Objective: Players entering a scene in progress should always seek to heighten the games already in play. Heightening those games with concentrated pattern mechanics will increase the impact of those tertiary moves. The following outlines Tertiary and Polish moves with supporting video of me actually teaching a class those moves: Walking On and Walking Off […]
One Person Scene. Two Person Scene. Three Person Scene. Four Person Scene. Five Person Scene. Six Person Scene. Five Person Scene. Four Person Scene. Three Person Scene. Two Person Scene. One Person Scene. Or... One Person Scene. One Person Scene. One Person Scene. One Person Scene. One Person Scene. One Person Scene. One Person Scene. One Person Scene. One Person Scene. One Person […]
The rhythm with which a game’s mechanic is played helps pace the scene and build it toward an edit. The relationship between “When this happens” “this happens” is useful not only to focus improvisers’ choices but it also connects with the audience. In Short Form, where the mechanics of the “game” are told to the […]
When we whine that we don’t want to do group game work anymore, we ask, “Can we just do some two person scenes?” We want to breathe. And we equate “two person scene” with “time to breathe up top.” There’re just two of us; there’s less impetus to force our voice into the scene. We’re […]
We’re going to build "two person scenes" on patterns of emotional behavior. LET’S WARM-UP
Pop quiz, hotshot. What do you take as inspiration in initiating subsequent beats of a scene during a long-form show? A. This makes me think of that B. If this then what C. If first beat is "a day in the life," then second beat is "the day when X happens" D. If a character […]