Tag scene games

Improv 101 — Film Noir

Kasey-Rayn Leave a comment

This is it. Probably the last game I’m going to detail in full for a long time. It’s by no means the only game I have yet to talk about. There are several other warm-ups that don’t constitute full posts, or games I know that I’ve never played, or games I simply don’t care for. But in a lot of ways I consider Film Noir to be the final hurdle. The top of the food chain. If you can play this game successfully every time, you’ve made it. Where? Beats me. The point I’m trying to make is that this game is pretty tough, and in a lot of ways, it’s unique, as well.

There are a few ways to play this game. I’ve already talked about a variation of one of them, a game my troupe calls Side Note. But the version I’m going to talk about today is weird. It’s a low energy, two person scene game. That’s it. Only two. And it doesn’t work with more. You’ll see why.

You get two stools, and both improvisers sit down on them, facing the audience. You get some suggestion (any works, but I usually take a location), and then you talk. Both improvisers take turns describing a scene in first person. They describe everything as detailed as possible. The hot handle of the door as you pull it open to step inside a gas station. The sound of the artificial bell and the blast of air when you pass beneath the threshold, and the smell of gasoline once you leave again to start filling up the tank. Maybe the lock on the pump doesn’t work so you have to stand there and fill it manually in the hot sun. Maybe there’s some homeless guy that keeps eyeing you and making you uncomfortable, making you anxious to leave. That’s the sort of detail I’m talking about here. The first person to talk sets the scene. They give details like that as if they are experiencing it then and there. After talking for about thirty seconds, they stop and the next person picks it up. They start talking from their perspective. Maybe they’re the guy at the cash register, waking up from their nap as the bell rings. Or maybe they’re the homeless guy that doesn’t want to go and ask for a handout. The two of them take turns talking, for about twenty to thirty seconds each, until both have spoken two or three times. (You’ll know when to stop when you get a natural conclusion to the scene.)

Once they’re done narrating, they move the stools and then act out that scene. Now, here’s what’s so cool about this game. It’s not funny. It’s magic. The pacing of this game will feel very slow, and as such it’ll be hard to make funny things happen, and they definitely won’t happen unless you force them to (which, don’t get me wrong, is possible). But the majesty of the game is what the audience experiences when they see it done well. They’ll hear that bell chime when the actor pantomimes opening that door. They’ll feel the door burn their hand when they subtly flinch. They’ll smell the gasoline, too. Even though none of those things are actually in the scene that is performed.

Actors have to portray everything they narrated in the scene. If you describe the smell of gas, their better be a point in the scene when the actor telegraphs them experiencing that smell. But you can also only perform things that you describe. You can’t suddenly think “Oh, my character forgot his wallet” if that wasn’t in the narration. You also can’t speak unless you put direct dialogue in the scene, and as such a Film Noir scene is often pretty quiet. “I told him my business doesn’t accept bills over $20” is not dialogue. That is description of what was said. If you want to say that in the scene, you have to narrate “I said, ‘Sorry, man, we don’t accept bills over twenty.'” In that circumstance it is okay to speak in the scene, but only then. If you narrated it the first way, you would have to pantomime speaking without actually saying any words. Sometimes that’s better, but it’s an important distinction to remember.

When people think of improvisational acting, they think comedy. But this isn’t a funny game. It probably isn’t my favorite, but it’s usual lack of humor doesn’t take away from the entertainment of watching it performed. It requires a lot of synchronization with your partner, and also it requires a lot of life experience to be able to articulate a lot of physical experiences. You will often get a suggestion that will involve a scene you have never experienced in real life. But you have to make it feel real nonetheless.

It’s a cool game, and I often show my students what improv can become at a higher level, but it’s not something I actually teach. I think of it as a goal to reach. Of course, you can always get better at improv, just like everything else in life. But being able to play this game well can serve as some decent validation of your capabilities.

Improv 101 — DVD (or Television)

Kasey-Rayn Leave a comment

DVD is one of those games that can be played regardless of how experienced a group of improvisers are. All you need is for the ref/improviser at the helm to know what they’re doing, and everything else comes easy. Since it’s basically the same game, I’ll also talk about Television and how to play that one.

