Scene." The Poet and Translator often take a dramatic bow, having created a unique and often hilarious piece of "poetry."

Number of Performers Required 

2

Suggested/Required Opening Offer Request(s) 

(Optional but common): Ask the audience for a title for a poem. This gives the Poet a jumping-off point.

Example Introduction

This is a beautiful game for two of our improvisers. One will be our passionate Foreign Poet, who will recite an original poem in a completely made-up language, full of emotion and dramatic flair. Their partner, our brave Translator, will then step forward and interpret what the Poet just said into English, on the spot! It's a hilarious and often surprisingly profound journey into spontaneous poetry.

General Notes

  • Tip: more responsibility on translator / poet be as physical as possible but pause for translation

Game Show

One person is guesting on a wacky game show, with a host and helpful assistant.

Game Genre(s)

Naive, Character, Scene, Mime, Physical

Set Pieces/Props Required 

None

Rules

  • The Host: One improviser takes on the role of the charismatic, high-energy game show host, guiding the action and giving clues to the contestant.

  • The Contestant: One improviser is our bewildered but enthusiastic contestant. The twist? This contestant knows absolutely nothing about who they are or what they're "won" at the start of the game!

  • The Wonderful Assistant: Third improviser who helps with all the "game show-y" things - opening curtains, pointing at things, demonstrating, and giving clues throughout.

  • The Secrets (Audience Suggestions): Before the game starts, while the contestant is out of the room, the audience will provide three distinct pieces of information about the contestant:

Where they are from.
What their unusual job is.
The bizarre prize they may or may not win.


Host guides the scene as we move through the various stages of the game show, relevant to the offer (maybe the game show is called "Ring of Fire" and the contestant has to progressively get past more challening fire tasks). Do a meet & greet with the contestant to start to learn where they're form, then round 1 of the game show, then naive triat 2 (their job), then round 2 of the game show. Decide if they have won the prize or not, then open the curtains and reveal the thing they have/haven't won and they have to guess what it is as they react.

Number of Performers Required 

3

Suggested/Required Opening Offer Request(s) 

3 things about the contestant:

Location
Job
Prize

Example Introduction

Alright, folks, get ready to play along from your seats, because our next game is 'Game Show!' Our improvisers are about to transform into a high-octane host and some truly unique contestants. Our host will invent a brand-new, completely ridiculous game show right before your eyes, complete with impossible rules, even more impossible questions, and prizes you absolutely do not want to win. It's fast, it's frantic, and it's guaranteed to be a whole lot of fun. Let's get ready to play!

General Notes

  • The host needs to be a master at dropping hints, setting up scenes, and maintaining energy without giving everything away too soon.

  • The contestant must fully commit to their character's confusion and journey of discovery, genuinely trying to figure things out.

  • Assistant is the supportive glue that holds it all together!

Genre Replay

A scene where two players respond to each other's lines, each time adopting the style of a new, rapidly changing genre suggested by the audience

Game Genre(s)

Character, Scene

Set Pieces/Props Required 

None

Rules

  • Two Players: Two improvisers start a scene.

  • Scene 1: They begin a simple, grounded conversation. Scene ends (about 90s).

  • Host Calls Genre: The host (or designated offstage player) calls out a new genre.

  • Reply in Genre: The scene is run again in the style of the new genre.

  • Maintain Narrative (Loosely): While the genre shifts wildly, players should try to maintain some semblance of the ongoing scene's narrative and/or relationship.

Number of Performers Required 

2-3

Suggested/Required Opening Offer Request(s) 

  • A simple location: (e.g., "a kitchen," "a park bench," "a waiting room")

  • A relationship between the two players: (e.g., "siblings," "first date," "boss and employee," "rival spies")

  • A list of varied genres: This is crucial! Ask the audience for a minimum of 5-7 distinct genres (e.g., "film noir," "musical," "western," "horror," "romantic comedy," "documentary," "children's TV show," "Shakespearean tragedy," "action movie," "romance novel").

Example Introduction

Get ready for a wild ride through cinematic history! We'll need your help for this next one. First, give us a location for our scene... And now, what's the relationship between these two characters?... Fantastic! Finally, shout out a few of your favorite movie or TV genres – the crazier the mix, the better!

General Notes

  • Listen to the Genre: Fully commit to the genre called out. Don't just tack on a word; embody the character and style.

  • Listen to the Scene: While genre is king, try to keep the core of the scene's content or relationship loosely connected.

  • Be Bold with Choices: When calling a genre, pick something distinct and inspiring. When playing, dive headfirst into the new persona.

  • Physicality Matters: Don't just change your voice; let your body react to the new genre (e.g., rigid for horror, sweeping for musical).

