improvisation games

THEATER AND IMPROVISATION TECHNIQUES

HEATING
– The boat , move around the entire stage, if one side is empty, the boat tilts and moves
can sink Follow the gaze of your colleagues. I locate and I am located with the
look.
– 1st contact
At the meeting of the boat, when we meet our gazes we greet each other, how?:
 jump and clap with scream
 supinated hand at hip height and partner collides with the toe of the foot
 hug
 they collide with their backs and go down and up without falling to the ground
 While I turn with my back turned, my partner numbers with his fingers, and I get it right, he only
looks once per turn. (visual agility)
– In a circle
– Shot , in a circle I charge and shoot with a double clap of palms. shock recoil
(rubbed) is burden; advance of the shock (rub) is the shot. When fired I charge and
Shooting.
– Yes and no shot , when shooting I say YES or NO, to receive I say the opposite of what they have shot at
me and I can shoot whatever I want (YES or NO)
– Wi, no; good and bad, four shooting options, and I say the opposite.
- In couple
– Insult , I insult my partner in the following way: “You are like a puppet without strings”,
“You are like a plug without electricity”, “You are like…”
And our partner has to feel offended and return it to us in the same way.
– Praise/sorry , I praise my partner in the following way:
If you were... I would be...

The boat , as a couple, we steer our partner holding only one finger.
 One goes with one's eyes closed
– And also … , in a circle a story is created, in which each person takes turns saying something.
phrase, and his partner who will follow him, begins by saying “And also…” and introduces another phrase
to
the history created.
4th Contact
– Energy , in a circle, holding hands I transmit the energy (squeezing the fist), there may be
various energy streams.

Vocal exercises. Make scales with a vowel, try to spell the alphabet in one breath (fast, slow with your
mouth open, intoning scales...)
The ship sinks. We all move on the stage without touching each other, but at no time can there be a free
space, because otherwise the “ship” will rock and we will sink. We will also have to try not to cover the one
behind us passing by, so... let's figure it out! XD
– exaggerate what the first one did, placed in two rows
Placed in one, two or several rows, they will exaggeratedly reproduce a gesture made by the first person in
the row. As you move on to the next person you should exaggerate that gesture a little; the next person a
little more, and so on. Everyone else observes what gesture that person makes. (They can also be placed in a
large circle.)
Clap at the same time: in a circle with music in the background. Today with music. A clap circulates that
must be given by two friends at the same time, starting from eye contact, seeking to add the rhythm of the
music to the body and also play with different ways of clapping, with a clear physical proposal that allows
the 7la to compi I copied it.
What it is for: to connect, create rhythm, coordinate

Mirror with stop: facing each other one proposes a movement that the other copies as if it were a mirror, as
soon as the movement stops the one who followed begins to guide, one alternates and the other and we look
for the movements to be precise and the change of imperceptible guidance,
Clapping can be done at the same time: in a circle with or without background music. Today with music. A
clap circulates that must be given by two friends at the same time, starting from eye contact, seeking to add
the rhythm of the music to the body and also play with different ways of clapping, with a clear physical
proposal that allows the 7la to compi I copied it.

What it is for: to connect, create rhythm, coordinate

Look and move: one moves and the other stops and looks, does not comment on anything with words or
gestures, does not judge. When the one at stop starts to move, the other remains at stop. When we are
looking, we take the opportunity to enjoy seeing, when we move, that the music motivates us to get out of
our body scheme, use different planes and heights.

At a given moment, those who are moving and those who are stopped form two groups, when one moves the
other looks, just as before. When the group is large, first we do it every two pairs and then we join more until
the group is divided into two, always working with the same dynamic. We can add fabrics, objects to the
movement

What it is for: warm up the body, train prominence circulation, group listening
What it is for: listening, precision, circulation of roles

CATCH THEM
A player goes to a corner of the room and faces the wall. The other players at the other end of the room.
They must reach the player in the corner without him seeing them move. Whoever is in the corner can turn
around at any time – at that moment, everyone should freeze. Anyone caught moving is out.

MIRROR IN COUPLES.
A classic. They are placed in pairs: one will act as a person and the other as a reflection. The person must
improvise and play with space: jump, lie down, crawl, etc. The reflection must imitate all the (silent)
movements you make

PHOTOGRAPHS WITH STATUES AND THEMES.

The group walks throughout the space, at the same group speed ( see warm-up exercises ). When the person
leading the session claps, they must find other classmates so that each group formed must form an
improvised static statue based on the theme that the director is singing.

WHO I AM?
It is advisable that we be silent during the exercise. We move slowly and vary the instructions for movement
(faster, slower, short steps, long steps, straight, undulating); When we hear the word “ STOP ”, we must
stop; The purpose is to make us reconsider, think about the character. In that position we ask them questions:
Who are you? Where is your character going? What do you think? What do you feel? This will little by little
help us to get the character into our way of walking, into a different way of speaking, and this gives us a new
tone, a new gesture. We stop being ourselves, losing our skin and little by little acquiring the identity of the
character we have chosen.

IMITATE THE OTHER IN ROWS

Four rows of students form, one behind the other. The first one walks in a natural way, the second imitates
him, exaggerates a little, the third is more exaggerated, until the last one, which is a caricature of the first.
We reflect on the results. We can use an object, which when passed to another, is like the witness; but it
makes you completely change your mood.
THE CAPTAIN IS COMING
Improvement games like this are great warm-ups that promote teamwork and good humor. In this game,
which is similar to Simon Says, one person plays the role of captain of a ship. The rest of the group are
sailors who must quickly follow the captain's orders or be fired from the game. Orders can be simple or
elaborate:
The captain is coming - the sailors line up in a row and salute the captain.
Starboard: Everyone runs to the right side of the stage or room.
Port: Everyone runs to the left side of the stage or room.
Man Overboard: Sailors join together and pose as if they are searching for the missing man. Mermaid: Stand
on one foot, wave one hand and say, "Hello, sailor!"
Seasickness: Run to port or starboard and pretend to be sick.
Clean the deck: Sailors pretend to mop and clean the floor.
Walk the plank: Sailors stand in a single file, with straight arms extended and hands resting on the shoulder
of the person in front.
The best thing about Captain's Coming is that there is no limit to the orders a captain can give. For additional
challenges, think about poses that require two or more people or divide the sailors into two groups and have
them compete against each other.