DVD is a highly customizable improv game, but usually it’s a high energy scene game. Since there are so many ways to play it, you’re not going to see two different improv troupes play it the same way, and I couldn’t reasonably explain all there is to do within a short amount of time, so here is the basic premise. One person holds the remote (this can be the referee or another improviser), and they have full control over what is happening in the scene. They can mute, volume up/down, pause, rewind, fast forward, change the channel (if you’re playing Television), or skip chapter (in DVD). The biggest difference between skipping chapter or changing channels is that in DVD, the characters will remain consistent, whereas in Television everything changes. (It’s worth noting that Television can easily be played as a group game, with different groups of people acting as different channels. In this case, it’s played very similarly to Four Rooms, which I’ve already talked about.)

The rule of thumb for this game is “do it how it happens in real life”. If the ref calls “Mute!” then the only thing that happens is that you stop making sound. If they change the channel after that, the TV will still be muted, and when they unmute it, you suddenly start talking again, mid-sentence preferably. If they skip the chapter in a DVD, everything changes instantly. Usually this means the start of a new scene (as DVD’s are often broken this way, but not always).

If they change channels, you are now on a different network entirely. I remember the Food Network and the Disney Channel were on button away on our old TV. It isn’t so different now. Depending on how you want to play, however, the ref might ask for suggestions based on what channels they want to be in the game. In that case, the ref should say “Food Network!” instead of “Channel up!” The best takeaway for this is to do what makes sense for your troupe. Come up with your own rules. The only thing that matters is that you all know what’s going on and that you remain consistent.

Another thing to consider is volume changes and rewinding. When the volume goes up and down, an experienced improviser should be careful not to shout. Remember, the scene isn’t changing, it’s only the amount of noise you’re making. If a character is yelling, they should be yelling regardless of how loud they are (and I’d expect a good ref to turn the volume down if you start shouting!) not to mention that when the volume is up really high, blocking should also be loud. Try moving across the stage more loudly than you otherwise would. In the case of rewinding and fast forwarding, this also often mutes the TV. So you just start doing everything very quickly in silence. If you want to go for a retro TV, then speak in gibberish ‘squeaky voice’, because it should still be unintelligible.

I’m leaving a lot out here because the game is so versatile, so just ask yourself how TV’s and DVD’s work. It’s totally acceptable to say “Stop!” during a game of DVD and then go to the bloopers, or pause it to add subtitles (in which case a new improviser should step in and start talking over them in a different language, to your discretion!) The key thing here is that while improv is pretty much open to anything, you need to establish with the rest of your troupe exactly what is in the realm of possibility. It’s not scripting it because there’s still no script, you’re simply discussing what they can expect in these games. Other than that, Television and DVD are basically open to anything.

Improv 101 — Side Note

Kasey-Rayn 1 Comment

This game is sort of an amalgamation of other improv games, twisted into its own unique thing of my troupe’s creation. It is similar to a second version of a game called Film Noir, which I haven’t gotten to yet but the list is getting pretty short. This game is actually a lot harder than it sounds, not because it’s complex, but because the improvisers have to know each other and the craft in order to make this game a success. A fair warning, though. There is a lot to this game, and it’s a pretty hefty post for one improv game. If that doesn’t scare you, read on!

Side Note is a low energy scene game for three to four people. It plays just as any normal scene would, except at any given time, an actor can step downstage towards the audience and address them specifically, while the rest of the scene pauses behind him. Imagine the freeze frame with the main character saying “I bet you’re wondering how I got here?” The game is like that, only it can happen at any time for any character, not just the ‘protagonist’ of the scene. Once they make a short comment, they step back into the scene and it continues as if nothing happened.

Sounds simple, right?  Well, think of it this way. You can’t tell the rest of the people in that scene with you to stop moving because you want to make a ‘side note’. You just have to start walking and hope they pick up on it sooner rather than later. It means you have to constantly stay aware of the people on stage (which, of course, you should be doing anyway,) and wait for likely moments where people will want to pause the scene. This is why it gets easier when you know your cast. You’ll become quite familiar with the moments in a scene they will want to comment on and even the things they might say, depending on the character they are portraying.

But here’s why this game is actually pretty tricky: It’s actually really hard to say anything meaningful and worthwhile in one of those ‘side notes’. This game has no rules to follow and no hoops to jump over. It has to be funny because of the scenarios you make for it and the things you say because of them, rather than the improvisers making ridiculous comments based on what circumstance the game has forced them into. That’s something that only a handful of improv games force you to do, contrary to popular belief.