Good / Bad / Ugly Advice

TBC

Game Genre(s)

Character, Scene

Set Pieces/Props Required 

Chairs (x3)

Rules

  • TBC

Number of Performers Required 

4

Suggested/Required Opening Offer Request(s) 

TBC

Example Introduction

TBC

General Notes

  • TBC

Hands

TBC

Game Genre(s)

Audience Participation, Mime, Physical

Set Pieces/Props Required 

None

Rules

  • TBC

Number of Performers Required 

4

Suggested/Required Opening Offer Request(s) 

TBC

Example Introduction

TBC

General Notes

  • TBC

Hoedown

TBC

Game Genre(s)

Musical, Rhyming

Set Pieces/Props Required 

None

Rules

  • TBC

Number of Performers Required 

4

Suggested/Required Opening Offer Request(s) 

TBC

Example Introduction

TBC

General Notes

  • One word suggestion

Human Puppets

Two performers will act out a scene but cannot move any part of their body (the puppets). Instead, two audience members are brought on stage and assigned to a performer each to move.

Game Genre(s)

Audience Participation Mime, Physical

Set Pieces/Props Required 

None

Rules

  • The two performers cannot move any part of their body during the scene (except blinking and moving their mouth to speak).

  • The audience members can move their “puppet” by either tapping a limb towards the direction to move (e.g. back of the knee to step that foot forward) or gently moving the body part.

  • Rules of decency should be followed (no inappropriate touching or intentional sexual act), non-violence (don’t get the performers to hit or kick) and gravity must be observed

Number of Performers Required 

4

Suggested/Required Opening Offer Request(s) 

Can I get a task that requires two people to do?

Example Introduction

For this game, Player A and Player B will act out a scene, however they cannot move any part of their body. Instead, two audience members will become their puppet masters. Can I get two volunteers? [Select audience members, assign them to a player each and get them to stand behind that player] Our performers are puppets and you are the puppet masters, meaning they only move when you tap them on a part of the body you wish to move. For example, if you want them to step forward, tap them on the back of the leg like this. You can do this as much as you like throughout the scene. Now if you could put them into a starting position, and from the audience could I please have a task that requires two people to complete?

General Notes

  • Number of Performers Required: 2 performers 2 audience members

  • On audience members: this game can be problematic with certain audience members who might not have the performers’ safety, well-being or considerations in mind. Avoid selecting people who might put performers into problematic positions. This is difficult to do and comes with practice and filing the room, but certainly any audience member making any inappropriate suggestion throughout the show should not be selected.

  • As a puppet

  • Justify every position. You are in this position because your character has chosen it, so say why you are in this position (e.g. “time for yoga!”)

  • Avoid “describing” the position (e.g. “I am looking down”) but justify why you’re doing the action (“Look at that spider! I’m terrified of spiders!”)

  • You can give clues as to how you “want” to move (e.g. “I wish I could look at you”) but be prepared to justify if not doing it (e.g. “Nope, I can’t, I can’t look at you because of the shame you brought on my family”)

  • Be aware of your physicality, the position you are in and where your scene partner is. While the “game” is that you’re not in control, don’t feel you need to do something that will put yourself or someone else into harms way (e.g. don’t do the splits of you cannot).

  • Remember that audiences are not trained improvisers, as be prepared to justify moves that might seem counter to the story you’ve been telling.

  • Be prepared for three types of audience members: those who move you constantly; those that occasionally move you; those that seem to have forgotten that they are moving you. Throughout, justify the position you are in.

  • On top of all this, keep in mind the reason the two characters are in this scene: a task, a relationship, a revelation. All the character, emotional and stonework we do in any scene still applies here.

  • For the audience members, get their names and make a big deal about their helping out (e.g. “round of applause for John and Jill!”). At the end of the scene ask the audience to show their appreciation again for the audience members.

Interrogation

TBC

Game Genre(s)

Naive, Character, Scene

Set Pieces/Props Required 

Chair

Rules

  • TBC

Number of Performers Required 

3

Suggested/Required Opening Offer Request(s) 

TBC

Example Introduction

TBC

General Notes

  • As always with naive games, though the player is guessing who they are, the character is not naive and knows the who, where, what. When something said is “incorrect” it is correct (or understandable) in the world of the scene, so be sure to find an in world justification for all incorrect guesses.

  • When giving hints:

  • GO ONE ITEM AT A TIME! Naive games have a lot of spinning plates and it can become easily confusing if giving hints for all the items at the same time. Instead, focus on each of the items to be guessed on their own and avoid moving on until the person has guessed that one correctly. You can of course refer back to something that had been guessed correctly.

  • Subtlety is key - start with gentle hints that the audience will understand that will likely go over the naive person’s head and slowly ramp up to more obvious hints

  • Avoid clues that are completely unrelated to the scene and are designed just to say the item being guessed. While this can be a good technique if a player is struggling to guess - even going so far as to break down the syllables - when done too early and/or too often it can remove the audience from the scene itself and focus instead on just the guessing aspect.

  • Outside players can and should come in to help give hints during the scene, so always be ready to jump in. Be sure to have any hints complement the reality of the scene. It can however become a cacophony of hints if too much outside help happens, so use sparingly.

