The Living PlayBook

Over the years, Unexpected Productions has published six editions of our Living Playbook (including this one). The idea of editing an online (and printed) playbook and distributing it for free comes from the idea that the forms belong to everyone.

We know of many books of games that are out and encourage you to support them as well.

Editors and Years of Publication

Known Contributors 1986 - Present

Read The Living Playbook, use The Living Playbook (see copyright), but above all contribute to The Living Playbook. Please send us any new game or variation that is not included here. We will be happy to consider adding it to The Living Playbook. If it is put in your name will be added to the list of contributors. Send to rjdix55@hotmail.com Be sure to include "living playbook" in your title.

We fully encourage FREE distribution of this collection but this notice must be left intact. Any distribution, in any form (including, but not limited to, print, CD-ROM, morse code and smoke signals), where profit is being realized without the express written consent of Unexpected Productions is prohibited. Duplication expenses (disks, paper, photocopying) are exempt from this restriction. We want this collection distributed, but only to the advantage of the recipients.

Glossary of Terms

A form of canceling, which completely denies an offer. Example: "Is that your car?" "No. There's no car here."

Setting up a situation, then neutralizing it. Example: "The phone is ringing!" Picks up phone. Hangs up. "There was nobody there."

Getting a laugh at the expense of the story. Gags are narrative killers, but sometimes useful for ending scenes. Example: A menacing killer corners our hero, pulls out a gun, points, and bites into it explaining that it's made of candy.

A substitute for action. Talking about something that has happened, or is happening off stage. Example: "You should see my new plane, it's over there. (Points offstage) It has gold wings, ..."

Avoiding narrative development with talking or actions. Example: Having to tell a patient bad news, you begin with, "Have a seat. How are you feeling? I suppose you're wondering why I called you in here?"

Immediate action that establishes conflict, but doesn't establish narrative. Example: Suddenly turning into a Werewolf. Unexpected Productions

A story that continues to introduce so many new ideas, that it becomes impossible to tie the narrative together. Unexpected Productions

Finding activities to do, as to avoid doing what you established in the beginning. Example: Setting out to fix your car, but seeing the garage is a mess, you decide to clean it. You begin to clean and find an old photo album. You look at pictures, etc. Unexpected Productions

A scene that becomes void of action, and consists of improvisers onstage talking, not doing.

Talking about an action rather than doing it. Example: "Shall we climb that tree!" "Why sure, it's such a big old oak tree. What do you think we'll be able to see at the top?" "Oh, we should be able to see my house from up there!" etc. Unexpected Productions

Refusing to define an offer. Example: "Who are you?" "I'm the man you called." "The man I called of course! You’re here to fix that thing, aren't you?" "Yes, I fix those things better than anyone else."

The Playbook

Improvisers play a scene in which EACH sentence they speak begins with the next sequential letter of the alphabet from A to Z. For instance, One improviser may speak three sentence: Sentence one begins with the letter A, the second with the letter B, the third with the letter C. A second improviser may then speak but his first sentence must begin with the letter D, next sentence with the letter E, etc. This game is best played beginning at the letter A and ending on Z.

Variation: The audience chooses a letter and/or you may go through the alphabet as many times as necessary to complete the scene.

Variation: Instead of each sentence beginning with the next letter, each LINE of dialogue spoken by a character must begin with the next letter. In the example above, one improviser will begin their first sentence with the letter A, all following sentences may begin with any letter. The second improviser begins their line of dialogue with the letter B, etc. Unexpected Productions

Two improvisers play a scene where one of them is limited in dialogue. The limited improviser can only say one of the following three lines, "Sounds good to me!", "I'll go along with that!", and "O.K., great!". The unlimited improviser makes offers and the limited improviser replies. The choices made should be active ones allowing for limited responses. This game is excellent if you are not in the mood to improvise. You can be active in the scene without blocking or wimping on an idea.

Variation: This game can be easily played with an audience member in the role with only three lines.

The scene begins. At some time during the scene, an offstage improviser rings a bell and all the improvisers onstage switch characters continuing the scene. Can be played with the rotation of improvisers including the offstage improvisers. Unexpected Productions

Variation: One actor is sent out of the room, and then switches with the actor on-stage. The new improviser must discover whom he is playing.

Improvisers ask for an adjective (eg: 'sad'). Must play the scene with as much 'sadness' as possible, or each player may ask for a different adjective.

A very simple game. Perform an action, and then make it more interesting. Keep the action simple, and be strict. Have someone offstage call "Advance", at which point the improviser may advance the story, and "Expand", at which point the improviser must make whatever they are doing more interesting. Example, if the action is "scratching your nose", you need to make that activity more interesting. You can't blow your nose, because that would change the action. You need to make "scratching your nose" more interesting. Unexpected Productions

A rectangular area is marked off with chairs or tape, etc. Two improvisers stand at opposite ends of the area. One is blindfolded. An obstacle course of improvisers, chairs, and props is assembled in the area. The sighted improviser guides the other through the course without touching any of the obstacles. Three touches and the game is over. It is good to have a time limit on this exercise.

Improvisers perform a two-minute, four-person scene. At the end of the two minutes, one person needs to have been excluded from the rest of the group. This game used to be called Exclusion, but that name doesn’t fit the game. The object of this scene is not to exclude someone else, but to align oneself with the others. If you have an ally with you, you can't be excluded. If you are the one being excluded - don't fight it -be excluded. The challenge is in trying to get an ally to join you. It is best to keep this scene physical and very specific.

Improvisers ask for a letter of the alphabet and incorporate as many words beginning with that letter into the scene as possible. (T)

Variation: Instead of words the improvisers make sounds beginning with that letter.

Variation: Every word spoken begins with that letter. Using the letter “T”, “Hello, How are you?” becomes “Tello, Tow Tar Tou?”

Improviser (or improvisers) asks for an animal, then plays the scene as a human with that animal's characteristics.

One improviser stands in front of another improviser. The improviser in front wraps his arms around the improviser behind. The improviser behind then uses his own arms as the front improvisers arms. Can be used with Experts.

Improvisers turn to the audience and declare their true feelings or inner dialogue. The asides are not "heard" by the other characters on-stage. The others maintain their positions in a "soft freeze" (holding position without becoming rigid). Similar to Consciences and Inner Dialogue.

Two critics review either a single film or multiple films. As they review, clips from the fictitious movie are acted out onstage.

Variation: Rather than critics, the improvisers can play a trailer to an upcoming feature. Then they can play the whole movie trying to connect the scenes from the trailer.

