CIG Newsletter

Select one
* = required field

powered by MailChimp!

2014 Fundraiser

Raised $5,500 towards the $30,000 target.
We're raising money for new training materials. Learn more!
Visit our DONATE PAGE or contact your region about helping out on a local level.
promoslider-volunteer-vert-181x300

Proudly Sponsored By:

Proudly Sponsored By:

Workshop Generator

Use this page as a quick and dirty workshop creator. Every time you reload this page, you’ll get:

  • 2 random Warm-ups
  • 2 random Exercises
  • 2 random Practice Games

This should give you a template for a fun workshop of 45 minutes to an hour.  This randomly generated template is a fun way to try out games and exercises you might not be used to.  This is, of course, no substitute for a well designed workshop put together to address the specific needs of your team, however this randomized template may open you up to skills or ideas you might not often address!

HAVE FUN!

Also, for portability, bookmark this page on your mobile device so that you can generate workshops on the go!

Warm Ups

Turning Circle

Group mind is a physical as well as a mental concept. The high energy of CIG events demands that groups be in tune with one another mentally and physically. Turning Circle is one way of approaching this idea.

Rules:

Students stand in a circle. On cue, they begin running (slowly!) in a clockwise direction, paying attention to one another and setting a reasonable pace.

At any point, any student may shout, “Go!” at which point the entire circle changes running direction. The goal is to not smash or bump into any other player.

Continue, with each successive “Go!” changing the circle’s direction.


Objectives:

To get physically warmed up; to get in tune with our fellow players physically and to find group mind; to work together to make the whole circle sustainable and keep it moving forward fluidly.


Comments:

This warm up is a nice metaphor for teamwork and group mind. Students should pride themselves on creating a flawless circle with no weak spots, but they should also fail joyfully and support players who trip up by helping them get back into the rhythm of the run.


Adaptations:

After running, it’s sometimes nice to see if you can pull of a Circle Sit, with all circle members sitting on the lap of the person behind them simultaneously.

Advanced groups can attempt different shapes, other than circles.


Knight, Mount, Cavalier

Knight, Mount, Cavalier is all about physicalization and support. Make sure your students have stretched!

Rules:

Students get into pairs of Player A and Player B.

The Director will call out one of three physical poses, either Knight, Mount or Cavalier, which are as follows:

Knight: Player A gets down on one knee. Player B puts one foot on Player A’s knee and one hand in the air, is if brandishing a sword high.

Mount: Player B gets on all fours as a horse would; Player A mounts Player B like a rider.

Cavalier: Player A extends his/her arms; Player B jumps into Player A’s arms like a damsel (or dude-damsel) in distress.

Students must hold and support each pose until the Director calls a new one.


Objectives:

To physically attack an offer or impulse (but not your scene partner), to share space and focus, and to find the joy in physical scenework.


Comments:

Safety is important here; so pairing students evenly according to height/weight isn’t a bad idea. Speed and accuracy are key, as well!


Exercises

Radio Dial

This game is a variation of Story Story Die in which each player is assigned a style in which to tell their story.

Rules:

Three to six improvisers form a line on the stage. The MC sits downstage of them, facing the line Each improviser is assigned a style in which tell the story. The narrator/ MC designates who speaks by pointing at them. When the finger moves, the speaking improviser stops (mid-syllable if necessary) and the next improviser picks up EXACTLY where the previous one left off.


Objectives:

To develop awareness and spontaneity. To tell a complete story together within the rules of the game.


Comments:

Concentrate on the story - listen to each other and keep it simple. If the action advances out of hand, the story will lose coherence.


Object Transformation

Rules:

Players form a circle facing the center. One player begins by creating and manipulating an imaginary object (without the use of sound.) The player next to them takes the object and begins to use it in the same way. The player then slowly transforms the movement until a new object being manipulated in a similar yet different way is created. The next player in the circle takes the object and the game continues until the circle is complete.


Objectives:

For players to become aware of movement and their own physical space. This, in turn, prepares players to be conscious of their activities within scene work. This exercise can also be use as a Justification exercise.


Comments:

Players should make sure to connect the original objects movement as closely as they can. This game can also be played as a partner exercise.


Adaptations:

Transformation Game (See Movement Exercises.)


Practice Games

Inner Voices

Inner voices is a classic game normally used solely as a comic device. Teams have recently found it to be a great game to explore the life event.

Rules:

A suggestion is received from the audience (of the teams choosing.) Main characters do a linear scene about a pivotal moment. An additional player for each character within the scene “Shadows” and vocalizes the character’s inner commentary. Players give and take until the scene finds it’s conclusion.


Comments:

It is very easy for the inner voices to comment solely on the feelings of the character. It is important that the characters be allowed to show their feelings rather than have them be simply explained. The explanation can deflate a player’s ability to create characters we care about. The asset of having the inner voice is to be able to show the conflicting feelings we have in life.


Backwards Scene

Rules:

The team creates an entire story/scene in reverse, starting with the conclusion of the story and improvising thier way to the beginning.


Objectives:

The team must know the “Basic Scene Structure” so well they can forward the action in reverse (I guess that would be “reverse” the action). Resolution, raising the stakes, problem, characters, environment. Example: “I’m leaving - goodbye forever” “What will you do now?” “I can’t take this anymore!” “Nothing’s ever good enough, is it.” “God, how I hate carrots!” “Here’s your dinner, hon.” “Isn’t dinner ready yet? I’m diabetic.” “Welcome home dear, have a seat. I’ll just be a minute.”


Comments:

You don’t have to speak backwards - just unfold the story in reverse order. Take your time: this game is liable to disintegrate entirely if it’s rushed.