YOO HOO!!
Yoo-hoo! It is another effective game to learn to take cues and focus movement. It works best with groups
that have room to move. As with Captain's Coming, this game requires a leader to call signals and a group to
follow whatever command the leader dreams up. As an added challenge, the group must repeat the action
word six times in a whisper as they act. After the sixth time, everyone yells "freeze." and stays still.
Leader: Yoo-hoo!
Group: Yoo-hoo who?
Leader: You who jump ropes.
Group: Ropes, ropes, ropes, ropes, ropes, ropes, freeze!
The leader then indicates the next move and the process repeats. If a person loses their composure or breaks
the freeze before the leader calls "Yoo-Hoo" again, that person is out. The last person left is the winner.

Samurai in slow motion

Tell the players that they are samurai, and their right arm is a poisoned sword . Have them have a slow
motion sword fight. The only way to cover yourself from an attack is to block it with your right arm. If
another player's sword touches any part of the other player's body other than their right arm, will they die in
an exaggerated manner (also in slow motion)?
Players should not rush when they see they are about to be killed, but simply let themselves be killed.
Although it may seem silly, it is a good game to exercise courtesy (see glossary ), and learn to control not
only the group energy but also the internal energy of each one. Plus, it can be a lot of fun if you play it right.
8)

Greetings
All the players walk all over the place. You will tell them to greet each other, perhaps shaking hands, or a
kiss. They simply greet each other, continue walking, and greet the next person they pass. Then, you will tell
them to greet each other in another, more specific way. For example:
 Greet each other as if they were friends who haven't seen each other in a long time.
 As if they were greeting someone they don't trust very much.
 To your ex-boyfriend
 Someone they hate?
 Someone with whom they keep a secret
 Someone you once spent a night with?
  Someone who sold them a failed car
 Someone with bad breath
 That they greet someone as if they were cowboys, soldiers, Russian farmers (?), etc...

WARMING UP WITH DISPLACEMENT IN SPACE:

The warm-up in a theater class (it is always recommended to do it with music) should have three
objectives:
 The physical warm-up: the attitude and body position is vital when interpreting, since the
body needs to be moldable.

 The mental warm-up: we must draw a clear line between “my reality” outside the theater
classroom (with our problems and sorrows), and “our reality”, the one we create together
in a theater class.

 Emotional warm-up: as in the physical aspect, an appropriate climate must be created for
the externalization of emotions. Emotions can also be trained.

 BODY AND MENTAL WARM-UP. GROUP AWARENESS.

 Exercise 0:= Walk throughout the space, relaxed and barefoot, at a normal speed, and listen to
the group to all go at the same speed. It will allow us two things: forget about the problems
we had when entering class and feel the unity of the group. At first it is quite difficult, but we
must get the whole class to listen to each other and end up walking, spontaneously, at the
same speed.
 Exercise 1:= Once they have heard each other, they must try to walk aimlessly (we are
predetermined to walk in 4 directions) and, the first premise of the theater, as a group they
must try to occupy all the available space. The ground is a raft: if there are many on one side,
the raft collapses and sinks. This exercise is very important, since we ensure that from minute
1 they are clear about two things: the theater group is a team and the use of space is our basis.
 Exercise 2:= Once you have controlled the previous exercise, you must stop every time you
hear a clap (and start every time you hear two claps). The person in charge of the session will
clap when the premise of the previous exercise (the entire space must be filled evenly, without
gaps, since that is where the viewer's gaze will go) is not fulfilled, so that they can see and be
aware of failures. Especially if it is done with children, it is important not to point out blame:
we are a team and the fact that there is a free space is the fault of everyone as a group, just
like a play goes well or goes badly, thanks to everyone. ace.
 Exercise 3:= When the three previous exercises are mastered (they seem simple, but it is a job
that usually costs groups that have just gotten together), we are going to create a very simple
bond of trust that is little used these days. While they continue walking (without losing the
two previous premises: same group rhythm and filling the entire space), they will have to
have their eyes open (they can blink, we don't want anyone to die) and look forward at all
times with a completely neutral facial expression. , so that the simple act of looking into each
other's eyes is not embarrassing.
 Exercise 4:= It is important that the director of the session is clear that, before starting with
something more complicated, they must be able as a group to 1) look each other in the eyes,
2) collectively fill in the space and 3) go all at the same neutral pace. When this is mastered,
the next exercise will be a speed exercise. We will call speed 10 the maximum speed (without
running) and 1 the smallest speed at which they can move without losing balance. It will be a
body speed, not just relative to the legs, so every gesture must be made at that speed. The
director of the session will “sing” the speed at which they have to go, so that, without having
given them exactly what speed 1 or speed 8 is, they must be able to synchronize as a group. It
will alternate with claps (stops, STOP). I recommend you focus on slow speeds, since that is
where the most concentration is needed. This exercise has a triple objective: to lose the
ridiculousness (it is very embarrassing to walk in slow motion in front of everyone), to
achieve total synchrony as a group and to be able to grasp from the warm-up that the basis of
theater consists of playing with different body emotions, and one of the most basic ways to
 change body expression is the speed at which we move. This game will also serve the idea
that if one fails, we all fail: even if one is able to go at speed 10 faster or at speed 1 slower
than the rest (so, in theory, he would be doing the exercise better), he must adapt to the
rhythm of the rest so that the failure of the group is not seen.
 Exercise 5:= The next level consists of repeating the previous exercise but with one of them
being the director, without saying a word: the rest must be able to intuit the speeds at which
the director (director/participant, since he also walks) wants let the group move. Nor will it be
possible to constantly look at that person: they will have to adapt through group listening.
 Exercise 6:= The group must walk at speed 5 and whoever wants to can stop spontaneously
and without warning. The rest must STOP as quickly as possible. At first it will be difficult,
and those who are less focused will continue walking for a few seconds without realizing that
the group has stopped.
 Exercise 7:= Starting from the STOP state, without anyone telling them when, they must try
to restart driving at speed 1 in a coordinated manner.
 Exercise 8:= Music is played and everyone walks at a given speed. The people that the
director appoints must perform a STOP while the rest walk around them.
 Exercise 9:= They start walking at speed 5, warning them to keep their eyes open and look
straight ahead. Their speed is gradually reduced until they are forced to enter STOP. After
closing their eyes, they will relax the position and, with their eyes closed, they will be asked
questions about their surroundings: Do I have a watch? What color is your partner wearing
sneakers? how many windows are there?
 Exercise 10:= A series of guidelines are marked (for example, 1: speed 5, 2: speed 10; 3:
speed 2; 4: stop). While they are walking in state 1, they will clap each other. For every slap I
know, I move to the next state. For example, if we start from state 2 (speed 10), clapping three
times means reaching state 1 (speed 5).
 Exercise 11:= An exercise for greater control of space. They must walk at a given speed, and
the space they walk through (and which they must fill uniformly!) is dynamic. The person
responsible for the session will make it smaller and smaller, and then make it bigger again.