When you’re making these ‘side notes’, you’re often telling the audience the inner thoughts of your character. Something they wouldn’t say out loud. This means that basically anything you say is the truth. After confessing your passion for professional tricycle riding in the scene, for instance, the character can pause to tell the audience that, in fact, there is nothing on the planet that they despise more than tricycles. Making a side note to say something completely opposite to what your character said in the scene will get you quick laughs, but it’s a gimmick. You can only do it once.

There’s a number of other things you can do, of course, but as I said, it’s hard. In improv you should never try to be funny unless you know what you’re doing, which will come later than you think. That being said, this game won’t make things funny, so this is the sort of circumstance in which you would negate that rule.

So here are my two tips for making this game work. The first is that in every ‘side note’, try to tell the audience more about the character or the scene. Something they might not have known about the situation if you were performing this scene in a different game. The second is that work with the rest of your cast. Have them help you make ridiculous things happen. And by ridiculous, I don’t mean pouring a truckload of rabid weasels into the Starbucks your scene takes place in. Don’t introduce things unless it has some relevance, or unless you plan to give it relevance as time goes on.

But this game works so well when the improvisers play off of the concept of dramatic irony. The barista at this Starbucks could be going through a sudden break-up, while the customer is making their way through a “How to Socialize for Dummies” book in their spare time. How do those things connect? I don’t know, but as soon as you introduce both of those concepts to the audience independently of the scene, they’ll have some expectations for how the scene will unfold. So here’s the thing. You can allow the scene to unfold predictably, or deny the predictable ending, but either way the pieces of information you introduce in the ‘side notes’ should eventually be relevant to the context of the scene. Making them all start stringing themselves together is not easy, but if you can do it right, this game can be phenomenal.

Improv 101 — Genres

Kasey-Rayn Leave a comment

Genres is one of those games that is deceptively difficult because of how easy it is to explain. It’s not one of my best, simply because it allows for a lot of openness and there aren’t really any constraints. Despite that, it can be a lot of fun as long as the improvisers know the fundamentals of how it should be played.

This game is a scene game for a small team, so three or four works. It’s energy levels varied based on the suggestions, but often it can be on the higher end since it can get a little ridiculous. This is how the game is played. You get a suggestion of anything (I like ‘well known fairy tale or story plot’ for this one in particular), and then the improvisers build a scene based on that suggestion. Then, throughout the game, the ref calls ‘Freeze!’ and asks the audience for a new thematic suggestion. Often ‘genre’ works really well (it’s what the game is named, after all), but other suggestions can work, too. As soon as a new suggestion is picked, the actors continue their scene adopting the elements of that genre into their story. If Little Red Riding Hood suddenly becomes a western, the actors playing those iconic characters might start speaking in accents and pull out revolvers. Maybe people jump on horses and begin a chase scene. The key thing to remember here is that the original suggestion: the plot of the scene, should remain consistent. You’re still telling the story of Little Red Riding Hood, only the medium through which it is being told changes roughly every forty seconds.

If you’re familiar with the game, this is very similar to Eggs. The biggest difference is that instead of performing a given scene multiple different ways, you’re performing one scene that is constantly in flux. You aren’t just adapting to the suggestion, you’re applying that suggestion to the thing you’ve already made as you make it. In some ways it’s easier, because you’re not constrained by predefined actions or lines. But as I always say, creativity isn’t empowered by the lack of constraints, it’s hindered by it.

The fact that the character and the story is always concrete is probably the hardest part for my troupe in particular. It’s hard to move the scene and use the same characters when creating new ones is so much easier. It’s difficult to follow a plot structure in so many minutes while also hitting the key elements of whatever genre you’re fulfilling, and it’s for that reason that I don’t teach this game to beginning improvisers. (Start with Eggs. It’s the same idea, but it’s much easier, especially if your actors don’t have a firm grip on how to establish a scene with CROW.)