Improvisers ask for attitudes. For instance, attitudes to have for each other, or a particular topic. Example: if 3 people are initially in the scene, you might get 2 attitudes from the audience ("impressed" and "indignant"). Then, each improviser plays the scene "in neutral" - endowing the other actors with one of the attitudes. Each actor will react indignantly towards one person's comments and impressed with the other. Each actor may assign different attitudes to different characters.

Improvisers involve all or part of the audience in the scene. Audience may be used as a Sound Environment (providing sounds for the scene), to Move Actors Bodies, Family Dinner, Pillars, etc.

Scene is performed in the style of a ballet, often with a narrator. May choose to use music, but its not necessary. Performed without speaking, except for the narrator's part.

A short scene is played. The improvisers then ask the audience if they want to see the scene that came before the scene they saw, or after. The improvisers then play that scene. Once again, the audience is asked and the third scene is played. If the audience choice leads to the improviser repeating a scene, they can add something or inform the scene with something from the earlier scene.

Scene in which the emotions are so profound words cannot express the emotions and therefore, are not used.

Person 1 is sitting on a chair, in a location to be determined. He holds a small, black box on his lap. This box controls parts of the body - push one button, the leg bounces, push another and the shoulder twitches, etc. Person 2 enters, notices the box and asks to use it. Person 1 says, "OK, but be sure you don't press the RED button." Person 2 plays with it, controlling person 1. Starting slowly, person 2 gets more and more sadistic. Don't decide beforehand what the red button does. It might be a Song Button, or an Emotional Release Button, or a Falling in Love Button, etc.

Any scene based on suggestion that fills in a blank such as “I opened the closet and found a ______?”

Improvisers ask for a verb or adjective and then play a family of characters who are that verb or adjective.

All onstage improvisers wear blindfolds while playing the scene. They act as though they were sighted and the scene was a normal scene. For the sake of safety, the stage should be lined with spotters to make sure the onstage players do not walk off the edge of the stage.

Improvisers form a large circle. Six improvisers sit in the middle of the circle with their eyes closed. One is tapped to be the "murderer", a person who kills the others by squeezing their arms. "Go" is given, and the six improvisers roam around the circle keeping their eyes closed. When a victim is killed they let out a scream and open their eyes, joining the outer circle. The people in the outer circle should act as "spotters" for the six improvisers, making sure they remain safe.

Death and Retriever

As in Blind Hunt, with the addition of a retriever. A person who can "revive" the victims by rubbing them with a scarf or patting them on the head. When the victims are killed, instead of joining the outer circle, they should remain where they are in hopes of being healed. The retriever may be killed, so the players should feel the dead bodies to see if one has the scarf, whoever finds it becomes the new retriever. (The murderer cannot take the scarf). Unexpected Productions

Improviser A makes a physical gesture, Improviser B looks at the gesture for a three count, then justifies the gesture if they can. If not, Improviser B puts Improviser A back into a neutral position, and Improviser A says "Thank You." Don't force the justifications; let them come. The idea is to build up a visual vocabulary. It's not abstract. You want to train the eye to “see”, not to come up with clever justifications. The more you do this exercise, the easier it will be to justify the positions.

Improviser A accepts all offers, while Improviser B blocks all offers. Both should want to tell a story so a general location should be accepted by both. A's offers will gradually move the story forward.

Eventually, A can create action from presenting B with a "negative offer", an offer that in order to be blocked forces B to do an action. Example; A: "Too bad you don't have the ability to fly!" or, "Too bad, your gun is out of bullets." Take your time with this exercise and try it a lot.

Any scene where a body part is endowed with something, or is a focal point. Scenes such as Emotional Body Parts, where a part has an emotion (Sad elbows). Body Leads, where a characters movement (or center) is led by a particular part of the body; and Body Wire, where your body is suspended by a body part while the rest of your body is relaxed, all fit into this category.

Scene in which an improviser is interrogated. The improviser being interrogated is worked over by an invisible thug of gigantic proportions (named Boris). Whenever the interrogator does not get a satisfactory answer, Boris thrashes the prisoner. The person interrogated is responsible for physically carrying out the orders to Boris. Remember - the prisoner does not want to be thrashed, but the Interrogator is a cruel one. TELL A STORY. Unexpected Productions

A scene is begun in a given location. At some point during the scene an onstage improviser receives a "Call from Ray", which then must be incorporated into the scene. The "call" may come in any form (smoke signal, Morse code, etc.), and Ray may not appear in the scene.

A person is picked from the audience and questioned about something he has always wanted to do. He is then brought on-stage where he gets to live that Chance of A Lifetime.

Audience provides character traits or types for the improvisers to use during the scene.

Two improvisers face each other, one begins a story, the other asks related, but surprising questions about what is being seen. If in a house one may ask, "The rocker speaks to you, what does it say?" You want to prevent the person telling the story from thinking ahead about the answers. You want to derail their train of thought.

Improvisers ask for two environments (unrelated). Environments merge during the scene (e.g. Invent the lightbulb during the fall of Troy).

Improvisers ask the audience for a fictitious product. The team then acts as a Production company writing a slogan, jingle, or commercial - demonstrating what the product does. Similar to Yes, And... May also simply be presented as the actual commercial.

Scene where the thoughts of any or all characters are revealed by on-stage beings (angels and devils) or offstage voice (Alter Egos, Inner Dialogue, True Feelings).

The opposing team begins a scene. After 30 sec., the MC stops the scene. The offstage team assumes the positions and characters of the onstage team, playing the rest of the scene.

Gradual Continuation

Instead of replacing onstage team en masse, off stage improvisers substitute one at a time.

Continuation Circle

Play a scene in the center of a circle. Improvisers tag in, while maintaining the same initial characters and story throughout the scene.

As if seen on PBS - may use Opera, Ballet, Shakespeare, Masterpiece Theater, etc.

The scene is interrupted by an off stage "cutter" who directs the action to points in time and locations before or after what is being played on stage. Actors make offers in their dialogue, like, "Do you remember the first time we talked like this..." Can also be played with the time changing anytime a character looks at a timepiece or with an offstage improviser calling out the time. See: Remote Control.

Improvisers ask an audience member for an actual day in his life. Improvisers recreate the day as they see fit. Can be an average day, or a first day at work or a rite of passage or a family vacation experience or...