 EMOTIONAL WARMING UP.
 Exercise 12:= Everyone walking at speed 5. While they are walking (we never abandon the
two main objectives: same group speed, without gaps in space!), they must change their way
of walking as the ground changes: water, ice, fire, quicksand, stealthily, spikes, etc. .
 Exercise 13:= Everyone walking at speed 5 as initial state. They will have to change their way
of walking depending on the destination: you are late for work, your wedding, your parents'
house, at night after a party, someone follows you, etc.
 Exercise 14:= Everyone in STOP state except one person who is walking. You should walk at
your usual pace and manner. After 1 minute observing, the person walking enters STOP and
those observing must imitate their way of walking.
 Exercise 15:= The same dynamic as before, except that the person who walks must invent a
way of walking, even with some ICT.
 Exercise 16:= Everyone walking at speed 5. They have a series of music prepared and they
must walk at the pace and in the way that the music stimulates them.
 Exercise 17:= Everyone walking at high speed, to the rhythm of lively music. When singing
“floor”, they must crouch down and continue walking. When singing “roof” they must jump
and continue walking.
 Exercise 18:= Everyone walking at low speed with eyes closed. When the music stops, they
must find, with their eyes closed, another person to make contact with and remain in STOP.
 Exercise 19:= Although at first it may seem like a physical warm-up, this exercise is very
good so that they are not ashamed to express emotions, at least, to their colleagues. They will
be put in pairs, each one in one corner of the room. Each pair is assigned an emotion and a
number. As in the classic handkerchief game, when the couple's number is sung, they must
run as fast as possible towards each other and, without using their hands!, stop in front of each
other as close as possible. After entering face to face, they must express the assigned emotion
with their face, and go back.
  Exercise 20:= Everyone in pairs. One is blindfolded and must be guided by his or her partner
(who can see). The guidance will be carried out only by touching with the tip of one of the
fingers.
 Exercise 21:= The Tententieso, a classic. One in the center with eyes closed, body rigid and
feet fixed. You will have to trust the group and lean back. The group, with their hands, should
gently move and balance the person as if they were a top.

OGRES, FAIRIES AND ELVES.

Intended for children under 15 years of age. Two teams are made. The dynamic will be like a rock, paper,
scissors game: each team must meet and decide what role they occupy as a group (elves, fairies or ogres).
The ogres beat the goblins, the goblins beat the fairies, the fairies beat the ogres. After deciding, they must
line up, one group facing the other very closely. They must make a war cry (both teams the same, such as
“uuuuu uuuuu ahhhhhh”) three times, and after that each group will make the gesture associated with their
role: the ogres will shout with claws, the goblins will put their hands together. in the ears and the fairies will
take out a wand. The team that wins (for example, the ogres beat the goblins) must try to catch as many
people from the other team as possible before they reach their “house.” Those caught will change teams.
 BORDER.
For all ages, a classic. One participant in the center, and the rest on one side of the field. When the
participant in the center shouts “border”, everyone must go to the other side. Whoever is hunted becomes the
assistant of the person in the center. Those caught in the center can only catch or touch someone along the
border.
 TENANT.
Intended for children under 15 years of age. Everyone forms groups of 3 except for several people who are
unpaired. The trios must form a house: two walls with their hands and a tenant inside between the two walls.
At the cry of “tenant”, all the tenants must change houses, trying not to be left unpaired. The same dynamic
will be applied to the cry of “right wall” or “left wall”. At the cry of “earthquake”, everyone changes their
role.

INTRODUCTION TO GAMES

MUSCLE EXERCISES
Remembering all the muscle movements after doing an action. (take a
book, some keys to the floor...)
1st do it
2nd do it mentally
SENSORY EXERCISES
1º Stimulate the senses (flavors, smells, shapes...)
2º And try to mentally interpret that sensation.
IMAGINATION EXERCISES
Idem
EMOTION EXERCISES
Idem
But what are you saying?!
Everyone sits in a circle. The first says a made-up word, in an unknown 'foreign' language, to the person
sitting on his right. This person 'translates' it for the rest of the group, choosing the first word that comes to
mind – but one that is in some way related (by sounds or intonation etc.) to the foreign word. Then, he says
another made-up word and the game continues…