In order to really nail this game, it should also complete the story arc of whatever original suggestion you were given. It doesn’t need to end the same way as Little Red Riding Hood does, or any other story for that matter. In fact, I would argue that it shouldn’t, because humor often derives from subverting the conventional norms. This does mean that you have to tell this story in three to five minutes, which is why fairy tales and nursery rhymes work better than “Lord of the Rings“, but either way, it has the best ending when it has a natural conclusion, as opposed to the typical conclusion of improv scene games where you end it by referencing something that happened in the beginning.

Improv 101 — Foreign Film Dub

Kasey-Rayn 2 Comments

This game is one of my team’s more difficult games. I personally love it, but my problem is that I’m really bad at accents (one thing I really wish I was better at). But this game can be amazing, if done right. Another thing to consider is the fact that the way my troupe plays it, it can easily be scripted. Of course, it isn’t, but there’s no restrictions that inhibit people from doing so.

Foreign Film Dub is a scene game for four people, with varying energy level. It can be done a number of different ways, but I’ll describe it the way I’ve seen it done the most. Two people are scene partners, and the other two stand in the wings of the stage. You get a suggestion of a language and an object from the audience. The entire scene will then be played with that object in mind, spoken in a false tongue, if you will. Both will speak in a gibberish reminiscent of that language, and after they are done speaking, one of the two improvisers outside the scene will translate what they just said (it works best if you pair them up, having both people translate consistently for their characters).

Here’s how the game functions. The primary source of humor for this game is often the translations of what is being said. With this setup, there is no restriction of what the translators say, so technically they can say whatever they want. This means that one person can monologue in gibberish for a minute, only to have their counterpart translate the entire thing into “No, thanks.” That works especially well if the person monologuing is clearing angry, it establishes a clear contrast. Don’t get me wrong, it’s funny, but it’s a gimmick, and it’s my problem with this game. It is inevitable because it generates cheap laughter, and thus it doesn’t lend itself well to true improvisation.

Barring that, this game can be amazing, but there are things to keep in mind. Obviously, a lot of subtext can be given even through gibberish and pantomime alone. Respective translators should be able to pick up on this. In order to help them out, however, you can make defined actions that have clear ‘endpoints’, to establish when you are done talking. If a character is arguing while they sweep, then throws their broom down to cross their arms in a huff, they’re obviously done talking, as there isn’t any natural blocking that follows such an action.

I find this game most difficult for the role of the translators, as they have to forge a scene out of gibberish and subtext on the fly and make it entertaining. If a character changes moods halfway through their speech, a good improviser will have to change their translations halfway through to match. The audience will catch things like this, and it turns an enjoyable scene into a great one.

Another easy gimmick of this game is faking your gibberish. Using iconic phrases, objects, or celebrity names in that language is easy. “Mario spaghetti pepperoni, Medici!” the improviser said in an exaggerated accent is funny the first time, and it’s really easy to slip into that sort of game, but that doesn’t really take skill, as you’re not speaking gibberish at that point.

Lastly, a point to consider. When my troupe is playing this game, I ask the audience for a “European language”, because the majority of my troupe is Caucasian. With as easily offended people are these days, I tell people to stray away from personifying characters of a different ethnicity in any game, especially this one. I can easily see somebody being upset if I do a horrible Indian accent on stage (even if it’s supposed to be gibberish). It’s best to avoid that sort of situation, but if you’re not worried about offending anyone, this obviously isn’t something you have to worry about.

Improv 101 — Stand Bend Sit

Kasey-Rayn 1 Comment

Stand Bend Sit is one of those games that is really easy to explain, but actually playing it successfully can prove quite challenging. It requires a lot of coordination with the rest of your cast, but regardless of how well you know each other, everybody is going to end up confused in the end. My troupe has never gotten the hang of Stand Bend Sit. Again, it’s a simple game, but it’s really tough to nail. You’ll see why.

This is a high energy scene game specifically for three people (but can be modified for a fourth). Here’s the whole game: Construct a scene in which one person is standing, one person is bending, and another person is sitting. If one person changes their position, the others must change their position so that every position is always being fulfilled by somebody. With a fourth person, you would add ‘Lay’. Usually you get a suggestion of a location, but anything can work here.

Sounds easy, right? Only, as soon as one person starts standing up, the other two people will move to fill the gap, adding multiple seconds to get into the correct positions once more. It isn’t easy to make sure one of every position is fulfilled at all times, but what’s more is that in the context of the scene, these positions must also be justified. Why did one character stand up and make another person start bending?