Scene is played with one or multiple players calling out film shots that must be created by the onstage performers. Any type of film technique can be called out such as“ Long shot, extreme close up, medium establishing shot, slow cross fade”. Unexpected Productions

Title is given for the scene. "Actors" begin a "rehearsal" of the piece. Periodically, they are stopped by the "director", who gives new emphasis or emotional focus to the scene. This game can also be played with the audience playing the character of "Chris". When the "director" needs an emotion, a physical direction, etc. he consults "Chris" to fill in the blanks.

The improvisers draw a card from the "36 Dramatic Situations" Cards, and then base their scene on the elements of plot and character given on the card.

Each person is assigned a famous personality from history or current affairs, and a location in which their scene is played.

Strange Bedfellows

Two people sit at a large drawing surface with two different colored pens. They start to draw a line at a time beginning with the eyes, to avoid the abstract. Nobody is in charge, just draw, you are sharing the drawing and bypassing your personality. When the drawing is finished title it one letter at a time.

Automatic Writing

Take a blank piece of paper and a pen. Look in the upper left hand corner of the paper and write down the letter you "see" there, then the next, and the next, and so on. Always “look” for the letter in the blank next the letter you just wrote. When you’re done read the page. This allows things to come out you, you don't need to "think" about the letters, just write them down. Think of it as being given the letter, as opposed to creating the letter.

Improvisers base their characters on identification photos they acquire from the audience.

Offstage improvisers provide the voices for the onstage characters and action. May be played as a Foreign Film.

Doublespeak

One improviser on stage speaks for all the other improvisers in the scene, as well as for themselves. Can also be played as MUTUAL DUBBING, with two improvisers providing each others voices

Crosstalk

Improvisers A, B and C start a scene, A speaks (dubs) for B, B for C and C for A.

These are scenes in which one or more improvisers leaves the stage area so that other members of the team can get "secret" information from the audience. When all necessary information has been gathered, the improviser(s) return to the playing area, where their teammates "endow" them with the characteristics necessary to guess the secret information. This information generally involves activities or character attributes. It is important that the teams ENDOW the improviser with the proper qualities. This is not charades. Example: If you are endowing some to be a dentist, you do not show them how to clean teeth, etc. Instead, you come in yourself with a sore tooth and hope they become the dentist to help you. All endowments (except corridors) are best played with a three minute time limit.

Chain Murder Endowments

The scene is played in Gibberish. One improviser remains on stage; the rest of the team leaves the playing area. The on stage improviser asks for 1) an occupation, 2) a room in a house or building, 3) an object, not considered dangerous which will be used in the scene as a murder weapon. The actors are brought back into the playing area. In gibberish, the on stage improviser endows off stage improviser #1 with the three pieces of information. When the endowing improviser is convinced that the endowed improviser knows what the weapon is, he should be killed by it. Then improviser 2 communicates the information to improviser 3 and finally, 3 to 4. The MC then asks the final improviser what the three pieces of information were. Score is not effected by correct or incorrect answers. Remember that the scene is timed, usually with one minute per off stage improviser. The object is to get all the improvisers through in the allotted time (usually 3 minutes). There is nothing wrong with improvisers REPEATING EXACTLY the actions from the previous improviser. The audience is encouraged to applaud each time the improviser correctly "identifies" the piece of information being transmitted.

Confession

The improviser sent offstage must return and take confession, confessing to sins with the help of a priest.

Corridors

Two playing spaces are defined with a "neutral corridor" between them. Improviser A walks from the neutral corridor into one of the spaces, Improviser B, already in the area makes an offer. A and B have three lines to define who, what, and where they are before B has to find a justified reason to leave. Improviser B leaves, passing through the corridor to the other space, where Improviser C waits to make an offer. You can do this with two lines of improvisers feeding each playing space. Example: A steps into scene. B says,"Young man, do you know what time it is?" A replies, "I'm sorry Dad, I won't come home this late again." B Says, "I think your Mother should hear that, I'll go get her." B leaves to go to the other playing area through the corridor.

Crime Endowments

The offstage improviser is endowed as the head of a criminal organization and gathers with the others to plan or act out the crime. . He is endowed with “something to steal”, “a method”, and some wild card such as a code word or a disguise.

Environment Endowments

An environment is taken from the audience as a suggestion, then all the improvisers except one leave. The remaining improviser gets from three to five activities associated with the environment. The improvisers enter together and a scene is played with one improviser attempting to endow the others with the activities.

Famous Person Endowments

Two improvisers leave the stage area. 3rd improviser gets 2 famous people. The 2 improvisers are called back to the playing area. Whispering, Improviser 3 arbitrarily assigns to each improviser who the OTHER improviser is (eg: improviser 1 has to endow improviser 2 with being Mickey Mantle, Improviser 2 endows improviser 1 with being Marie Antoinette). This scene is played in the vernacular. Like all endowment scenes, this is not a charades scene.

Five Things

One improviser leaves the playing area while his partners get 5 activities from the audience. Improviser is then brought back to the stage where he is endowed to perform the 5 activities. The activities should be unrelated BUT the improvisers should attempt to incorporate the activities into a linear narrative. The scene is most successful if the person trying to guess the activities does whatever comes to mind. It is up to the improvisers "in the know" to guide the one guessing. Again, this is not a game of charades. Never forget narrative. Unexpected Productions

Fortune Teller

One improviser leaves the playing area while his partners get predictions (usually one per player onstage) from the audience about events to happen to the customers. Improviser is then brought back to the stage where they play a fortune teller predicting the future events. They can be endowed by the customers or by being given clues from offstage improvisers who “possess” the fortune teller.

Hidden Word Endowments

All members of the team leave the playing area. The MC asks the audience for an environment and for three words which may be used in that place. The MC then coaches the audience to respond to the teams to let them know when they are getting "warmer" vis a vis the three words. The improvisers are given the environment when they return to the stage.

Lecture Endowments

Improviser is sent out and the remaining players get a college course topic and something not associated with that subject, for instance “biology” and “presidents”. The offstage improviser returns and begins a lecture. They are endowed with the subject “Presidential Biology” through questions from fellow players and the audience playing students. Unexpected Productions

Marriage Counselor Endowments

An improviser leaves the playing area. Two “relationship problems” are gotten from the audience. The offstage improviser returns as a counselor and two fellow players try to endow him to guess at the problems in the relationship by playing a couple in a therapy session.

Murder Endowments

The audience chooses a murderer from the playing team. The murderer then leaves the playing area. The remaining improvisers then get a location, a murder weapon, and a victim. The off stage improviser returns and the scene is played with the partners endowing the murderer with information so that he kills the right person, in the right place, with the right weapon.