GAMES

-In line
– I accuse… , 5 people in a row,
The 1st says “I accuse” and makes a body figure
the 2nd says “Yes, I say that I accuse” and repeats the same figure
the 3rd says, “I accuse… (someone)” and repeats the same figure
the 4th says “for…(reason/cause)” and repeats the same figure
the 5th says “that's it!” repeat the same figure with a tagline
6º EVERYONE says “Yes, that's it!” plus the gesture with the tagline.
– Improvisation with an object
(a situation is created and it unfolds) duration 5 min.
- Awareness
(4 people), two actors in a given situation, and each one with their
conscience stands behind, they speak in turns
– Statues , we walk around the stage, eye contact, “couples” “trios”, we look for one/two
partner/s, we establish physical contact transmitting our energy and we freeze
in a pose like statues.
 After statues, the teacher tells them one by one to say what they feel (a phrase, an action) after that
posture, do they agree?
– The metaphor , one by one in turns, an object is chosen and only on stage is a
monologue. This has to look like the object feels like. (Duration 5 min)
– The translator , as a couple on stage, one improvises a speech to the audience but in a
invented language, and his partner interprets what he wants or does not want to say in Spanish.
– Casual meeting , in pairs on stage sitting, any situation is improvised,
from the curiosity that the other awakens in us. We don't know him, how will it end?
– Living frame , moving on the boat, we look for a plastic painting as a couple and each one has
its action motto, from there, a scene is improvised according to the phrase (energy transmitted and
received)
 Just one person says his phrase and from there the improvisation takes place, the partner adapts to
him and his phrase.
– The large painting , in a row you can see a large imaginary painting on the horizon, each one taking turns
imagine and place an object in it, the last one in the row, it gives its name to the large painting, the rest
then you can also discuss the name of the painting
– Impro +1 , they begin to improvise a couple given a specific situation and characters, now
As the play progresses, new characters are introduced, all accumulating
them on the scene.
 The same, but each one who enters proposes a new situation, the rest adapt. When everyone is there,
the last one will look for a justified excuse to leave. Those who remain resume the proposal they had.
Like this until you reach the first one that closes.
– The glass , in line from the bottom I advance in 5 steps.
 1º- I look at the glass in the distance of “nothing”
 2nd- I take a step forward
 3rd- I take it
 4th- I look back where I can throw it
 5th- I throw it hard and scream
– The barge , we walk and meet in pairs and two other people say the phrase and
They start improvising.
– Monologue , after freezing on the boat, one begins to improvise according to his figure in a
monologue, in which the others intervene as extras according to their story and can
modify it, the monologuist decides what he wants with whoever he wants.
– Throw me another word , in a circle they swing one arm from front to back, and every time there is left
In front (the arm) a word is said, and a play on words is made that evokes some relationship in turns.
– The gunman , who is killed, crouches down and those on his side enter into a duel, the last two enter into a
duel.
– Photography , from a photograph the characters are placed in a plastic frame and improvisation arises.
– Open door , in pairs you improvise in different spaces where there is a door
that invites you to enter another space, in which the partner accepts the proposal to improvise, for
turns, new “doors” are accessed.
– Tea time , in pairs, they find themselves in a space with two chairs and a small table where there are two
cups or another object, improvisation begins from nothing or by implementing a small situation.
– Instrumental , from the improvisation of an instrument (piano for example), the other actors improvise.
  Musical style
 For 2 couples, which are exchanged and continue with the same energy as the last couple.

THE CONSCIOUSNESS
4 people, the one whose back is turned is the consciousness of the one who is sitting, and they take
turns speaking.
There are two groups of two people. In a group one person will be the conscious one and the other the
conscious one. There will be a topic of speech, e.g. THE MEETING OF EX-BOYFRIENDS or THE
RETURN HOME VERY LATE FROM A PARTY or JOB INTERVIEW...
At first only the conscious ones will speak. Once the situation has been established in a few sentences, a
moment of silence, feel the other.
From now on the conscious begins to speak and reflects on her consciousness, and then it will take the turn
of the other group. The new conscious will respond to what the other conscious said but influenced by what
the other's consciousness said.
Rules : the conscious person does not know what his own conscience is saying, so he will not be able to
respond or follow the thread of what his conscience is saying. The conscious of one could hear the
consciousness of the other and react accordingly, responding to the conscious other.

HORIZONTAL THEATER
It's about evolving and getting to know a character through another being. Arranged lying down, all together
and with our eyes closed, we are assigned a being (animal for example). ALL WORK WILL BE DONE
LYING ON THE FLOOR WITH EYES CLOSED.
We begin by looking for the most general characteristics of that being (physiological, mental...) and we
attribute them to us. Little by little we are transforming into that being.
It turns out that the others are another type of being, and these are also with their eyes closed.
Our character, being, comes to life, we move on the floor, stretching our arms, legs, moving our head, like
our own being. And the things we touch (with our eyes closed) are part of the environment that our being
would encounter.
For ex. I am a shark.
Lying on my back and with my eyes closed, I begin to feel my feet... now they are fins, a shark's tail.
Another fin has just grown on my back, which I can stick out and scare the people on the beach... my arms,
Are they other fins, short, long, hard...? I have gills, and a very resistant jaw and very sharp fangs... small
eyes, but very attentive to everything, what am I touching with the rear fin? Is it a dolphin? A rock? the
bottom of a boat…? How does my voice sound? Serious, scratchy, sweet, aged, stuttering...?
Well, I continue investigating, and IMAGINING the world around me and creating it for myself (I continue
with my eyes closed).
Now…!!!
That's when we go to the second part. (We are already standing with our eyes open) We must perform an
improvisation (with one of the previous exercises or we are assigned a character...) and we will try to make it
like our being that we have been creating, in the previous example, a shark.
For ex. If we had to improvise a scene being the King of Spain, and my being was the shark, I will try to
make my character, the King, behave like the shark that I have been creating on the ground with my eyes
closed.

PARTY
A host is chosen and leaves the class. Then he takes 3 of his companions to act as guests. Each one asks the
rest of the class “Who am I?” and the students make suggestions – animals to be creative, because the more
imaginative, the more fun the exercise will be.
For example:
An astronaut suffers from vertigo
A flea tamer
a drunk artist

The rules
Once the Guests have been established, the Host returns and the improv game begins. First, the Host gets
ready for the party, then Guest #1 "knocks" on the door. The host lets him in and they begin to interact. A
new Guest will arrive in about 60 seconds, so in a very quick time the Host will be interacting with three
different guest characters. The Host wants to discover the identity of each Guest. However, this is not just a
guessing game. Guests must offer discreet clues that become increasingly obvious as the improvisational
game continues. The main point of the activity is to generate humor and develop quirky and unusual
characters.
Tips
You may need to ask the audience to get good suggested roles for guests. Use the three suggestions to help
them understand that guests must have a strong emotional element in their character. The game won't be as
fun if you simply impersonate a celebrity or represent a typical profession. The combinations should be a
little surprising or out of place. This will give guests the best tracks to play and points they can earn for
pranks and humor. The goal is to have fun rather than confuse the host, so the more outlandish the
combinations, the better.