Irish Drinking Song

TBC

Game Genre(s)

Musical, Rhyming

Set Pieces/Props Required 

None

Rules

  • TBC

Number of Performers Required 

4

Suggested/Required Opening Offer Request(s) 

TBC

Example Introduction

TBC

General Notes

  • First, practice tune with “La” and having teacher conduct students

  • Really getting into character can help

  • Do it either about a person in the audience (get name, occupation, hobby something from past) or each person given a topic to sing about

Late For Work

A naive game where a performer has arrived late for their job and has to guess: what activity they were doing that made them late, with which famous person they were doing this activity with and where they were when they did it.

Game Genre(s)

Naive, Character, Scene, Mime, Physical

Set Pieces/Props Required 

None

Rules

  • It is useful to consider the following:

  • Some suggestions will be contentious figures a performer might not be comfortable playing and the audience less comfortable watching a scene about.

  • A person the majority of the room know can be more enjoyable as they will better understand the clues. The naive person does not need to be familiar with them.

  • The three items – activity, celebrity, location – should be unrelated to each other and the work as this allows for two things:

  • It’s not as easy to guess one from the other.

  • There will be more ideas put into the world of the scene and more opportunities for interesting combinations.

  • For activity and location request: detail is wonderful! Although one should be cautious about too much detail, the specificity for these items (e.g. exact location within a building) can add to the fun.

  • Character is always royalty, so feel free to be a big character in each of the roles

  • For the Manager:

  • To help build the scene, be the manager who is in charge, who has a history with these workers, and who cares about employees being late.

  • Make clear when asking for a specific item (e.g. for activity “so what were you doing that made you late?”) and don’t move on until the worker has answered correctly

  • Remember to turn around every so often to the Co-Workers and chastise them if in an unusual position/not working. Opportunity for more verbal clues too.

  • For the Co-Workers

  • Work together on your mimes, it’s not two individuals each giving clues

  • Eye contact and listening is important: with each other and the Late Worker

  • If a clue isn’t helping, try something else

  • When the boss turns around, get back to work immediately. If in an unusual position, justify like an employee who’s been caught (e.g. “just trying to reach this box on the high shelf”).

  • While the Manager is facing the Co-Workers, they may speak and give verbal clues. However, they should be silent when miming.

  • As always with naive games, though the player is guessing who they are, the character is not naive and knows the who, where, what. When something said is “incorrect” it is correct (or understandable) in the world of the scene, so be sure to find an in world justification for all incorrect guesses.

  • When giving hints:

  • GO ONE ITEM AT A TIME! Naive games have a lot of spinning plates and it can become easily confusing if giving hints for all the items at the same time. Instead, focus on each of the items to be guessed on their own and avoid moving on until the person has guessed that one correctly. You can of course refer back to something that had been guessed correctly.

  • Subtlety is key - start with gentle hints that the audience will understand that will likely go over the naive person’s head and slowly ramp up to more obvious hints

  • Avoid clues that are completely unrelated to the scene and are designed just to say the item being guessed. While this can be a good technique if a player is struggling to guess - even going so far as to break down the syllables - when done too early and/or too often it can remove the audience from the scene itself and focus instead on just the guessing aspect.

  • Outside players can and should come in to help give hints during the scene, so always be ready to jump in. Be sure to have any hints complement the reality of the scene. It can however become a cacophony of hints if too much outside help happens, so use sparingly.

Number of Performers Required 

4

Suggested/Required Opening Offer Request(s) 

An activity that might make you late for work? A famous person, real or imaginary? A location where this took place? Where do they work?

Example Introduction

For this game, we’ll need to as Player A to leave the room. Now that they have left, Player A is running late for work. Could we please have an activity that might make you late for work? And a famous person, real or imaginary? And finally a location where this took place? Now of course Player A has no idea what these are and will be interrogated by their boss Player B, however their co-workers Player C and Player D will give them hints throughout to help. [have three items repeated for clarification] Let’s welcome back in Player A [performer reenters] And to start the scene what is the company this person works for?

General Notes

  • Number of Performers RequiredFor the Activity: 4 (1 Late Worker, 1 Manager, 2 Co-Workers)

  • Choose an activity that is appropriate for the audience and the performers are comfortable discussing as one they took part in (as the character)

  • The activity can be mundane (e.g. missed the bus) but the more esoteric a suggestion might be more fun to play (e.g. defeating the dragon Smaug)

More Specific

Two or more performers act out a scene, but at any point the audience can shout “More Specific” and the performer who just spoke or performed an action has to go back and say the line of dialogue/action again but provide more detail.

Game Genre(s)

Audience Participation, Character, Scene

Set Pieces/Props Required 

None

Rules

  • Performers act out scene

  • Any time the audience shouts “More Specific”, the last performer to speak (or make a sound effect or perform an action) must go back and repeat what they said/did but provide more detail

  • Scene does not continue until the audience stops shouting “More Specific”

Number of Performers Required 

2-4

Suggested/Required Opening Offer Request(s) 

A reason for two people meeting?