One of the problems with this game is that it is very difficult to move a scene forward like this. You have no stage entrances and exits, and two of the three positions are low-energy, not conducive to making an audience laugh. You can’t very well move the scene from whatever the location is, because people have to be sitting and whatnot. You could, perhaps, jump in a weird clown car that allows for standing position, but what I’m getting at here is that it isn’t easy to establish and maintain a conflict.

The kicker here is that there isn’t anything this game brings to a stage that another game can’t do better. I classify this as a high energy game because this game always ends with people switching positions back and forth and confusing the entire scene (which, admittedly, can be hilarious). But games like Four Corners and Chain Murder Mystery can confuse the improvisers while entertaining the audience much more reliably and effectively. If you’re looking for a high energy scene game for a performance, this wouldn’t even make the Top 3.

Of course, it could simply be a case of practicing this game wrong. I’ve never seen it performed, and maybe there’s a piece I’m missing to truly understand it. As with all games, there is certainly quite a bit of fun to be had, but as far as “successfully performing for an audience” goes, this game falls short too consistently.

If my mind ever changes on this, I’ll be sure to edit it (or even make an entirely new post) to fix whatever I had gotten wrong or missed entirely.

Improv 101 — Arms Through

Kasey-Rayn Leave a comment

One of the games that Whose Line is it, Anyway? is most famous for, Arms Through is sort of a gimmick game that I don’t play a lot, because it requires a few variables to be in place before you can even try it out. Now, when I explain it, I’m not going to explain how WLIIA plays it, because that’s a different environment than what most improv would provide.

Arms Through is a team hoop game with a varying energy level. It’s humor can derive from both the things that are done and the things that are said, so really it just depends on that specific game. The setup for the game is pretty simple. Four people get into two different pairs. One person from each pair folds their arms behind their backs, and the other person from that pair goes behind them and puts their own ‘arms through’ the gaps in their sides. Each pair in this game is one person in the scene, with the body of one person and the arms of the other. You get any suggestion at all, and the scene progresses as if it was two normal people doing it, if those people were excessively prone to touching their faces and generally being “handsy”.

So, why does this game not work well in all situations? Well, for obvious reasons, it requires you to know and trust the rest of your cast. IF you get two strangers to play this, they won’t be very comfortable with one another. You want the pair of people to work as  a team, following hand gestures and all, but if they’re so uncomfortable they’re standing a foot apart from each other, their arms won’t even be long enough to accomplish anything, and any audience would practically be able to feel the discomfort that would cause. Another thing that I specifically have to consider is that I’m working with a lot of teenagers, and without really getting into it, I have to be careful because things can go from uncomfortable to sexual harassment really quick. (When considering this, I always make the pairs the same gender, but this doesn’t necessarily solve the problem.) Really, though, as long as the cast knows each other, these aren’t things anyone would have to worry about.

So, how do you actually play this game? Well, it really is a normal scene. It is the “body’s” job to allow the arms to be as involved in the scene as possible, and it’s the “arms'” job to be entertaining. Obviously moving around can be difficult because each person is actually two, but this game wouldn’t work with stage entrances and exits in any case. As a result of this, this game is often shorter than most, because having two people interact nonstop in one scene starts to get a little stale, even if the scene itself is entertaining.

Whose Line plays this as a gimmick, with Colin making Ryan eat awful concoctions and having him justify those things in the scene. There’s never any movement, and since they only have one body-arms pair, all the focus in the scene is given to them. In a conventional improv performance, however, improvisers almost never have props to use in any game, and it makes the game different each time you play it. I don’t like the way Whose Line plays it because it’s always done the same way, which isn’t in the spirit of improv, but to each their own.

Improv 101 — Two Line Vocabulary

Kasey-Rayn 1 Comment

Two Line Vocabulary is a little weird for a couple of reasons. It’s a fundamentally simple game, particularly because the scene is generally only about two minutes long. This is a scene game for three people, and it functions much the same way as Actor’s Worst Nightmare. This is often low energy because the humor derives from the things that are said, but sometimes the actions can be funny, too.