Object Endowments

One improviser is sent out of the room and a list of objects is gathered from the audience. The other improvisers try to endow the unknowing improviser to use the objects given.

Occupation Endowments

Single occupation or a series of occupations is asked of the audience. The other improvisers try to endow the unknowing improviser with that occupation, or occupations.

Panel Experts Endowments

You have three experts on a given topic. Each expert is introduced by the expert before them. During the introduction, the upcoming expert is endowed with a particular trait. This may be a speech pattern, a nervous tick, a physical limitation, an obsession, etc. The upcoming expert then plays the endowment for the remainder of the scene and endows the next expert.

Party Quirks

One improviser leaves the stage and the remaining improvisers get character traits, habits, etc. The offstage improviser returns and a party scene is played. The improviser tries to guess everyone’s “party quirks”. When he guesses correctly he throws them out of the party.

Personality Murder Endowments

Same as Chain Murder, except instead of a location, the team gets a famous personality.

Proverbs/Word Endowments

One improviser leaves the stage area and a proverb or unusual word is given. Upon returning to the playing area, the improviser must use the proverb or word during the course of the scene. This game may be played with any number of improvisers endowing, perhaps as a warm up at the beginning of the match.

Psychic Endowments

The offstage improviser is endowed as psychic reading the fortune of a fellow improviser taken from the audience. Fellow improvisers may “possess” the person being endowed and channel clues from beyond to help them guess.

Return Department

A product and an unusual problem with the product are received from the audience. An unknowing improviser enters and is playing an employee in a return department of a store. An improviser then tries to endow them with the product and the problem.

Secrets Endowments

Two improvisers in turn, face upstage plugging their ears. Improviser A asks the audience for a secret about Improviser B, and vice versa. In the course of the scene, each improviser has to endow the other with the appropriate secret.

Secret Word Endowments

Team members face upstage, plugging their ears. MC asks the audience for a word for each of the improvisers. Using sheets of paper, a big marking pen, and tape, the MC tapes a word to each improvisers back. Scene is played as the improvisers attempt to get each other to say the word taped to their back.

Superhero Endowments

Someone is sent out and the remaining improvisers get the name of a brand new superhero. They then get two strengths, and a weakness based on the name. The offstage improviser returns and is told the name of his superhero. Ascene is then played out in which the superhero must guess his strengths and overcome his weakness.

Stage lights are turned off, House lights are turned on. The scene is played entirely in the audience. Often this is played by getting a room in the house such as kitchen. The improvisers then play a scene in which their kitchen is the size of the theater.

Improvisers create as complete an environment as possible in one minute. Variation is to play the scene Without Words, in Gibberish. Unexpected Productions

At least one improviser is an expert on a topic of the audiences choosing. Talk shows, lectures, debates, or interviews have been used. May be played as a Word At A Time Expert. SEE ALSO: Panel Expert Endowments, and Lecture (Phone Bank).

Audience member is brought to he stage. The Improvisers ask them to describe their family or workplace and then play a scene with those characters. When the audience member feels the offer made by a character is accurate, they ring a bell. If the action is inaccurate, they ring a buzzer and the improviser must continue to make new offers until the bell is rung.

Famous last words are given, either real or imagined. The scene is played accounting for those words.

Scene begins. At some point, the scene is stopped and returned to a designated event. The scene then proceeds in a different direction from that point. Similar to Cutting Room.

A scene is played with the improvisers using their hands as “finger puppets”.

Improvisers are given a first line and an unrelated last line of dialogue. Scene begins and ends with these lines.

Variation: Each improviser can get a first line and a last line that they must use in the scene.

Variation: Have the teams bid on how many lines it will take them to connect the first and the last lines.

Onstage improvisers change places with the tech booth. The technical improvisers then play a scene with tech support from the onstage improvisers.

In the Film World, the Foley Room is the room in which the soundtrack is enhanced. To play Foley Room, someone must bring in a collection of noisemakers. One team plays the scene; the other team uses the noisemakers to enhance the scene. Both teams should justify the sounds. A one minute 'familiarization' period with the noisemakers can be helpful.

Variation: If you have technical improvisers the offers can come from the sound improviser.

A fortune cookie is opened and read aloud. Scene must use the fortune in some fashion (eg: philosophical base, an event that takes place during the scene). Each improviser may open a fortune cookie, basing their character on the fortune.

An improviser free associates for 30 seconds. Opposing team plays a scene or tells a story based on the free association, using as many of the images as possible. Stress narrative.

Blind Freeze

Improvisers have their backs to the action and their ears plugged, an improviser shouts freeze, the next person in line jumps on stage, then, the same as above.

Freeze Tag

Two improvisers begin a scene. An off stager improviser, at some point, shouts out "Freeze." The on stage improvisers freeze. The off stage caller then jumps on stage, taps one of the improvisers out of the scene, assumes that persons EXACT PHYSICAL POSITION, and begins a new scene based on the physical positions. Improvisers may freeze in and out as much as they like. In order to make this game work, the on stage improvisers should be as physical as possible. This gives the off stage improvisers a greater number of possible Freeze moments.

Variation: Have the audience “boo” if the improviser does not assume the exact position. The improviser must then make adjustments until the audience is happy. The game continues from there.

Location Tag

Same as Freeze Tag except the audience suggests a new location with each freeze that the improvisers must justify.

One Act Tag

Like freeze tag, except that the improvisers play one character throughout the tag. Every time an improviser tags in, they play the same character. Eventually, the scene takes on a "Soap Opera" quality. Remember to justify the position, as well as the relationship each time.

Any of a series of scenes in which the spoken language on stage is gibberish. No known language may be used during the playing of gibberish scenes. The scenes are not played as charades, but as scenes in which the on stage improvisers know exactly what the other improvisers are saying. The goal is to create a new language of understanding between the improvisers onstage. Translations should match syllable for syllable and begin as soon as the gibberish is spoken rather than waiting until the end of the line.

English/Gibberish

A scene begins in English until a bell is rung and the improvisers continue the scene in gibberish. The bell is sounded again and the improvisers return to English. This back and forth continues until the scene ends.

Foreign Vacation

The improvisers get a foreign country from the audience, like "Spain". A scene is played where an English-speaking visitor is incorporated. But the "English Speaker" speaks in gibberish and the "Foreigners”, in the example, the Spaniards, speak understandable English.