PLACE
Location play can be done with as few or as many people as you like. Use it as a way to exercise your
imagination as a solo performer and to learn how to perform with others. Start by having one or more actors
perform a scene in a location that anyone can relate to, such as a bus stop, the mall, or Disneyland, without
mentioning the name of the location. Have other players try to guess the location. Then move on to less
familiar situations. Here are a few to get you started: An attic A Ferris wheel A karaoke bar An orchestra pit
Underground A high school yearbook club A zeppelin The real challenge of this game is to think of past
clichés and avoid using language that gives away the action you is done.

THE BEST OF THE WORST

In this improvisation activity, a person creates an instant monologue, telling a story about an experience (either based on real life
or based on pure imagination). The person begins the story positively, focusing on fabulous events and circumstances. Then
someone rings a bell. Once the bell rings, the narrator continues the story, but now only negative things happen in the plot. Each
time the bell rings, the narrator switches the narrative back and forth, from the best events to the worst events. As the story
progresses, the bell must ring faster. (Make that narrator work for it!)

GRAMMELÒ .
This exercise is key to making them see that not everything is body expression. We have done silent exercises, where only our
body counts. Now we are going to complete it with sound and voice but not with language: they will have to improvise a situation
in which the dialogues are based on invented words that simulate speaking in a foreign language, trying to transmit the necessary
emotions. Another alternative is to talk with numbers, so that in an argument they won't be able to say “Go away!” but “eight nine
fourteen!” The important thing about this exercise: it is transmitted more by tone and vocal inflections than by language itself.

THIS IS NOT A CHAIR.

They must set up an improvisation scene using a series of objects without giving them their usual use: a chair cannot be a chair, it
will be a dog that I take out. The same thing can be done for an improvisation contest: three participants, three objects on the
ground, and they must rotate very quickly through each object and perform a micro-scene in 5 seconds, giving the object a use
other than the classic one.

THE GREAT CLAY SCULPTURE

Fantastic exercise developed by the Brazilian actor and director Augusto Boal in his book “Games for actors
and non-actors”, which we will try to explain. Let's get started.
We will divide the class into two groups , with the same number of members each. One group will be clay,
and they will close their eyes . The other group will be the sculptors.
Sculptors must model and build a sculpture using all the clay. The sculpture will be finished only when all
clay-participants are touching each other (so that everyone is connected). Pay special attention to the
artists, since they will not be able to take the clay from somewhere and place it in position, but rather they
must use their open hands with gentle movements like a crafts specialist who, of course, clays (a good name
for a rock band, by the way) should continue.
Once the sculpture is finished, the sculptors will walk away, and try to reconstruct and imitate their work
while being the clay themselves (meanwhile, the players of the “original” sculpture will continue with their
eyes closed!). Once they finish, the clay players, still with their eyes closed , will approach the artists and
try to find themselves.
Once everyone has found each other the game ends, the clays open their eyes, and it will be seen to what
extent they found themselves in the imitation of the artists and how exact it is.

THE REVOLVER
4 participants stand in the shape of a square; 2 in front, and 2 behind. The host will decide or ask the
audience about a topic so that the 2 participants in front can improvise. The host will then ask the
participants to rotate (left or right), so now we will have a different combination of players in the front.
These will receive another improvisation song. The procedure is repeated once more, and then everyone
returns to their original positions.
The game begins when the two participants in front begin to improvise, until the host says “left” or “right.”
The “square” will rotate as indicated, and those in front will improvise based on the suggested topic. So on.
When 2 participants are in front for the second or third time, they continue where they had previously left
off. Can they just continue it, or continue it “the next day, the next year, the next millennium”…?

THE AUTO STOPISTS

For this game we are going to take 4 chairs and place them in the space so that they simulate the interior of
a car . One person starts driving the car, and will pick up another person (one of the travelers/backpackers)
along the way to bring it closer to its destination. The backpacker character will have a tic or small
movement, which will stick to the driver, who must repeat it during the trip.
Later, the driver will meet a second backpacker on the road and pick him up as well. Then he will also do it
with the third. Each of them will have their own tic, which the driver must adopt simultaneously. Eventually,
one of the backpackers will get off at their destination, thus leaving room for another participant to take their
spot.
Of course, when a backpacker descends he must justify it.

TRANSLATION FOR THE DEAF

Hello everyone! For this exercise we will need three participants . One of them will act as an expert on the
topic that the public will suggest; Someone else will be the one who interviews him. The third will provide
interpretation for the deaf using “sign language” simultaneously.
We must keep in mind that for the exercise to work correctly, the interview should not go too fast, so that the
interpreter can have time to translate. It also helps if the interviewer and expert use certain keywords
repeatedly throughout the game. Finally, the translator must interpret absolutely everything, with the greatest
possible reliability, even in expressions such as exclamations (for example " Mmmh... ", " Ah! ", etc.)

WHAT ARE YOU DOING?

With all the children sitting in a round, one begins by doing a simple action. His partner next to him asks
him what he is doing, and the one who started must answer something other than what he is doing. Then, the
second person must do it. So on.
Example: (Jose starts crawling on the ground) Juan: “What are you doing?” José: “I brush my teeth” (Juan
starts brushing his teeth)
It is a very simple and fun game, although depending on the group it may often not be suitable for very
young children.

THIS IS A ….
Take an object (any) and place it in the center of the round. The kids must randomly go to the center, pick it
up, and start doing an action with what could be the object. For example, if the item is a pencil, it could also
be a baseball bat or a spoon. Then the others must guess what the object is.
https://improvipedia.wordpress.com/2011/05/27/3-series/

THREE SERIES
Everyone in a circle. They choose a category (e.g. car brands, women's names, foods, plants, whatever). The
first person says an example of that category, and points to another. He keeps pointing! That other person
does the same: says another item from that category, points to another, stays, and so on, until each person is
pointing to a person.
Then repeat the pattern. Make eye contact when you pass your item to the other person. Once they are
comfortable and the series has been collectively memorized, have everyone lower their arms.
Now do the same, but with another category, and make sure the pattern of “pointed out” is different. Repeat
until everyone is comfortable.
Do the same exercise again, but without pointing, and doing the 2 categories at the same time. Add a third
and fourth category if you wish. But no more pointing arms!!

