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 […]
The Johnsons' performances account for the majority of this site's videos. Why? I'm their coach. That means A) I love them, B) their work often reflects Improv As Improv Does Best characteristics and C) theirs are the recordings that are the easiest for me to get. But I have been a bad coach lately and […]
Embodying the Environment. We can be set pieces. We can be crowds. We can be animals. We can be inanimate. Bottom line, we can flesh out the stage picture as Tertiary Players without adding to the dialogue. Check out this great example of players assuming the role of what other players were seeing on a screen.
Ask your troupe what they want to work on. A comment by Alan Volmer during a Johnsons rehearsal led to this move being added to the group's bag of tricks. THE BODY SNATCHER: A third player takes over either Player One's or Player Two's character. If Player Three chooses to take on Player Two's character, […]
Player One stands rigidly on stage, stroking an imagined object on his right wrist and says, "I love my shield." Player Two enters stage, stares agog at the imagined shield and says, "Wow-wie! That is one awesome shield." The question for you is: If you were told to enter the scene as the third player […]
I get excited every time Alan Volmer and Jonathan Nelson start a scene together. They're able to create rich character with rich worlds expressed through rich reactions on a dime. This scene begins beautifully, with Alan establishing some physical business and Jonathan establishing a Personal Game for himself. When Alan references his prediliction for spider […]
Objective: To practice initiating and supporting moves from the bag of tricks players utilize when entering scenes-in-progress as a tertiary addition.
We enter a scene only to serve what is already in play. We enter to heighten a Personal Game. We enter to heighten a Scenic Game. We may help our fellow players by focusing them on one aspect of the scene when they're juggling too much, but in that effort we are focusing on what […]
Walk-ons – we can enter a two player scene in progress as another character, offering a move that contributes to the progression of the game(s) at play. Two high school boys are feeling self conscious in the hallway so Player 3 enters as a mean girl to point out their foibles. Two players are arguing over […]
“Cut-to” – when players doing a scene refer to a particular moment (from the past, future, etc.), a player comes onstage and announces “Cut to: that moment” and we see the moment. A comfortable ensemble can perform the “cut-to” (also called flashback, show me, etc.) without telegraphing the move by shouting “Cut to.” As with walk-ons, a “cut to” […]