Variation: Someone offstage can say, "switch", and the one speaking gibberish can then be understood, while the others begin speaking in gibberish.

Gibberish Conversation

Three improvisers sit onstage. Two of the improvisers conduct a gibberish conversation with both sides translated by the third improviser.

Gibberish Dictionary

Improvisers stand in a circle. An improviser turns to the person next to them and says a gibberish word. The receiving improviser repeats the word and then offers a definition to the next person. The third improviser uses the word correctly in a sentence. The next person says a gibberish word, etc. around the circle.

Gibberish Joke

A (very funny) joke is told to the audience by a single comedian. The joke teller is constantly interrupted by an assistant, forcing the jokester to retell the joke from the beginning.

Gibberish Translation

A poem or opera or...is translated by an interpreter for the audience and/or other improvisers.

Language Barrier

Two improvisers meet on stage who speak different languages. They both speak in gibberish as far as the audience is concerned.

Poetic Speak

Scene begins with regular speaking. A bell is rung and the players then continue in Poetic language. The bell is rung again and they return to regular speak. The scene continues going back and forth between these two states.

Scene By Numbers

An improviser gets a number from the audience. Scene is played using only numbers as dialogue, counting down from the number given by the audience. Scene ends at "zero."

Step 1: Improvisers spread out through a playing space then freeze in a position. One improviser begins to move about the room in any fashion they wish. They then give the momentum to another improviser who takes it immediately and begins to move about the room. When the second person begins to move, the first person freezes. Remember to "give" focus. Step 2: Same as above, but in addition, the momentum may be "taken" by anyone who decides to move. If an improviser begins to move, the present "mover" freezes. If two people begin to move at the same time, they should mirror each other, or one of them has to give focus. It is very important to be aware of the people around you and if someone is in a difficult position give them the focus.

Like Freeze Tag. Start with Improviser 1 on stage. Improviser 2 freezes the scene, jumps on stage and begins a new scene with Improviser 1. Same for Improvisers 3 and 4. Unlike Freeze Tag, improvisers do not tag out of the scenes. Eventually, the entire team will be on stage (let’s say 4 for example). Then!!! Improviser 4 must find a justifiable reason to leave the stage and the scene reverts back to the original 3-person scene, but time has passed, the improvisers are in new positions WHICH MUST BE JUSTIFIED. Then Improviser 3 finds a justifiable reason to leave the stage - back to the 2-person scene. Finally, Improviser 2 leaves - back to the solo scene. It is important to justify the new positions during the Shrinking phase of the game, not to simply jump into the original scene at the next moment. Similar to Space Jump. Unexpected Productions

Variation: Shrink then Grow by beginning with 5 improvisers then one leaves and thus begins a 4-person scene all the way down to one. Then the machine grows by having the improvisers enter the scene in order again up to the 5-person scene.

A thirty-second scene is played. It is then repeated in fifteen seconds. It is then repeated in seven seconds, then three seconds, and finally in one second.

A fill in the blank scene involving super heroes and sinister villains. BLANK Man/Woman is the main hero. Dr. BLANK is the main villain. BLANK is the sidekick to the hero and Mr./Ms BLANK is the sidekick to the villain. The VICTIMS are the rest of the players who set up the environment that soon becomes villain-ized. The players are strongly urged to get the full benefit of their given blank-name by incorporating all of the associations justifiably in the scene. FOR EXAMPLE, if the suggestions are, "pancake, oven, wax, tree, and Starbucks" then, Pancake Man and his sidekick Oven may fight against Dr. Wax and his sidekick Mr. Tree as they plot to turn all the coffee beans of the world to wax. Pancake Man battles using his special flipping and flattening abilities as Oven melts off the wax.... etc... you get the idea.

This fun game was developed by Jay Hitt as a way to get improvisers to know their parts in a scene. To play it successfully, players must focus on the RELATIONSHIPS between their fellow improvisers.

Players get down on the floor in a circle. They cross arms with the players next to them and then place their our palms down on the ground keeping the circle. Each hand takes a turn patting the ground once around the circle in order. Direction is changed when a player pats one hand twice and the order must go in the opposite direction. If a player makes a mistake, then the offending hand is eliminated from the circle. The game is over when one player remains.

Two improvisers from opposing teams put on hats of approximately equal dimensions. Scene ends when one improviser (a) grabs the hat off his opponents head or (b) tries to grab the opponents hat and misses. Play the scene for reality. A Hat grab, the move to grab a hat or defend a hat, needs to be justifiable within the scene. The scene if often played with a 15 second "window" at the beginning in which improvisers cannot go for the hats.

A headline, real or imagined, is asked of the audience. The scene is played illustrating the headline.

Have several improvisers play a simple family scene together. When finished give them the instructions, "You feel healthy and fit. You have all the space and air you need, and have a great interest in what people have to say. Have the improvisers replay the scene and watch the results. The scene will generally be much more interesting to watch. This exercise is a good mantra to use when you are on stage as well.

A scene for two improvisers. Each improviser describes the action of their partner. Example: Improviser 1, "I'd like to talk to you, Mabel. Improviser 2, "He said, standing up and putting his hands on his hips." Improviser 1 carries out that physical action as improviser 2 continues, "All right." Then Improviser 1 responds, "She said, pulling out her bullwhip and snapping it over his head." Improvisers refer to each other in third person, to keep the narrative strong. The idea, like every other improv scene, is to endow your partner with do-able action. It gives the improvisers an excellent view on how to endow.

Get a list of characteristics, habits, emotions or attitudes for the audience. Two chairs are placed onstage and one player takes a chair as if driving a car. They pick up a hitchhiker played by another player. The hitchhiker plays one of the strong character traits, habits or quirks. The driver takes on the characteristic and they continue the scene.

After a while, the hitchhiker is dropped off and a new hitchhiker is picked up with a new characteristic.

Variation: The driver makes an excuse to leave and the hitchhiker becomes the driver who then picks up another hitchhiker. This is a rotating players through the scene.

Improviser(s) play a scene speaking their true feelings (as opposed to socially accepted verbal interactions). Unexpected Productions

A hotelkeeper shows a couple into a room and leaves. They grab long knifes (imaginary) and cut their bodies open. Another creature emerges, moving around the space gleefully. The hotelkeeper knocks, the creatures freak and climb back into their old bodies (in a hurry, they put them on wrong, or put on each others bodies, etc). Hotelkeeper enters, says, "I know what you've been doing," and proceeds to cut himself in the same manner.