The way it works is that one person, the main character or “anchor” of a scene, has to justify everything that is being said by the other two people in the scene. The only caveat is that the other two people in the scene can only say two phrases each. For example, one person might only be able to say “Don’t touch that!” and “I love you.” and the other person can only say “Where are we?” and “Not again!”. Since the third person can say whatever they want, they have to make each of those expressions make sense given the context every time it is said. So, once you get a suggestion (typically of a location, but anything works) you go on your way and establish CROW just like any other time you would play a scene game.

As with every game, there are a few things actors should keep in mind as they play. The first is that for this game in particular, there are no stage entrances or exits. All three actors are on stage the entire time it is being played. This can be difficult, as it means nobody can come in to save you, but since everything should be tied around the anchor who can do whatever they want, this shouldn’t be a big problem.

The second thing is that the anchor is always the focus in this game. Since the other two improvisers are so limited in their dialogue, it’ll be impossible for there to be any meaningful interaction between the two. This means that the anchor should be talking roughly half the time, as after either of the other two says something, the anchor should be replying to it. (The anchor doesn’t have to reply to everything that is said. If the natural flow of the conversation doesn’t call for a response, it isn’t necessary.)

While it’s the primary job for the anchor to justify anything the other two say, it’s also important for them to carry the scene forward. Make sure all three people are dealing with (but not solving) the conflict as the game progresses. This can be the hardest thing for new improvisers to achieve, so when in doubt, move the scene to a new location. It’s also important for the anchor to not ask questions as, outside of silent gestures, each of the improvisers can only respond in two ways. So as long as the anchor carries the scene justifies statements without denying or asking questions, this game is a cinch.

Here’s a link to WLIIA performing this game a few years back.

Improv 101 — Replay Countdown

Kasey-Rayn Leave a comment

As I’m recalling this game and all the things that go into it, the first thing that comes to mind is the fact that it’s a pretty simple game; especially in regards to the ones that I’ve gone over in the last couple of weeks. But when I was thinking that, I also remembered that when I was first learning this game with me and my fellow inexperienced improvisers, this game was hard. We simply could not play it “successfully”, and though we loved it when it turned out well, we couldn’t make the entertainment consistent enough to risk putting it into a performance. That memory makes me truly realize how much I’ve learned in this field, because the thought of ‘not performing a game successfully’ isn’t even a concern I have when I’m performing these days.

Reminiscing aside, there’s a reason my troupe thought this game was hard, and that is because it demands lots of high energy and big action. Dialogue will kill you in this game. Replay Countdown is a scene-based team game, and it’s rule is very simple. First, perform a normal 3 minute scene. Then, perform that same scene in half the time: 1 minute and 30 seconds. Then, perform it again in 45 seconds. Then again in 20, then 10, then 5, until finally the actors condense that entire 3 minute scene into a 1 second scene.

As you can imagine, this game gets pretty hectic. And you can probably understand why dialogue doesn’t work in this game. Once you’re performing in under thirty seconds, you have to go so fast that you have to cut out so much dialogue it’s not even worth it. If you perform the scene using primarily big actions, however, such as large stage entrances and exits, you can convey those much more quickly.

And that’s actually pretty much it. This game also requires that you establish all of CROW, because without it, a 3 minute scene can’t work. So if you can perform one in that time frame using mostly big action, you’re golden.

Here’s a number of things you should keep in mind as you’re playing, however. First, you need a ref (preferably with a timer, as well), but here’s the key. You don’t actually need to time it. As long as the ref calls “scene” at a point that makes sense, the audience will believe the correct amount of time has passed. They’re looking for entertainment, after all. Nobody is going to say “Ah-ah-ah! It’s only been two minutes and forty seconds!” because that just kills the fun. So the time frame is malleable.

It’s so malleable, in fact, that you can start with any given time limit. All that really matters is that you cut the time frame in half every time. Here are some time slots that work well, depending on how long you want the starting scene to be.

5min > 2min > 1min > 30s > 15s > 5s > 1s
4min > 2min > 1min > 30s > 15s > 5s > 1s
3min > 1.5min > 45s > 15s > 5s > 1s
2min > 1min > 30s > 15s > 5s > 1s

Generally, 3 minutes is the best starting point because most improv games run from between 5-7 minutes, and you’ll get more time than you’d think in between scenes. Starting at 3min will generally make the game take around 7 minutes start to finish.