The idea is to not only listen to the item before yours in the series, but also to make sure that when you pass the item
to someone, that someone listens to you. Otherwise, repeat your element, to ensure that the series does not break.

STATE OF ORDER
Excellent improvisation game of order.
4 players. Ask an audience member to take 4 cards from a deck, and tap or tie a card to each player's
forehead. That way, everyone can see each other's cards, but not yours.
The idea is to improvise a scene in which the order of the characters is given by the cards. Obviously, the
players don't know their own position, so the other players will have to help them, and vice versa.
Notes: Define a place where position is important, for example, a royal palace, or a highly bureaucratic
organization.
Variations: Players can see their own cards, but not each other's.

AEROBIC
It is a very fun observation game.
Put all the players in a line. The first player (only him) begins by walking around the entire place making a
large circle. The second player begins to follow the first, and tries to move like him. So on. After a couple of
rounds, the first player goes to the back of the line, and the third player begins to follow and imitate the
second.
Notes: Tell the players to be themselves; Don't try to walk funny on purpose!

TO LPHABET
This is a scene consisting of 27 lines of dialogue (sentences). The first sentence or phrase begins with a
given letter (say “R”). The answer to that line must begin with an “S,” and so on, until the entire alphabet
has been covered. After the “Z”, comes the “A”.
The player who hesitates, or uses the wrong letter, “dies,” and is replaced by another player (if there is one).
The new player must assume the character who “died.”
If kept dynamic, it can be very entertaining.
Notes : Encourage players not to slow the game – If you can't think of any good sentences to advance the
story, it's better to “die” than ruin the story.

THREE COMPLEMENTARY THINGS

A fun warm-up. A player offers something. For example: “I am a slice of cheese.” The second player steps in
and adds something to that offer. For example: “I am a slice of bread.” The third player intervenes and again
adds something to the scheme. For example: “I am pickled.” Then the first player quits, taking one of the
others with him, and start again from the remaining player, who restarts by saying what/who he is.

CIRCLE OF ACCEPTANCE
Have everyone form a big circle. A person begins by making a small gesture. Maybe a slight sound too.
Then your neighbor tries to do the exact same thing. And so on.
Even if we think that the gesture/sound is not going to change, it will.
Notes: Pay attention to movements that suddenly change from right to left arm or leg. It's not supposed to
happen, but it will. Once it passes, your neighbor has to keep it up.
Also pay attention to the small moans, murmurs or glances that the participants may make before or after
their turn. These should also be taken by the next one!
Interview backwards
To play this game, ask or choose a topic to talk about for a TV interview. 2 players will do the interview, in
reverse . This means that the first sentence used will be the last one in an interview. For example: “Thank
you very much for that magnificent explanation” (to the guest) “Thank you there at home for tuning in, and
until next time.” And there they start backwards.
Something interesting to put into play is to encourage the other participant to adapt to the answer. For
example, in your response you can say, “Thank you for responding so strongly,” to which the other person
should do something energetically.

10 fingers
Excellent game to get everyone to know each other a little more.
All players form a circle, and raise the 10 fingers of their two hands to a visible height (2×5=10). Then, one
person at a time, start asking personal questions that can only be answered with YES or NO . For those
whose answer is NO, they will simply lower one of their fingers. The last person with one finger up wins.
Good questions are things like “Do you have a cat?” or “Have you ever stolen anything?”, etc.

Bong bong bong!

A pretty silly game, inspired by a Korean TV show (that explains it all).
4 players. 3 cover their ears, and turn their backs to the scene. The fourth player receives as an indication
some common expression or action, from everyday life (the more complicated, the more fun it will be).
The idea is that this player has 1 minute to communicate that indication to the second player, using only
mimicry and an invented language . Once the second thinks he has understood (no one will tell him), he
will communicate what he has understood to the third, who does the same with the fourth participant. At
the end say “bong bong bong!” and have players 2, 3, and 4 explain what they understood.

Alien, tiger, cow!

Fun game to warm up and get the other players used to group adaptation, joint change, putting aside your
own idea and taking that of others.
Everyone in a circle. There are three things players can be:
 An alien: keep your index fingers on both sides of your head, acting as small antennas, and say
“bleeb, bleeb”, moving around the circle, inside it.
 A cow: Walk straight forward, keep your right hand on your belly and say “moo, moo”
 A tiger: Stretch your arms forward, imitating claws, and roar. Stay in your place.

When someone (a designated person) directs it, everyone starts doing one of the three. Well, the idea is that everyone ends
up doing the same thing, which, in 99.5% of the cases, is not going to happen the first time. It is repeated again, until
everyone is in sync.

Variations: Invent your own animals (or things, why not?).

Play the majority: The animal or thing that has been chosen the least is eliminated.

chamuyo expert
A player is an expert in a specialty , usually provided by the public (if there is one). Also, it's from a
foreign country (maybe also provided by the public). The expert gives a speech about his subject in any
language, invented, meaningless, and a second player translates.
Action syllables
Excellent warm-up, which also helps a new group to know each other's names . Everyone in a circle. The
first person says his or her name, making a gesture (an action) for each syllable. For example: “Mary” has
two syllables, so you will do something like “Ma-” (raises right arm) “-ry” (claps your hands). Everyone
repeats that. Then the second person says their name, again with one gesture per syllable. The group repeats
it, and then repeats all the previous names.

emotional mirror
Players in pairs, face to face. One begins to say things in a meaningless language, but with a special emotion
(angry, happy, in love, sad, scared, etc.) . The other instantly copies the emotion of the first player and
follows him, but speaks his own “language”. You cannot copy the “language” of another. The players
continue talking, without pauses. After 10 or 20 seconds, the second player changes emotion, and the first
immediately follows.

Returning home
Tell the players to think of someone they know. Tell them to pretend that person would come home from
work. Players need to pay attention to:
The environment: what does that person's house look like? Is it organized or is it a mess? big house or
apartment?
What do you work on? Do you change or take a bath or have a beer first? Eat? That? Microwave,
kitchen, delivery?
What is the character's mood?
How was your work today?