A situation is given and a scene played out during which a horoscope from a magazine is read out in parts. The central character in the scene plays his part according to the horoscope.

The words "I love you" are played as either the subtext for the entire scene, without ever being stated, or in some cases, as the final words of the scene.

Improvisers get audience suggestions to fill in the blanks IN A toaster WITH A Marine WHILE a hurricane is approaching. Scene does not necessarily have to begin with the suggestions but may move toward that moment. Or it may begin at the suggestion and proceed wherever it might. Variations of the game are single blanks or combining two of the three.

Improvisers each get a “trigger” word before the scene. If any improviser in the scene speaks the word and they are onstage, they must justify an exit. If the word is said and they are offstage, they must justify an entrance.

Variation: Play that the “trigger” word has no effect if spoken by the improviser with that trigger word. The entrances and exits can only be caused by other players.

Improvisers perform the scene while off stage "voices" create the inner dialogue - what they are REALLY thinking. May be played with just one character having an inner dialogue, or with the actors giving their own inner dialogue directly to the audience in the style of an aside. See: Consciences and Asides.

Scene is played with as much innuendo, double entendre, or suggestive dialogue as possible. Can be one on one or played as a tag team scene.

A scene is played with a number of improvisers onstage. Each improviser tries to play the scene straight and has to justifiably exit if the audience laughs at either their action or dialogue. All players must contribute to the scene.

Tag team insults. Get it? Some get it, others don't...we fall into that latter category! Ouch.

Team begins a scene. Opposing team attempts to take focus without speaking, making noise, or touching the "on stage" team. You can also play this where the opposing team MAY touch the "onstage" team.

One improviser narrates the story, usually in the 1st person. The other improvisers interact with the narrator providing environment, supporting characters, etc. More than one improviser may supply the internal narration. Unexpected Productions

One or more characters in the scene are invisible to each other. The other improvisers respond 1) as if they are visible (with no actor, like in Harvey) 2) as if they are invisible, but audible (voice provided by miked improviser off stage), or 3) as if they are invisible and inaudible (with an actor playing a ghost as in Blythe Spirit).

Everyone sits in a circle with their heads down and eyes closed. On the count of three, everyone looks up at either the person on their right, left, or directly across from them. If eye contact is made both people scream and step out of the circle. The circle is then closed and the exercise is repeated until there are only three players left.

Improvisers play a scene in which all of their sentences are completed by a fellow improviser.

This scene begins with a group of improvisers (usually four) standing in a line. Facing them is another improviser who acts as the Judge. The improvisers select a general topic of discussion, a one-minute timer is started, and the judge picks one person to start talking about that topic. The person talking can speak of an actual experience in that topic, they can make up a story around the theme, they can state facts about that topic; anything they want. The other improvisers try to challenge the speaker on ANY grounds. Challenges can be for repetition, boredom, off the topic, anything at all. The clock stops and the Judge decides if the challenge is valid or not. If the challenge is not valid, the clock and the speaker continue. However if the challenge is upheld, the challenger gets the floor, and begins speaking on the same topic. The challenging continues, if someone who has started their story, gets the floor back, they must continue with the same story they were telling when they lost the floor. The improviser talking at the end of the one minute time limit wins. This game is not a narrative game and should be played for fun.

Torture Your Teammate

All members of team except one block, wimp, waffle, do bad mime, all forms of bad improv. One "straight" improviser must justify everything - keeping the storyline strong.

One improviser is the King and one improviser is the Servant. The two play a scene; if at any time the King is dissatisfied with the Servant, he claps his hands and the Servant instantly dies, replaced by a new Servant. You may wish to time the Servants to see how long they last. This game is for learning how to be a good servant. You assume most people will put up with you, but being a servant is an acquired skill. If as servant you make mistakes, but the king enjoys being on stage with you, then you’re learning good servant skills. If you can keep the person onstage involved, then you can keep the audience involved as well. Kings are annoyed by open ended offers like, "What shall we do now?" They like specific things to do, "Time for your tea, just the way you like it, Sir," is a more solid offer. Kings will sometimes kill for no reason at all, but the game is still worthwhile.

Players stand in a circle, one player stands in the center and is “it”. The player goes to someone in the circle and says, “Kitty wants a corner,” and the player responds, “Go see my neighbor.” Indicating one direction or another. The player then moves to the next person in the circle and the direction and asks the question again to the receive the same response, etc. While this is talking place, players standing in the circle establish eye contact with each other and then quickly change places. The “Kitty” in the center tries to get to someone’s spot before it is filled. If he succeeds, then the person who didn’t make it becomes it. Unexpected Productions

Last letter of Improviser 1's dialogue becomes first letter of Improviser 2's dialogue. Improviser 1: "Love those pants." Improviser 2: "Stop, you're just saying that. Improviser 1: "Trust me, those pants are YOU." Improviser 2: Unfortunately, they have a big hole in the knee." As always, the idea is to challenge your partner. The audience appreciates a good struggle. They sit there wondering, "What word would I use that starts with the letter U."

Scene is driven by changing the lights. Light changes are made at the light board operators discretion. Improvisers must keep up with - and justify - the changes.

Animals

A list of animals is gathered from the audience. One improviser calls out different animals during the scene (or one improviser calls per on stage improviser) Improvisers on stage then play the scene as if they were a human with the animal's characteristics.

Attitudes/Emotions

Get list of attitudes and/or emotions from the audience. Make sure they vary; most audiences will readily supply hostile/active attitudes and emotions. Improvisers onstage begin the scene in neutral, then shift the scene as an off stage improviser calls out attitudes or emotions from the list. On stage improvisers must justify the rapid changes in attitude or emotion. AKA Emotional Roller Coaster.

Variation: May be played with one improviser remaining "neutral" and the others taking on the emotional characteristics.

Double Lists

A list scene where two lists are used to change the improvisers in a single scene. For instance, Emotions and Film Styles, a scene begins neutral, then the emotion "Happy" is called. The scene becomes "Happy", after awhile, the film style "Sci-Fi" is called. The scene becomes a "Happy, Sci-Fi" scene, if the emotion changes to "Sad", then the scene becomes a "Sad Sci-Fi" scene. If the film style changes to "Film Noir", it becomes a "Sad, Film Noir", etc. Take your time with this game and make the transitions slowly.

Genres

Get a list of genres from the audience (styles of...books, TV styles, plays, movies, paintings, etc). Play the scene in the different styles as the scene progresses.

