Improvisation exercises are exercises that call for actions (with or without words) performed on the spur of the moment. Acting without a script. Improvisation exercises build self-confidence, develop teamwork and trust, activate thinking, and train students to trust their instincts. (About 10-15 minutes is all you need)
Avoid "dead end words" such as: No, no it's not, no I didn't, and?, so, so what. Saying "NO" is one of the cardinal sins in improv, because where can you go from there? "Bob, I can't believe you called my new dog ugly!", "No I didn't! And my names not Bob!" The two participants will go on arguing indefinitely.
Avoid weaponry and killing: The goal of theater is to act as if it is real and when an actor continually pulls out weaponry to kill everyone, there isn't any place to go from there. I usually have a rule that no one can die in an improv and sometimes I have had to ban the use of pantomimed guns/knives/swords/bombs/throwing stars/baseball bats/chainsaws.
Think quickly: Sometimes students wait...and wait....and wait....until they come up with the PERFECT response or character or situation. Encourage them to "just do it" After all, what is the worst that can happen if they mess up? They will often say it is that they will be laughed at. I can tell you that what will most likely happen is that no one will remember what they did at all.
It doesn't have to be funny: No where does it say that Improvisation must always be funny. Often times improvisational comedy takes center stage, but the act of improvising doesn't always have to make people laugh.
What are you doing?
Example activity. 2 teams. First person mimes action. 2nd person asks, “What are you doing?” 1st person can respond with anything but what they are actually doing. When they respond they go to the end of the line and the next person goes.
Example activity. One person. Given a large group activity. They begin to mime one piece of the activity. When others have it figured out, they join in - silently.
Story cloth
Circle up. Pass around a piece of silk or cloth. Leader begins a story and uses the cloth in one specific way. Each person must continue the story and use the cloth in a completely different way that fits into the story or moves the story along.
Prop morph/Channel flip
Teams of 2 are handed out random items. They must create a 10 second commercial or scene demonstrating an out of the box explanation or use of the item. Go around the circle 3 times and then switch props.
Four seats (or more) set up on the bus and the bus driver. Passengers are constantly rotating on and off. Make a logical pattern of seat rotation so that the passengers eventually have to rotate through the drivers seat. Have the first passenger sit closest to the door, then move to the seat behind then across the aisle and eventually in the drivers seat. Keep the action moving, but allow enough time for the character to be clearly established. Keep actors on task and advise them to keep their character not to watch the door for the new person.
Side coaching:You don’t have to be exactly like them, but adopt their personality/character, keep the character up until you get a new one, keep your focus inside the bus not on the new character coming in, make a bold choice!!
Opening Lines
Two actors onstage. Determine a actor A and actor B. Coach gives actor A the opening line and A delivers to actor B. After opening line, the conversation progresses until an appropriate moment (either the conversation has wrapped up, the actors are stuck, or it is veering way off track). Coach calls “scene” or “beat”.
“Stay Here, I am going to call an ambulance.” “How could you say that?” “Where did you get that?” “I told you to leave.” “I am telling Mom!” “I have a date with John on Saturday night.”
Side coaching:Don’t forget your opening line! Make sure to define (what did he/she say? Where did they get what?). Remember to accept.
Variation: Use class concepts as a starting point - “Columbus was a criminal!”
Accepting Circle
Get everyone in a big circle. One player starts by making a little gesture, perhaps with a little sound. His or her neighbor then tries to copy and does exactly the same. This is passed around the circle. Although we expect the gesture/sound not to change, it will.
Side coaching: Actors should not deliberately change the sequence. Watch for movements that suddenly change left/right arm or leg. This is not really supposed to happen, but it will. Once happened, the next player should accept it. Also watch/listen for little moans or sighs that players might make before or after their turn - these should also be taken over by the next player.
The Human Machine
One by one the participants form part of a machine. Each person assumes a function and a sound. It is good if not all parts of the machine are standing but they need to assume poses that they can sustain over a period of time. Otherwise, it will be a painful experience.
After the machine is fully assembled, try it in gear two, three, four, possibly ten, and then end the activity with a breakdown.
Side coaching: Actors joining the machine may either take a place next in the line or they can add on to the beginning of the machine: Choose a sound and a movement that they can sustain.
Tag Team Photograph
Two people are required. The first person strikes a pose (perhaps pointing a gun or some other recognizable and well defined pose) and then the second person strikes a pose to complete the photograph (like raising hands in the air).
After the pose is completed, the first person sits down but the second person remains. Then, a third person comes in to complete the new photograph.
This is performed silently.
Photo Album
In this activity it is important for the students to communicate non-verbally. In groups of five, the students need to form a photograph of a scene. One by one they assume the position needed to frame the photo.
Caller calls out each photograph, allowing the performers 5-7 seconds to pose (and then allow for laughter or analysis)
Situations could include a wedding, birthday party, first day of kindergarten, WW II, graduation, the dentist's office, an alien invasion, or an MTV video.
Side coaching: Actors may interact with each other to create a complete picture. No speaking. Stay frozen (photographs don’t move). Make a quick and bold choice – take a risk.
Advanced: Coach asks, “What happens if”? And then allows someone from the audience (or coach) to re-arrange the image (for example take one of the actors running away from the volcano and re-position them so they are running towards the volcano) – How does the focus change?