Example Introduction

In this game our performers will act out a scene, but at any point if someone says a line of dialogue or performs and action that you’d like to see with more detail you can shout “More Specific” and they will do the line or action again but with more detail. [Have performer give example and encourage audience to shout]. Can we have as a suggestion a reason for two people meeting? [Get suggestion] Now let’s see the scene and remember what do you shout? [Have audience shout loudly]

General Notes

  • Remember this is not a game of “New Choice” or “Should’ve Said”: the action or dialogue is not being changed but more elaborated on (e.g. “I have a shirt” can become “I have a blue shirt”/“I have a blue Oasis shirt that’s covered in tears” but not “I do not have a shirt”).

  • Pace you more specific: you may get “More Specific” several times so make sure you have somewhere to go.

  • Rule of 3 useful if being told “More Specific”:

  • 1st time add a little (e.g. “I have a shirt” can become “I have a blue shirt”)

  • 2nd time add a bit more detail (e.g. “I have a blue shirt” becomes “I have a blue Oasis shirt that’s covered in tears”)

  • 3rd time have fun and add lots of detail (e.g.“I have a blue Oasis shirt that’s covered in tears” becomes “I have a blue Oasis shirt I got at a concert in ’94 with a lot of tears because I didn’t realise it was a blur concert and got into a fight with a 6’7” die hard Blur fan who smelled a lot like carrots for some reason”)

  • Be prepared that, if you effectively deliver a minute long monologue, the audience will likely give a “More Specific”. Feel free to momentarily break character to acknowledge ad have fun with the fact the audience is making you do it at this point:

  • Facial expression to show disbelief

  • Allow speed to come into delivery

  • Mock fatigue and/or frustration

  • If your scene partner is being “More Specific” a lot, feel free to quickly jump in a response once they have delivered a line of dialogue – now if the audience shouts it’s you who will need to give more detail.

Number of Words

TBC

Game Genre(s)

Restriction, Character, Scene

Set Pieces/Props Required 

None

Rules

  • TBC

Number of Performers Required 

2-3

Suggested/Required Opening Offer Request(s) 

TBC

Example Introduction

TBC

General Notes

  • TBC

Opera

TBC

Game Genre(s)

Musical & Rhyming, Mime, Physical

Set Pieces/Props Required 

None

Rules

  • TBC

Number of Performers Required 

3

Suggested/Required Opening Offer Request(s) 

TBC

Example Introduction

TBC

General Notes

  • TBC

Opera (Dubbed)

TBC

Game Genre(s)

Musical & Rhyming, Mime, Physical

Set Pieces/Props Required 

None

Rules

  • TBC

Number of Performers Required 

3

Suggested/Required Opening Offer Request(s) 

TBC

Example Introduction

TBC

General Notes

  • Tip: try varying tempo and rhythm

  • Tip: in gibberish, but have an idea what you are singing

  • Tip: physicalise to help tell story

  • Tip: know the key you’re comfortable in (soprano, tenor, baritone)

Pan Right / Pan Left

TBC

Game Genre(s)

Character, Scene

Set Pieces/Props Required 

None

Rules

  • TBC

Number of Performers Required 

4

Suggested/Required Opening Offer Request(s) 

TBC

Example Introduction

TBC

General Notes

  • Key to this scene:

  • Remember starting offer/number etc

  • Remembering what was happening in your scene

  • The idea of action happening while away - person who is the numbered one should initiate

  • Opening Offer:

  • unusual first date / a great discovery / a secret to be revealed / advice

  • moral support (one person offering support to another - what and why?) / race to the finish (task needs to be finished - what and why?) / the fallout (something has happened and watching the fallout - what?) / the talk (2 people somewhere, someone needs to discuss something with the other - what?)

Party Quirks

TBC

Game Genre(s)

Naive, Character, Scene, Mime, Physical

Set Pieces/Props Required 

None

Rules

  • TBC

Number of Performers Required 

4

Suggested/Required Opening Offer Request(s) 

TBC

Example Introduction

TBC

General Notes

  • TBC

Pillars

Two chairs are placed on either side of the stage, on to which two audience members sit. Two performers will act out a scene, during the course of which they will “forget” the next word or phrase and gesture to one of the audience members to supply it.

Game Genre(s)

Audience Participation, Restricted

Set Pieces/Props Required 

Chairs (x2)

Rules

  • The two performers are acting out a scene. Multiple times through the scene, instead of saying the next word, they will gesture to one of the audience members to say a word. The performer will repeat the word and integrate it into the scene.

  • The audience members can say anything they want (within reason) and the performers will work with it

Number of Performers Required 

4

Suggested/Required Opening Offer Request(s) 

Can I get a task that requires two people to do?

