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!
Also, for portability, bookmark this page on your mobile device so that you can generate workshops on the go!
Horseshoe is a great Brain Fry exercise. Brain Fry games are impossible to win. The joy of the game is in challenging and expanding your ability to focus and concentrate. If you play to win you will only frustrate yourself.
Players form groups of 5 - 15 and stand in a horseshoe shaped line facing center. The group numbers off consecutively from one end of the line to the other. The player in position one always starts by calling out another player’s number. The player whose number is called must immediately call out another player’s number (other than the player’s that called theirs… no call backs.) If a player hesitates by laughing, saying “um” or just taking too much time they must move to the end of the line. When a player moves to the end of the line all the players after their number rotate down one number. Position one then quickly calls out another player’s number.
To stimulate connection to impulses within the framework of rules. To get players to a higher state of awareness and presence in the room.
Horseshoe can be frustration at best if all you want to do is be good enough at it that you’ll get to the number one position. The fact is that this game is a great exercise to train people that only through relaxation will you FIND (not create) awareness. It is a good rule to keep players eyes up in the game as it is a tendency for players to try and block out visual stimuli by staring at the floor… but the game isn’t happening on the floor. Make sure that they are aware of each other and try to follow (or sense) the flow and become part of it. This may sound very artsy but improvisation is based on communicating impulses and therefore these “Jedi like” senses are necessary. It is also a good idea to have no talking except for the calling out of designations. This will allow for the first position to start the next round immediately when the player leaves to move to the end of the line.
Once you’ve mastered numbers use other categories such as the alphabet or colours to designate the positions. For an intense Brain Fry combine all three methods.
A joyful exploration of scene rules and games, and a nice Brain Fry exercise to boot. There are no winners and no losers here!
Students stand in a circle.
They are instructed to pass a “whoosh” around the circle, which travels through their fingertips and voices to the player to their left.
Once the whoosh has traveled around a few times, introduce the idea of “Whoa,” which is produced by holding up your hands to block a “Whoosh.” When someone says, “Whoa,” the “Whoosh” must switch directions and go the opposite way.
After the students adapt to this, further actions are as follows: Ramp, which is sent over the head of the next player, skipping that player and landing on the next one; Tunnel, which causes the next three players to turn sideways (creating a tunnel through their legs) and landing the next Whoosh four players over; Volcano, which causes all players to run to the middle and erupt outwards and back into the circle, continuing the Whoosh from the last position; Banished!, in which a player points to another and “banishes” him or her from the circle. The banished student then finds a new place in the circle. (Banished can also be used when a student misses a pass or fumbles.)
For more, see the Adaptations section below.
To mentally warm up; to make offers and “sell” them; to fail joyfully; to accept offers and to find the games within the game; to connect to your fellow players through a shared game experience.
This game is handy shorthand for the concept of “games” or “rules” that govern scenes. It helps to show that any game or rule can be acceptable within a scene if it is played and accepted to the fullest. The students get the most out of it when they accept that they can’t “win” the game, but they can revel in the playing of it. A great game for teaching the idea that, “There are no bad offers, just bad follow-ups.”
Once students have adapted to all the different types of rules, they can invent their own, which should be accepted by the rest of the circle and incorporated into regular game play. The student should “sell” the new rule, so that his/her fellow players can be sure to follow up.
Some previous rules which have been “sold” and added include: Baby Pig, in which the player lets a “baby pig” loose to run beneath the feet of all players in the circle, and back into its owner’s arms; Accent/Language/Character/Genre- based Whooshing/Whoa-ing (which is, of course, joyfully copied by the next player); Dance Breaks, and etc. The possibilities are essentially endless. Have fun with it!
A classic reinterpreted for character purposes.
Played with four students. One leaves the room (or plugs his/her ears). Other students provide character endowments for the three others, like “nervous doctor,” “arrogant astronaut,” etc. The fourth player returns and asks three questions, with each of the three “contestants” answering. After the questions the “bachelor/ette” should guess what the endowments were.
To hone character; to make offers and accept them in character; to play the game of the scene.
A fun and fast character game, which works best when played in the game show style. Feel free to add a “host” character to keep things moving.
Several rounds can be played, and the game can be adjusted to include other “games” (seeing the first dates, Jeopardy-style rounds, etc.).
5 Element Game
The Five Element game trains and creates natural impulses for story telling.
The players get in groups of 3. Two players create a one minute scene while the third player calls out the elements of the Basic Scene Structure as they are created. One player starts by exploring the physical environment of an activity. The observer calls out “Setting.” The second player enters as a complimentary character, thus creating a relationship. Once this relationship is created the watching player calls out “Characters.” The scene partners then find a problem or obstacle to overcome. They raise the stakes, motivating a solution. Finally, the players find a solution (preferably one that arises from the environment or the characters.) At each step the watching player calls out what element of the Basic Scene Structure is created.
To create the instinct to tell stories within the Basic Scene Structure by focusing solely on advancing between elements.
Because of the one minute time limit, this exercise often results more in the narration of action rather than true physicalization. Although this is normally a bad thing, the value lies in the ability to reduce the amount of gags and gossip encountered in the creation of the scene. Raising the Stakes is normally the first element to be forgotten in the heat of the moment. It is therefore one of the elements you must be the most stringent about. You should also be looking for an organic solution. An organic solution comes from within the world of the scene; Deus Ex Machina is the improvisor’s easy way out.
Five Element Freeze: The Five Element game done with freeze called at the end of every scene and a new player taking a position of one of the frozen players. The player then justifys the position into a new environment/activity.
Gibberish 5 Elements: The Five Element game done while only speaking gibberish.
Silent 5 Element: The Five Element game done in silence (no sound effects.)
A great game to explore non-human habitual movement.
Improvisers ask for an animal or animals to inspire their characters. The team then plays the scene as a human with that animal’s characteristics.
To use the Animals inherent talents and well known traits to solve problems (or create them) and create the elements of scene work. It is also important to find the similarities between animal and human.
How does this animal character walk? Talk? Sit? Eat? How do they react to danger? Happiness? The more detail your animal character has, the more interesting you will be and the better you honour the suggestion. If you have a well rounded animal character, the scene will organically evolve from that character’s specific traits. If you do some animal character exploration with your group before you play the game, you’ll find more detail and more levels to play on. The animals that you get from the audience will (and should) be different but a familiarity with the exploration will help you create well-rounded characters.
Offstage improvisers provide the voices for the onstage characters and action. May be played as a Foreign Film.
To perform a scene with the narrative being supplied by one part of team and the physicalization by the other.
The onstage improvisors have the option of simply moving their lips, speaking in gibberish or (if you have the option) actually conducting the scene in a language other than English. Familiarize yourself with the convention of pausing after each line of dialogue for the translation - don’t let the action of the scene stop just because nobody’s speaking. Stay present and connect to the scene physically to give it continuity.