Potpourri Lists Unexpected Productions

A list scene that incorporates many of the items from the above lists. For instance, you may have a single list with things like an animal, a film style, a playwright, an emotion, etc. So improvisers would shift from the emotion, "Sadness", to the film genre, "Western" in the same scene.

A series of scenes in which each scene develops out of the "dynamics" of the previous scene. An audience suggestion is not used. Three playing areas are established on stage, usually with a pair of actors in each area. One couple begins a scene from nothing. When the second group feels that they have determined the dynamic of the first scene, they begin their own scene with different characters in a different place using their interpreted dynamic from the first group. Then group three repeats the process.

The rotation is then completed two more times, for a total of 9 "scenes". Each time the cycle begins again, the groups use the characters they established in their own first scene, but the scenes need not be chronologically correct. Variations include: Solo in which three individuals take the stage doing monologues. Again, it starts as a scene from nothing - the second improviser determines the dynamic and each actor gets 3 shots at his character. Three Person again, three people on stage. But instead of doing monologues, they each "visit" the other ones playing area.

Improvisers form parts of a machine using their bodies in repetitive movements and sounds. The machine may make an object, an emotion, a genre of art, etc. Use an audience suggestion for the machine.

Machine-Monster-Slow Motion Riot-Monster-Machine

Improvisers begin a machine in the regular fashion, the machine then evolves into a single monster that roams the stage. The monster transforms into a slow motion riot, then back into a monster, then back into a machine. Take your time with the transitions in this game as they are the most important part.

Machine-Scene-Machine

Improvisers first create a machine, then move into a scene suggested by either the machine or their own motions. At the end of the scene, they create a new machine. Variation: the MC or opposing team specifies the number of machine/scene transformations.

Three Improvisers sit shoulder to shoulder, the one in the middle is the master, the outer two are the servants. The master is planning a gathering and is giving the servants orders. He may only speak to one servant at a time. When the master is not looking at them the servants make faces behind his back, trying not to get caught. If the master catches them, he fires them instantly and they are replaced with another servant. The idea is for the servants to take bigger and bigger risks with making faces. If they play it safe the audience will lose interest. They want to see the servants misbehave. The master should play this strictly, showing no mercy, to create a sense of danger.

Variation: Add chairs to the outer servants and continue to play the game that when the person next to you is not looking, you should make faces. You may keep adding people to the outer edge.

Play a scene in which the improvisers have a hidden mantra that they keep repeating to themselves and try to embody during the scene. If the mantra is "I love you", the character should try to play "I love you" with everything they do. Everything is played with the hidden objective. To teach this scene, have two improvisers play a neutral scene. Ask them to recite, to themselves, the first line of a familiar nursery rhyme. Ask them to respond to questions as they keep the rhyme running in their heads. They should have problems responding to the questions. Next, have them play their neutral scene again, this time with a "I love you" or "I hate you" mantra. The key to the mantra scene is to play the mantra truthfully within the context of the scene. If your mantra is "I love you", you should show your love in actions and what you say, you should always TRY to say "I love you" in everything you say, but only say "I love you" if you can do it truthfully in the context of the scene. Some basic mantras are; "I love you", "I hate you", "I want to sleep with you", " I want nothing", "I'm better than you.", etc. The list of possibilities is endless. After some time, you may want to work with more complex mantras, such as "I love you, but I want you to go", "I hate you, but I want to sleep with you", etc. Again the possibilities are endless. Eventually, you may play a mantra combined with an objective, such as, "I hate you, but I'm pregnant", or "I love you, but I'm going to kill you", etc. Try to avoid falling into a "talking heads" scene.

Scene is based on some kind of published material. Maybe in the form of a newspaper headline (real or imagined), personal ad, letter to Dear Abby, TV Guide Synopsis, Movie or Video Guide Synopsis, entry from Ripley’s Believe it or Not, Guiness Book of World Records, etc. The internet is another great resource for this game. The shorter the original source, the better.

Scenes that take place in one minute. The may include: Death in a Minute, Epic in a Minute, Most Justifiable Entrances and Exits in a Minute, Most Complete Scenes in a Minute, _______ In a Minute, Most Scenes Using the Same Inanimate Object, etc.

Group Mirror

One Player leaves the room, the remaining players choose one person to be the lead. The player returns and everyone stands in a circle, as the leader moves everyone else in the circle slowly imitates or “mirrors” his movements without indicating who they are following. The player tries to guess who is the lead

Mirror Bodies

Same as above, except that it is a body shape being provided by the other team or audience member.

Mirror Faces

A situation is given and members of the opposing team (or audience members) adopt a facial expression, then turn to each member of the playing team. Then playing team members adopt any one of the faces. This becomes a character or plot offer for the scene played.

Improvisers play a scene as though they have very little gravity. This game works best with a mover (see Moving Bodies) to help with the weightlessness.

Three improvisers are onstage. Without speaking, they leave together for the same reason. Go with the first simple offer - don't try to be original. A twitch or throat clearing can evolve into a reason to leave. Beginners will always try to be clever, instead of letting the reason evolve. Don't reject anything, use it to develop a reason to leave. After playing this for a while, introduce dialogue. Improvisers may talk, but can't leave for the reason they’re discussing.

Audience members or teammates provide the locomotion for the improvisers on stage. Improvisers may not move any part of their own bodies (except to provide dialogue by moving their mouths). Movers should put the "puppets" in challenging positions and puppets should challenge the puppeteers with their verbal endowments. Unexpected Productions

Mutual Moving Bodies

Like regular Moving Bodies with one notable exception, all the movers are in the scene. Improviser A moves Improviser B, Improviser B moves Improviser C, Improviser C moves Improviser A. When a character onstage has to move another character, they simply break their position, move the other character, then resume their position to be moved.

Puppets a la Ruse

Moving Bodies with a twist, when the "puppets" are moved, they continue to move with their momentum until sent into another direction, or stopped. If the mover taps the puppets arm, that arm begins to move in slow motion. If the arm is not stopped, or tapped in another direction, the movement would begin to affect the whole body. For instance, if tapped outward, the arm would eventually begin pulling the whole body outward in that direction. The whole scene generally takes on a "weightless" quality, with puppets floating through the air.

Moving Boxes

The stage chairs, which are often black boxes, become the "floor" and a player moves the floor as the improviser walks on it. The mover's ultimate job is to take care of the improviser above and keep him from falling.

Simple exercise. Play a scene, as you open your mouth to say something, pause, and say something else. If you are thinking of saying, "Hello John, Can I help you?", grab onto that thought, open your mouth to say it but don't say it; say whatever comes out of your mouth. It helps to open your mouth wide before you say your line.