Example Introduction

For this game, Player A and Player B will act out a scene, however at certain points they will forget the word they want to use. Thankfully, two audience members will take a seat and provide the missing word. Can I get two volunteers? [Select audience members, have them take a seat them to them] When one of our players gestures to you you say whatever word that comes to mind, for example “Look at my new pet, it’s a...” [gesture, have them say a word, then repeat phrase with word]. Excellent. Now don’t worry about getting it “right” because our performers will make sure whatever you say is right. From the audience could I please have a task that requires two people to complete?

General Notes

  • Number of Performers Required: 2 performers 2 audience members

  • On audience members: this game can be problematic with certain audience members who might not have the performers’ best interests in mind. Avoid selecting people who might say problematic phrases. This is difficult to do and comes with practice and filing the room, but certainly any audience member making inappropriate suggestion throughout the show should not be selected.

  • As a a performer, you do not need to comment that the character has “forgotten” the word, simply do a setup then gesture and integrate into the scene (e.g. “For dinner tonight I made some...” gesture “pizza” “I made some pizza because I know it’s your favourite”)

  • Balance is key:

  • Initially, give more setup to help the audience member an idea of what to say

  • Maybe gesture once every one or two sentences to start, but can be more frequent when the scene goes on

  • Depending on the comfort level of the audience member, can gesture for multiple words in a sentence and without too much setup

  • Avoid long gaps without gesturing to an audience member, otherwise why are they there?

  • When gesturing to an audience member, shyness is very common – remember, these are not trained performers. As such:

  • Give space for them to come up with a word, and be friendly with the word they suggest

  • Avoid being “annoyed” with a suggestion, as it could shut them down

  • Repeat the word loud and clearly so the whole room hears

  • Some audience members might feel intimidated of a performer standing over them throughout, so feel free to crouch and be at their level when getting a word

  • The occasional response of “I have nothing to say” when you get silence is okay, but avoid jumping too quickly to this or using it too often.

  • Some audience members may give non sequesters or the “wrong” word; remember to not chastise but embrace.

  • Justify every word suggested. You said that word because your character has chosen it as it was correct (e.g. “for our anniversary you got me as a present a...” “box” “a box, you know how much I love storing things in boxes! That’s why you took me to a box factory on our first date.”)

  • Avoid the “this is another word/slang for” trap (e.g. “Let me put on a pair of...” “spaghetti” “spaghetti, which is of course slang for Italian shoes”). This is an easy get out for a word that is tricky to make sense but is really just disregarding the suggestion given. The challenge to justify the word is the fun, dismissing it as another word ruins it.

  • Generally each audience member will be assigned a player to provide words for. Stick to this audience member for the first few minutes of the scene them feel free to gesture to the other audience member on occasion. Try to balance though so one person isn’t providing the majority of words.

  • Be aware: for offensives words and terms you do not need to use or repeat them.

  • On top of all this, keep in mind the reason the two characters are in this scene: a task, a relationship, a revelation. All the character, emotional and stonework we do in any scene still applies here.

  • For the audience members, get their names and make a big deal about their helping out (e.g. “round of applause for John and Jill!”). At the end of the scene ask the audience to show their appreciation again for the audience members.

Press Conference

TBC

Game Genre(s)

Naive, Character, Scene

Set Pieces/Props Required 

None

Rules

  • TBC

Number of Performers Required 

All

Suggested/Required Opening Offer Request(s) 

TBC

Example Introduction

TBC

General Notes

  • As always with naive games, though the player is guessing who they are, the character is not naive and knows the who, where, what. When something said is “incorrect” it is correct (or understandable) in the world of the scene, so be sure to find an in world justification for all incorrect guesses.

  • When giving hints:

  • GO ONE ITEM AT A TIME! Naive games have a lot of spinning plates and it can become easily confusing if giving hints for all the items at the same time. Instead, focus on each of the items to be guessed on their own and avoid moving on until the person has guessed that one correctly. You can of course refer back to something that had been guessed correctly.

  • Subtlety is key - start with gentle hints that the audience will understand that will likely go over the naive person’s head and slowly ramp up to more obvious hints

  • Avoid clues that are completely unrelated to the scene and are designed just to say the item being guessed. While this can be a good technique if a player is struggling to guess - even going so far as to break down the syllables - when done too early and/or too often it can remove the audience from the scene itself and focus instead on just the guessing aspect.

  • Outside players can and should come in to help give hints during the scene, so always be ready to jump in. Be sure to have any hints complement the reality of the scene. It can however become a cacophony of hints if too much outside help happens, so use sparingly.

Safari Explorer

A naive game where a performer has to guess where they are exploring, what grave threat has suddenly presented them and what they have in their bag to defeat this threat.

Game Genre(s)

Naive, Character, Scene, Mime, Physical

Set Pieces/Props Required 

None

Rules

  • One player is the Explorer. They will be asked to leave the room.

  • From the audience, where they are exploring, what grave threat has suddenly presented them and what they have in their bag to defeat this threat.

  • The Explorer reenters the room and the scene begins as a two-person scene with them and the Guide.

