Mirroring/repeating language, details and rules heightens a group’s work while keeping it cohesive.

INVOCATION – Players stand in a half circle. On the count of three, a “god” appears before them that they will worship in three phases: First, they will describe it physically; “Oh, God, with your fowl beak.” Second, they will address its less tangible qualities; “Oh, God, who tastes like everything.” Third, they will ask it to do unto them; “Oh, God, henpeck my enemies.”
Lessons:
• Be clear about what “it” is – don’t be vague for artsy sake; the sooner everyone knows what “it” is the sooner everyone can dig deep into the details
• Unite behind an emotional perspective on “it” – “what we hate about Microsoft” will collaboratively heighten faster than “what we know about Microsoft”
• Simplify with mirrored language – switching between phases is clearest when there’s a defining cadence to phase one (“Oh, God”) and a new cadence to phase two (“Sweet, Jesus).
• Callback – What does a detail from phase one signify in phase two and can be used for in phase three?
• Establish rules of reaction – Y follows X: “…who is never afraid,” “You’re a chicken who’s not chicken;” “…who never stops going,” “You’re a chicken who’ll always win at chicken.” I’m the guy who: said, “Eyes as red as flames” so I’ll say, “Heart as black as coal.”
• There are no mistakes - seek to fold in everything; don't drop things that seem out of place

[wpvideo Umqo0Nw0]

Performers are Becki Heckman, Ian Johnson, Suzi Makarem, Robert Nickles and Jordan Walker

The video example came from The Coalition's Patterns and Games Class.  I love their energy, their emotional perspectives and their collaboration.  They used language to help signal to the group they were moving from one phase to another.  AND they didn't let the rules on paper define their rules on stage; when the game called for a fourth phase, they followed each other, committing fully to its heightening to find the game's natural edit.