A scene begins and at anytime an offstage improviser can yell, “Move On!” forcing the story to immediately move forward in time. Location and characters may also change when a story moves on.

A single improviser sits in a chair. The other improvisers make offers in a scene to get the person out of the chair. Another improviser must find a justifiable way to sit in the chair in the context of the scene and then the process begins again. As a toss up game, the last improviser in the chair at the scenes end wins.

Improvisers roam around the room pointing at different objects, calling them by a name other than what they actually are. Example: An improviser points at a cat and declares, "A Walnut!", then points at a chair and says, “A hat!", etc. Best played at a fast pace with everyone speaking at once.

Improvisers perform a scene through a collage of monologues that eventually connect in some form to a central narrative. Different points of view can be used, time can move forwards or backwards, and even the point of view of an inanimate object may e used. Unexpected Productions

An open challenge, allowing the improvisers to perform any type of scene where the storyline is the major focus of the scene.

One improviser adopts a style of narrative, title of a story, etc. Narrator tells the story which he may or may not be a part of. Such scenes may be Tall tales, bedtime stories, courtroom testimonies, or any other situation where a story may be narrated.

Similar to Day In The Life/Experience, except that the person's day or experience is played as a nightmare.

Variation: The improvisers have an audience member share what they did that day, then enact the nightmare they will have tonight.

A scene that has only nine lines of dialogue, repeated with different Attitudes, Points of View or Genres. Try starting with three improvisers, three lines each.

No suggestion is taken from the audience. There is no pre-planning of the scene. One improviser gets up on stage and the scene begins.

Two improvisers begin a scene while an offstage improviser or MC calls out the number of words they must use in a sentence.

An object is picked from a member of the audience. Scene is played using that object. It may or may not be used as what it really is (eg: credit card may be used as a pocket TV...).

Improvisers play a scene from a suggestion in which as many words as possible end with an added “-ola” or “reno” Example: Hellola, Let’sola goreno forola a walkareno. Get a mundane task or serious situation for the suggestion.

Many games are primarily "one hit wonders," gag scenes which are rarely as interesting the second time around in the same show or sometimes ever. The team performing second is usually at a disadvantage as the scene's novelty has worn off. Might try taking three of these wonders (eg: Boris, Arms, Sideways Scene, etc) writing them on a slip of paper and picking one from a hat.

One member from each team is selected to play one on one with member of the other team. May play Status, Love, Sincere, Humble, etc. Usually played as a timed scene. Each improviser tries to be the most ________. Good for toss up challenge at top of show.

Scene is played in whatever manner the improvisers choose, BUT at some point during the scene, one of the improvisers must, justifiably, order a coke.

A scene is played in which each improviser gets an “Oscar™ Winning Moment” in the scene. You can ask for these from the audience if you like: A subject for an award winning monologue, or a physical habit that is well played, etc.

A situation is established. The stage is strewn with pieces of paper each containing single, unrelated lines of dialogue and/or stage directions. A scene is played, randomly incorporating these lines of dialogue and/or stage directions. The lines can come from plays, song titles or lyrics, the audience, clichés, etc.

Two or more improvisers stand center next to one another and begin walking away from the center till an audience member stops them. They then play a scene in which they must always justify being in the same relationship and distance to each other.

The improvisers get two environments from the audience, which they play in the same space. In other words, two separate scenes in two separate environments occupy the same space. The scenes do not acknowledge each other. Give and Take is crucial for this game.

Variation: Each improviser gets a environment and plays the scene in that environment. Each improviser acknowledges the other improvisers in their environment.

Emotional Party

Each improviser gets an emotion. As they enter the party, the emotion of the party changes. As each person leaves, the emotion returns to the previous improvisers (kind of an emotional Growing and Shrinking Machine). People can enter and leave as many times as is justifiable. Emotions may be played as "instantly transforming" the scene, or more subtly.

Obsession Party

Each improviser gets an obsession. Try to get more general obsessions as opposed to more specific ones (eg: late model Camaros). People tend to play obsessions at one level of intensity. Try to vary the intensity. Don't make the obsession the focus of the party and keep the narrative going.

Party Quirks

Silly-Stinky-Sexy

Four improvisers are on stage. You consider yourself neutral. Secretly endow each of the other improvisers with either being silly, sexy, or stinky. The scene is then played using the individual designations as your attitude toward the others. Play the scene for as much reality as possible.

Status game. Each improviser picks a number corresponding to the number of improvisers on stage (e.g. if there are three people on stage, all improvisers pick a number between 1 - 3). Improvisers don't tell each other what number they have chosen for themselves, so it is conceivable that all improvisers might choose the same number. #1 is considered the highest status. The highest number (going back to the previous example, would be "3") is considered the lowest status. Scene is played with improvisers projecting their own status - one does what one must to demonstrate to the others the status they have chosen. Scenes are most interesting when more than one person chooses the same number. One person may play "1" the way someone else plays "3". The status may also be given in secret to each improviser by an improviser not in the scene.

Pecking Order with Hats

Played as Pecking Order, except that the improvisers wear their numbers on hats. If a 2 is able to grab 1's hat then they switch pecking positions. So a 4 could work his way to the 1 position by the end of the

History of the Living Playbook

Editors and Years of Publication

Known Contributors 1986 - Present

How It Works

The Copyright

Glossary of Terms

Beat

Blocking

Canceling

Gagging

Gossip

Hedging

Instant Trouble

Never-Ending Story

Sidetracking

Talking Heads

Waffling

Wimping

The Playbook

ABC Game

Accepting Game

Actor Switch

Adjective Scene

Advancing Game

Airplane

Alliances

Alliteration

Animal People

Arms

Asides

At The Movies

Attitude Scene

Audience, Scene Using The

Ballet

Before or After

Beyond Words

Black Box

Blank Scene

Blank Family

Blindfold Scene

Blind Hunt

Death and Retriever

Blind Offers

Blocking Game

Body Parts

Body Reversal

Boris

Call From Ray

Chance of a Lifetime

Characters from the Audience

Chase

Clashing Environments

Commercial

Consciences

Continuation

Gradual Continuation

Continuation Circle

Creation Myth

Culture

Cutting Room

Day In The Life/Experience

Directed Movie

Director

Documentary

Dramatic Situations

Dramatis Personae

Strange Bedfellows

Drawing Game

Automatic Writing

Driver’s License

Dubbing