  • The Explorer must first guess where they are (Guide and other player give hints).

  • The Explorer then guesses what the grave threat is (Guide and other player give hints).

  • The Explorer finally guesses what they have in their bag to defeat the threat (Guide and other player give hints).

  • The Explorer uses the item to defeat the threat to end the game.

Number of Performers Required 

2

Suggested/Required Opening Offer Request(s) 

A location, real or imaginary? A grave threat? What item they have to defeat this threat?

Example Introduction

For this game, we’ll need to as Player A to leave the room. Now that they have left, Player A is a very famous Explorer and visiting a new land for the first time. Now of course Player A has no idea what these are and so will need hints from Player B, who will play their Guide, along with the other players. Could we please have a location real or imaginary to explore ? Now while exploring there will be a grave threat, what is that threat? Thankfully thought the Explorer has something in their bag to defeat the threat, what is it?

General Notes

  • Number of Performers Required: 2 (1 Explorer, 1 Explorer’s Guide) Note - other players should be on hand to step in with hints when needed

  • For location/threat/solution request:

  • Detail is wonderful! Although one should be cautious about too much detail, the specificity for these items (e.g. exact location within a building, material solution item made from) can add to the fun.

  • Some suggestions may be contentious and/or might not be comfortable for the performers to play and the audience less comfortable watching a scene about (i.e. avoid cheap stereotypes)

  • The three requests should be unrelated to each other, this allows for two things:

  • It’s not as easy to guess one from the other.

  • There will be more ideas put into the world of the scene and more opportunities for interesting combinations.

  • THE THREAT IS A GENUINE THREAT! Although the suggestion chosen can be silly (e.g. swarm of bees with nuclear missiles attached) it should be played as a sincere threat. Equally, the item used to defeat the threat, no matter how ridiculous it would be to solve the issue, is a genuine solution (e.g. harmonica “Blues music causes bees to be introspective and learn the errors of their ways, which causes them to dismantle weapons of war”).

  • For Explorer:

  • A big strong character (physicality, voice, POV) is always fun, especially one who has been on many adventures before. This can help with “wrong” guesses, as they can be references to previous trips.

  • A great joy from this (and many comedic scenes) is a contrast; bringing together two opposing or very different ideas for something unique. If the naive person comes in has a strong emotional response to the location and the threat before knowing and it is in conflict with the reality this can be hilarious (e.g. “what a bright, beautiful, lush oasis!” when the location is actually an underground car park).

  • For the Guide:

  • Your character can either already know the Explorer (always fun) or the first time they’ve met, but you know everything about the land, the threat and the item to defeat the threat.

  • To help build the scene, consider why the Explorer is visiting this location.

  • For incorrect solutions, feel free to provide justifications as well (e.g. “this does look similar to Glasgow city centre where we visited last week, but we’re far far away from there now!”)

  • Have fun playing characters – Explorer, Guide and walk-ons – in this world.

  • As always with naive games, though the player is guessing who they are, the character is not naive and knows the who, where, what. When something said is “incorrect” it is correct (or understandable) in the world of the scene, so be sure to find an in world justification for all incorrect guesses.

  • When giving hints:

  • GO ONE ITEM AT A TIME! Naive games have a lot of spinning plates and it can become easily confusing if giving hints for all the items at the same time. Instead, focus on each of the items to be guessed on their own and avoid moving on until the person has guessed that one correctly. You can of course refer back to something that had been guessed correctly.

  • Subtlety is key - start with gentle hints that the audience will understand that will likely go over the naive person’s head and slowly ramp up to more obvious hints

  • Avoid clues that are completely unrelated to the scene and are designed just to say the item being guessed. While this can be a good technique if a player is struggling to guess - even going so far as to break down the syllables - when done too early and/or too often it can remove the audience from the scene itself and focus instead on just the guessing aspect.

  • Outside players can and should come in to help give hints during the scene, so always be ready to jump in. Be sure to have any hints complement the reality of the scene. It can however become a cacophony of hints if too much outside help happens, so use sparingly.

Should’ve Said

Two or more performers act out a scene, but at any point the audience can shout “Should’ve Said” and the performer who just spoke has to go back and say a different line of dialogue.

Game Genre(s)

Audience Participation, Character, Scene

Set Pieces/Props Required 

None

Rules

  • Performers act out scene

  • Any time the audience shouts “Should’ve Said”, the last performer to speak (or make a sound effect or perform an action) must go back and say or do something different

  • Scene does not continue until the audience stops shouting “Should’ve Said”

Number of Performers Required 

2-4

Suggested/Required Opening Offer Request(s) 

A reason for two people meeting?