Variation: Have them re-create unit concepts such as “Columbus landing” or “Mitosis”
The Great Oracle
Actors must work together. Three people come before the rest of the room as the Great Oracle. When asked a question, they must assume an exaggerated pose before they answer. Then, they must answer the question -- each person taking turns to add one word at a time to the sentence.
After giving an example, let the audience ask questions of the Great Oracle. Sample questions could be:
Oh, Great Oracle, who is the man/woman of my dreams? Oh, Great Oracle, what must I do to find the fountains of youth? Oh, Great Oracle, what is the meaning of life?
Side coaching: Answers do not have to make complete sense, but the goal is to try and make some sense. You cannot control what others say – so don’t try to “guide” the answer. Speak loudly so everyone may hear you.
Variations: Ask questions that demonstrate understanding of the material. Example: “Oh, Great Oracle, what is Photosynthesis?”
Improvisation exercises are exercises that call for actions (with or without words) performed on the spur of the moment. Acting without a script. Improvisation exercises build self-confidence, develop teamwork and trust, activate thinking, and train students to trust their instincts. (About 10-15 minutes is all you need)
Here are some basic "rules" of improv:
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Four seats (or more) set up on the bus and the bus driver. Passengers are constantly rotating on and off. Make a logical pattern of seat rotation so that the passengers eventually have to rotate through the drivers seat. Have the first passenger sit closest to the door, then move to the seat behind then across the aisle and eventually in the drivers seat. Keep the action moving, but allow enough time for the character to be clearly established. Keep actors on task and advise them to keep their character not to watch the door for the new person.
Side coaching: You don’t have to be exactly like them, but adopt their personality/character, keep the character up until you get a new one, keep your focus inside the bus not on the new character coming in, make a bold choice!!
Two actors onstage. Determine a actor A and actor B. Coach gives actor A the opening line and A delivers to actor B. After opening line, the conversation progresses until an appropriate moment (either the conversation has wrapped up, the actors are stuck, or it is veering way off track). Coach calls “scene” or “beat”.
“Stay Here, I am going to call an ambulance.”
“How could you say that?”
“Where did you get that?”
“I told you to leave.”
“I am telling Mom!”
“I have a date with John on Saturday night.”
Side coaching: Don’t forget your opening line! Make sure to define (what did he/she say? Where did they get what?). Remember to accept.
Variation: Use class concepts as a starting point - “Columbus was a criminal!”
Get everyone in a big circle. One player starts by making a little gesture, perhaps with a little sound. His or her neighbor then tries to copy and does exactly the same. This is passed around the circle. Although we expect the gesture/sound not to change, it will.
Side coaching: Actors should not deliberately change the sequence. Watch for movements that suddenly change left/right arm or leg. This is not really supposed to happen, but it will. Once happened, the next player should accept it.
Also watch/listen for little moans or sighs that players might make before or after their turn - these should also be taken over by the next player.
One by one the participants form part of a machine. Each person assumes a function and a sound. It is good if not all parts of the machine are standing but they need to assume poses that they can sustain over a period of time. Otherwise, it will be a painful experience.
After the machine is fully assembled, try it in gear two, three, four, possibly ten, and then end the activity with a breakdown.
Side coaching: Actors joining the machine may either take a place next in the line or they can add on to the beginning of the machine: Choose a sound and a movement that they can sustain.
Two people are required. The first person strikes a pose (perhaps pointing a gun or some other recognizable and well defined pose) and then the second person strikes a pose to complete the photograph (like raising hands in the air).
After the pose is completed, the first person sits down but the second person remains. Then, a third person comes in to complete the new photograph.
This is performed silently.
In this activity it is important for the students to communicate non-verbally. In groups of five, the students need to form a photograph of a scene. One by one they assume the position needed to frame the photo.
Caller calls out each photograph, allowing the performers 5-7 seconds to pose (and then allow for laughter or analysis)
Situations could include a wedding, birthday party, first day of kindergarten, WW II, graduation, the dentist's office, an alien invasion, or an MTV video.
Side coaching: Actors may interact with each other to create a complete picture. No speaking. Stay frozen (photographs don’t move). Make a quick and bold choice – take a risk.
Advanced: Coach asks, “What happens if”? And then allows someone from the audience (or coach) to re-arrange the image (for example take one of the actors running away from the volcano and re-position them so they are running towards the volcano) – How does the focus change?
Variation: Have them re-create unit concepts such as “Columbus landing” or “Mitosis”
Actors must work together. Three people come before the rest of the room as the Great Oracle. When asked a question, they must assume an exaggerated pose before they answer. Then, they must answer the question -- each person taking turns to add one word at a time to the sentence.
After giving an example, let the audience ask questions of the Great Oracle. Sample questions could be:
Oh, Great Oracle, who is the man/woman of my dreams?
Oh, Great Oracle, what must I do to find the fountains of youth?
Oh, Great Oracle, what is the meaning of life?
Side coaching: Answers do not have to make complete sense, but the goal is to try and make some sense. You cannot control what others say – so don’t try to “guide” the answer. Speak loudly so everyone may hear you.
Variations: Ask questions that demonstrate understanding of the material. Example: “Oh, Great Oracle, what is Photosynthesis?”
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