Here are some pro-tips that make the game a bit easier. A good thing to remember is that the game won’t be funny the first half. You’re just performing a normal scene initially, after all, so humor will be in short supply (but don’t try to force it in!). When performing the scene a second time, don’t cut out any dialogue. If you cut out the blocking and all the beats of the original scene (all the time where nothing is being done or said), you’ll be left with roughly half the time, and it will be right on target. So just do the same exact scene, only make things happen quicker without paraphrasing. The third time you perform it, that’s the time to start paraphrasing dialogue and having people enter at the same time. By the time the scene is less than 30 seconds long, you’ll have all actors on stage most of the time, trying to talk over each other, and the audience will love it.

If you’re playing this right, the last four times you perform this scene will make your heart rate go through the roof, and you’ll be out of breath by the time the game is over. Make sure it isn’t hectic the first two times you perform the scene, though! If the energy doesn’t ramp up as the game progresses, and instead remains consistently high, you’ll leave the audience exhausted!

But really, the main thing with this game is to just half fun and do big actions. As long as you can make those happen, it’ll be enjoyable for everyone.

Improv 101 — Dime Store Novel

Kasey-Rayn 5 Comments

Dime Store Novel, sometimes called Typewriter, is a scene where an author narrates the book as he or she writes it. As they do, the other improvisers jump in and act out the things they say. It sounds simple, but there’s a lot to unpack with this game, and ironically, though I’m a writer, I am a terrible narrator for this game (and I’ll explain why).

While this is one of the more flexible games, I typically play it as a low energy team game. You can play this as a group game (with more than five people), but in my experience it makes it more difficult. This can also be played as a higher energy game, but it requires a very strong narrator. Remember, the difference between a low and high energy game is the source of humor for the audience: is it the things that are happening or the things that are being said? Funny lines tend to be low energy, but running across the stage will be high energy. Dime Store Novel is flexible because both can be fulfilled here (though a narrator should try to stick to one or the other, depending on the circumstances in which the game is played).

So, how do you play? This part is simple. You have the narrator/author sit on a chair downstage on one of the wings (preferably stage right). All the other actors will be characters in the story they are about to tell (The suggestion from the audience I grab is of “A book that has never been written”.) You can have them stand up stage or on either of the wings to function as “not performing”, but all that’s important here is the clarity of which actors are performing and which are not, because there is no backstage in improv.

When the game begins, the narrator starts off by saying “[Book Title], Chapter One…” and then monologue as if they are telling the beginning of that story. When the narrator is talking, they sit upright in their chair and hold their hands out as if they are typing. (Remember that.) As they introduce characters, more actors will jump on stage, and all the character/actors on stage pantomime whatever the narrator says (even talking). The audience should be listening to a narration of a silent film right here. When the narrator chooses, they put their hands down and sit back in their seat. This signals to the actors to pick up the scene from there, and they can now make sound and take the story where they want.

The most important thing about this game is that there are two strings of action happening. When the narrator is talking, the actors are not. When the narrator is doing nothing, the actors pick it up. Moving back and forth must be seamless, so it requires all the actors actively paying attention to the narrator, and waiting for he/she to “continue typing” to shut up. (It’s worth noting here that the narrator will naturally make things happen quickly, whereas the actors moving the scene on their own will make the story progress much more slowly.)

When the narrator says “Chapter [Number]”, this calls for a clear stage, regardless of what was happening. This gives them the opportunity to reset, and the chapters do not have to be in order. In fact, the way my troupe plays this, we steadily make the narrative quicker and quicker, going from Chapter One, to Two, to Three, to Seven, to Thirty-four, to Book Five: Chapter Nine, etc. This will naturally make the story harder to follow, so it’s important to stick with the same characters throughout the chapter breaks.

My personal flaw with this game is that as a writer, I hate doing that. I want to tell a real story, not one that is impossible to follow and therefore funny. I can’t find a way to make sense of that in my brain, but it also leads me to the point of how difficult this game really is. There’s virtually no restriction in how you play. The narrator can say whatever they want, and the actors can do whatever they want as long as it’s in line with the narrator. I always say that creativity is born from justifying restriction, but you can do anything in this game, even flex it to play exactly how you want to play, and the open possibility can make it a daunting challenge. For this reason, I tend to teach and stick to other games. Rules are nice.