Example Introduction

In this game our performers will act out a scene, but at any point if you want them to change a line of dialogue said or action performed you can shout “Should’ve Said” and they will change on the spot. [Have performer give example and encourage audience to shout]. Can we have as a suggestion a reason for two people meeting? [Get suggestion] Now let’s see the scene and remember what do you shout? [Have audience shout loudly]

General Notes

  • Rule of 3 - make first 2 changes minor (e.g. “I ate ham” “I ate cheese” “I ate bread”) and, if audience want third change, make it drastic (e.g. “I know i’m adopted”) - this constant should’ve said-ing is a sign they want a big change

  • Once something has been changed, the previous version no longer exists and the new reality accepted (e.g. “I have ham” “I have cheese” shouldn’t be followed by “Where did the ham you had go?”)

  • If your scene partner is being Should’ve Said a lot, feel free to quickly jump in a response once they have delivered a line of dialogue – now if the audience shouts it’s you who will need to change dialogue line

Sit Stand Kneel

TBC

Game Genre(s)

Restriction, Character, Scene

Set Pieces/Props Required 

Chair

Rules

  • TBC

Number of Performers Required 

3-4

Suggested/Required Opening Offer Request(s) 

TBC

Example Introduction

TBC

General Notes

  • TBC

Slideshow

TBC

Game Genre(s)

Mime, Physical, Audience Participation

Set Pieces/Props Required 

Chairs (x2)

Rules

  • TBC

Number of Performers Required 

4+

Suggested/Required Opening Offer Request(s) 

TBC

Example Introduction

TBC

General Notes

  • TBC

Story Story Die

TBC

Game Genre(s)

Restriction

Set Pieces/Props Required 

None

Rules

  • TBC

Number of Performers Required 

All

Suggested/Required Opening Offer Request(s) 

TBC

Example Introduction

TBC

General Notes

  • TBC

Stunt Doubles

TBC

Game Genre(s)

Mime, Physical, Character, Scene

Set Pieces/Props Required 

None

Rules

  • TBC

Number of Performers Required 

4

Suggested/Required Opening Offer Request(s) 

TBC

Example Introduction

TBC

General Notes

  • Scenic Mime/Physicality - Stunt Doubles (Tip: for people doing physicality, make actions exaggerated/larger than normal / make simple tasks more complex and dangerous / incur injuries and fix) (People being physical are in full control)

TV Channels

Four different two-person scenes are performed one at a time, with an outside conductor instructing which scene is being watched at any moment.

Game Genre(s)

Character, Scene

Set Pieces/Props Required 

None

Rules

  • Four performers form a backline (Player A, Player B, Player C and Player D)

  • Four different scenes will be cycled through:

  • Channel 1: Player A and Player B

  • Channel 2: Player B and Player C

  • Channel 3: Player C and Player D

  • Channel 4: Player D and Player A

  • A different suggestion is obtained for each Channel

  • An outside conductor calls a number and the players in that scene step forward and begin acting out a scene

  • When the conductor calls out a different number, the players in the current scene step back and the ones involved in the new one step forward

  • Numbers called out at random, with return scenes picking up either where they left off or sometime later (though for simplicity often with either both the same characters or at least one the same)

Number of Performers Required 

4

Suggested/Required Opening Offer Request(s) 

What is an unusual activity for a first date? What is an activity you would love to do? What would be a great discovery? Where would you love to visit? What is a secret someone might reveal to someone else? What is a fun fact you learned about this week? What might you seek advice from someone about? What was a subject at school you were rubbish at?

Example Introduction

For this game we’re not going to have just one scene but four! Can I get the players lined up at the back. Now much like a TV, these 4 scenes are on different channels that we can cycle through when [I, this player, tech] call out the number. So for channel one we have Player A and Player B, for them can I get [suggestion]. [Repeat for each channel]. Okay, now to make sure we have all of that let’s just check each channel: on channel one we have [performers step forward and say suggestion together]; [repeat for each channel]. Now to begin let’s tune into channel [1-4].

General Notes

  • Remember starting offer and scene numbers. To make it easier have the suggestion be a single word.

  • Probably want to see each “channel” 3 times, though can call before when running short on time or an especially big laugh happens (but try to visit each channel twice).

  • Very similar to a training wheels Harold:

  • First time performing the scene establishes something (e.g. Game of the Scene, Today’s The Day, Revelation). This scene might be brief if clear quickly what the joke is.

  • Second time performing is either picking up exactly where last scene left off or a time dash later. Very possibly a little longer to play if deep scene or brief if very Game heavy and joke made clear.

  • Third scene likely to be very brief (a button), such as a big Game of the Scene move or a massive declaration/revelation.

  • Remember what was happening in your scene and channel number!

  • Common Scene Types that might play out on the channels:

  • Game of The Scene

  • One or both of the characters have an unusual pattern of behaviour due to an uncommon point of view.

  • Today’s The Day

  • A snapshot of the day in the life of our characters, but common routine or pattern of behaviour is broken (either intentionally or unintentionally).

  • Moral Support

  • One person offering support to another - why is support needed and what/how is support given and received?

  • Race to the Finish

  • A task needs to be finished - what is it and why is it important to complete?

  • [Note these scenes often more about character and/or game than the task]

  • The Fallout

  • Something has happened and the scene is the fallout - what happened, who are affected and how?