The bohemian poet

Tell the audience that they are going to improvise a bad night of poetry in a pseudo-intellectual bar. Ask the
audience to name 2 objects or elements that have nothing to do with each other. Each player must say a
poem that contains both elements. If they leave one out, or don't rhyme, the audience shouts "die", and the
player commits suicide on stage!

Before or after
A short scene is improvised. The host then asks the audience if they want to see what happened BEFORE
that scene, or what happens AFTER that scene. Simple and fun.

TO LITERATIONS
We're going to need a tennis ball, a rag ball, or something similar for this one. All sitting in a round.
Randomly, you give a person the ball, and tell him to say all the words he can think of, that begin with “ P ”
(or any other letter), in the time it takes for the ball to go around the corner. round . Obviously, it has to
go through everyone's hands. ?
Note: Tell the players that when it is their turn to say the words, do not look at the ball. That will only make
them more nervous and they will freeze.
Variations: Pair up and use a stopwatch. Let one of the couple say as many words as they can that begin with
a letter, and let their partner count them. All this for 15 or 20 seconds. Then it changes

FIVE THINGS
A player leaves the scene (or the room, or wherever they are? ), while the host (or teacher, or someone
designated ? ) asks the public (or remaining players, or – well, I think it's understood) for an everyday
activity . So, together, five things are going to change about that activity. For example: the suggestion is
“feed the cat”. One could modify the following:
 Transform the cat into something else, say, a tiger
 Modify the verb, say, fry
 Change the place where one normally feeds the cat. Let's call it the Vatican.
 Change the character. The owner of the cat will now be… the postman
 Add interaction with a famous personality, for example, Elvis Presley
The player who was strong is brought back. The others, improvising a scene using a made-up language ,
will have 5 minutes to make the player guess each of the five things.
Depending on the original suggestion, feel free to change whatever comes to mind. ?

THE FORTUNE DIVINE

One player covers his ears, while the others receive predictions from the public*; one prediction for each
player. Then, the one who had his ears covered (needless to say, he should not have heard anything :lol:),
acts as a fortune teller, who must be encouraged by the others (using mimicry, or invented words) to predict
the given predictions.
Variations: *as in almost all games, there does not necessarily have to be an audience, the group can simply
be divided, and then change.
https://improvipedia.wordpress.com/2011/05/30/el-portero/
GOALKEEPER
Excellent speed game. ?
One player goes to the front. He is the goalkeeper. The rest of the players think of an opening line for a
scene, and a character. When everyone has their starting line and character traits, bombard the doorman with
those offers , one at a time, obviously. The goalkeeper must react immediately , instantly recognizing the
other's proposal and his character, and must quickly become a completely opposite character and respond to
the proposal. Immediately, the next player throws him his offer .
This is a very good exercise to teach participants to react instantly, and transform into a different character
almost without even thinking about it .

THE GOOD, THE BAD AND THE UGLY

Something like “ The good, the bad and the ugly advice .”
Three players in front. Someone from the audience asks them a question or tells them about a problem they
need advice on. Then, the three players give him good advice, bad advice, and ugly advice .
Let a fourth member choose who provides each piece of advice, so that each one gets different things. If the
“bad advice” is really bad, then the “ugly advice” must be much worse . ?
It can also be played as an elimination game: if the “bad advice” is not followed by doubly worse “ugly
advice”, replace the last player with another.

ROPE
Divide the group in two, and have them play tug-o-war (or “ tug-o-war ”) with mime . Pay attention to:
 May the invisible rope not magically lengthen or get angry.
 If someone wins. That is, a group lets itself get lost. It is important to observe “politeness” in the
game, that is, not clinging fervently to your own ideas, but giving in, handing control over to another
player(s). Even if this means losing the game itself, it will be more than positive.
Variations: If it gets too chaotic, you can start by doing 2v2.
UPA! (Location, profession, weapon!)
Well, this interesting and comprehensive game is also known as Place/Race/Death or Chain of Murders .
One player on stage, the rest outside. The audience tells that person a location (which can be a city, or a
specific place, such as a supermarket or a bathroom), a profession , and any object . Only whoever is on
scene will know this. Good. A second player enters, and a scene begins to be improvised with an invented
verbiage or language: participant 1 must communicate his location to the second; When the second thinks
he already knows it , he will clap his hands once and turn on his axis. Then you must guess the profession;
He claps his hands and spins when he thinks he has it. Finally, the same with the object. As soon as Player 2
thinks he knows the item, he will kill Player 1 with it, whatever it is .
Then a third player enters the scene and the game begins again, until everyone has passed. Once finished,
line up the players and ask them where they think they were, what their profession was, and what the murder
weapon was – Generally, they will be quite far from the original suggestion, fun for the audience. ?
Note: The location and profession are characteristics of the person trying to guess , not of the person who
received them the first time.
Variations: Use a bell or something similar, and ring it every 10 or 20 seconds. At the sound of the bell,
players will have to clap and turn and proceed to the next step, even if they are not sure where, who or what.
Good to add speed and adrenaline. 8)

The survivor
Four to six people begin to improvise a scene. After a while, the public will choose someone who will leave
the island . The remaining players begin the same scene again, covering absolutely everything that
happened the first time . Then another person will be eliminated by the audience, and so on until one
person has to act out the entire scene by themselves.
There are several ways to replay the original scene, even when there is only one survivor: you can do it with
a monologue, making all the characters yourself, whatever you want... ?
You can do this in front of an audience, but it's also a great mindfulness exercise.

Overload
A magnificent exercise to train auditory skills through sensory overload. 8)
4 players. 3 of them will stand in a line facing the 4th player, who will stand in front of the middle one. This
player will have to:
 Answer simple math questions? raised by the player on the left.
 Answer simple personal questions posed by the one on the right.
 Imitate the movements made by the player in front of him.
If the main player forgets something or answers wrong, the player who asked or made the moves will say “
beep beep beep ” until the question is answered or the move is mirrored correctly.
Naturally, the game will be more fun and useful according to each participant's ingenuity in asking or
moving, and the speed with which they do so.
After a while, rotate.