  • The Talk / The Revelation

  • Two people somewhere, someone needs to discuss something with the other - what is being discussed and what is the result?

  • Depending on how offers are asked for determines how the performers should approach the scene:

  • What is a secret someone might reveal to someone else? Will likely be a Revelation scene.

  • What was your grandfather’s occupation? Does not need to be a scene about a day in the life of the audience member’s grandparent.

  • Often the word offer should be treated as a jumping off point rather than the focus of the scene.

  • If wanting to lean into the TV Channel metaphor more, can ask for either specific programs that are on (e.g. The Simpsons) or genres (e.g. Soap).

  • Can also ask for something unusual about the program (e.g. “A genre? News. What’s unusual? The anchors are trying to kill each other”), though also fun to leave that to the performers to decide.

  • Conductor:

  • Can be a cast member, host or tech.

  • Preferably someone familiar with the performers and improv.

  • Give enough space for performers to establish their scenes but not so long they run out of steam.

  • Try on the first round to view each channel once before returning to a channel.

  • View each channel at least twice, preferably around 3 times.

  • Avoid going in sequential order, variety is fun!

The Dating Game

Three players are given unusual character quirks, while a forth players has three questions to guess what those quirks are and which to take on a wonderful date.

Game Genre(s)

Naive, Character, Scene, Mime, Physical

Set Pieces/Props Required 

Chairs (x4)

Rules

  • One player is sent out of the room

  • Based upon audience suggestions, three players are given unusual character quirks

  • The player who was sent outside comes back into the room as the naive person

  • The game begins and the setup is a Blind Date style show

  • The naive person is a contestant on the show and has the chance to win a date with one of the three blind dates with quirks

  • The naive person has three questions they can ask, with each blind date providing their answer

  • After the three questions have been asked and answered, the host will ask the contestant who they’ll take on the date

  • The contestant will start with the people he won’t take on a date and why, while also stating what their quirk is (in character), followed by the one they will take on the date

Number of Performers Required 

5

Suggested/Required Opening Offer Request(s) 

This player has an unusual physical quirk, something about how they look or an action they do - what is it? This player has an unusual verbal quirk, something about how they talk - what is it? This player believes something unusual, either in general or right now in this moment - what is it? This player believes they are a famous person - who do they think they are?

Example Introduction

All right folks, it looks like love is in the air as Player A is going to be a contestant on a Blind Date type show! If we could ask Player A to leave the room. Now that Player A has left, Player B, Player C and Player D are going to be our dates in with a chance for that date. However, each has an unusual quirk, which Player A will have to guess before deciding which to take on that date. So, let’s get those quirks now.

General Notes

  • Number of Performers Required: 5 (1 Host, 1 Contestant, 3 Blind Dates)

  • When getting the quirks, make sure to repeat and make absolutely clear who has what before the naive player returns - this will help both the other players and the audience.

  • Quirk Types:

  • Physical Quirk (something they do, look or feel)

  • Verbal Quirk (the way they speak or sound they make)

  • Mental Quirk (they believe or they think)

  • Celebrity Quirk (they are or think they are)

  • The Quirks:

  • A degree of sensitivity should always be considered when selecting/playing quirks (avoid punching down).

  • Tourettes comes up often - note that real Tourettes takes many forms, one way to respect the choice, be sensitive and keep things fun is to note that it involves an involuntary action, so what’s an action you would normally associate with Tourettes .

  • It is often best to get a different type of quirk (along with unrelated ones) for each player, as it adds more variety to the game.

  • Once the group is comfortable with the game, can consider adding a couple quirks together, though make sure not to overboard it.

  • When playing the game, remember that everyone is a character with a history and a point of view. One way to avoid cliché or allow a quirk to dominate is to remember that this is just one facet of their personality and does not have to define them - just like we all have our quirks that don’t define us.

  • When one of the blind dates with a quirk, allow your quirk to inform the answer - the key is that by answering the question sincerely with the quirk in mind, you are giving clues about it without needing to be too obvious (this isn’t charades after all!)

  • For the naive contestant, the scene often works best when playing the dating game within the game sincerely - imagine you are the contestant and you are looking for love.

  • The contestant should avoid trying to guess what the quirks are until the end, just focus on asking the questions and responding to the answer (can be at top of their intelligence)

  • Question ideas for the naive contestant:

  • Where would you take us on our first date?

  • What’s your favourite hobby?

  • What’s the riskiest thing you’ve done?

  • Who is your role model?

  • What’s your go to karaoke track?

Zulu

TBC

Game Genre(s)

Restriction

Set Pieces/Props Required 

None

Rules

  • TBC

Number of Performers Required 

All

Suggested/Required Opening Offer Request(s) 

TBC

Example Introduction

TBC

General Notes

  • TBC

⭐️ ⭐️ ⭐️ ⭐️ ⭐️ "Skilled, agile and enthusiastic" —Broadway Baby
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