No doubles! (1-10)
Excellent concentration game. ?
Everyone in a circle. Let's count from 1 to 10. Any player can start by saying “1”; then anyone else can say
“2”, and so on. If two players say a number at the same time, they start over.
Note: the count does not go in circular order, but anyone can say the next number.
Character swap
Two players improvise a scene, each choosing very different strong physical and vocal characteristics .
The scene continues until we meet the characters. Then the roles are reversed, and each player now plays the
character of the other, in the same scene, same place, same context.
This exercise trains listening and physical observation, and is also a good way to get players to break away
from their typical characters.

Superheros!
Excellent instigation game (see glossary ? ) It works in the following way; 4 players. The first asks the
audience for a silly little problem, such as, “ My shoes are untied ,” and a common object, such as a
cupboard.
The first player begins (only) a scene in which the suggested problem arises, and which he cannot solve.
Therefore, he will ask ( explicitly ) for the help of the Cupboard Man . This will be a superhero, like
Superman, Spiderman, you know, those types of characters.
Our superhero will enter the scene with a lot of energy and self-esteem, only to make the problem worse .
Then, our hero will shout for the help of another superhero. Use the first thing that comes to mind. For
example Toothpaste Man ? Again, this hero will enter the scene with a high ego, he will try to solve it, but
he will screw it up even more, and he will call the last superhero, who will finally manage to solve the
problem.
The game basically consists of inciting your companions to make outrageous and exaggerated characters. It
is important that each person changes their state from the moment they intervene for the first time until the
end, that is, that their self-esteem decreases.
See also, Mr./Ms. so and so , another similar game.

Jeopardy
Have the players leave the scene or cover their ears (really, whatever is necessary to stop them from
hearing ? ), and ask the audience questions with their respective answers. For example:
 What color are school buses generally? Orange (at least in Argentina)
 What is dyslexia? A difficulty when reading that makes understanding impossible.
Take note of the answers, not the questions. Then, have the players uncover their ears, and tell them the
answers, one at a time. They must ask the questions . It would be a “ what would be the
worst/dummiest/funniest question that could have that answer” style?

Vampires
Participants begin randomly distributed in the room with their eyes closed . Whoever directs the game will
tap one of the players on the shoulder, and this will be the “ vampire .” Then, the director will signal for the
game to begin and all participants will begin to walk around the room. When the vampire bumps into
someone, he will grab their arm to “ kill ” them. When a victim dies, he will scream, open his eyes, and
leave the game .
The game ends when all potential victims die.
A spacious room without elements that could harm the participants is recommended, since as explained, they
must move with their eyes closed.
Variants:
– When the vampire grabs a victim, the victim does not die, but is also transformed into a vampire.
– When two vampires collide with each other, they both become normal mortal souls again.
– A “ reviver ” will be added and designated to the original game (I can't think of a better name :P). This one
will also have his eyes closed and will be wearing an element that can differentiate him from the rest (for
example, a scarf); Players who die will then scream but will not come out, instead staying still (and with
their eyes closed!). When the “reviver” collides with someone who is not moving (a dead body) he can
revive it by rubbing it with the scarf. When the reviver dies, he screams and stops moving. When another
living person collides with the reviver (recognized by wearing the scarf), the reviver revives (?), and the one
who revived the reviver (??) is the new reviver (???).
Play until everyone is dead or bored. ?

Reaction
This is a very simple and fun little game. The participants will be placed in a round. The idea of the game is
that one begins by pointing and looking at another and at the same time saying the name of another person;
then the person who was mentioned must do the same immediately , not being able to point to the previous
player (that is, the one who named them). Of course, this done at speed can be extremely fun and is a good
exercise for concentration and why not break the ice. ?

The clay modeler!

Well, we have 3 players. The first is a piece of clay . Behind him will be the second player, who will act as a
reference model , and will do any fixed pose. The third participant will be the clay modeler , and must
shape the first player (the clay) in such a way that it is the same as the reference model. Easy, right? No!
Because the modeler will not be able to touch the clay, will not be able to speak, and will not be able to show
you with his body (imitate) what to do. You'll have to figure it out.
Once completed, let the model inspect the artwork and see how detailed it is. ?
As a variation , and for more adrenaline, limit the time the artist has to build the statue.

Make it more interesting!

Published on 08/05/2013 | Leave a comment
This is a simple exercise, useful especially for those who are too wordy. ?
A participant starts a scene. As soon as the coordinator applauds once, the actor must make what he was
doing more interesting , but without advancing the story . For example, if the player was opening a
briefcase at the time of the applause, they must continue performing that action and only that action with
more emphasis: they cannot take anything out of the briefcase, since that would mean advancing the scene;
the actor must stick to opening the briefcase.
It is simple to explain, but not so easy to carry out. When done successfully, it tends to border on the
clownesque, or similar to Chaplin or Mr. Bean.
Variation: After a second applause, the participant continues to advance with the scene.

Actor exchange
2 to 4 participants start a scene. In the middle of the scene, the coordinator interrupts and all the characters
are replaced by other members . The new participants must continue as the previous characters, as they
have understood, and stick to the story that was being developed. ?
Variant: the coordinator interrupts the scene at several moments, and at each interruption all the
participating actors exchange their characters and continue. No new actors enter and none leave

EVERYTHING MAKES SENSE

One of the participants of the first line keep it up forehead to other
competitor of the second line and say out loud the phrase you have thought of. The latter
responds with his own comment, regardless of whether this reply is a logical continuation of the previous
comment. The other participants have to link the two comments and create a history consistent
 in a maximum of six phrases.
Example: Participant 1: I think we have arrived in Paris
Competitor 2: So, let's go.
Proposal of linking:
#1: I think we have arrived in Paris.
#2: I would like to try a specialty.
#3: You're right, French cuisine has a good reputation.
#4: I just don't know their specialties.
#5: Don't worry, they have pointed me to a very good restaurant.
#6: So, let's go.
IMAGINATION EXERCISE WITH AN OBJECT
Choose an object and describe it. The objective is to be very specific (color tones, texture, etc.), and
communicate what the object looks like in a simple and direct way that makes sense to the public. The more
you do this exercise, the faster the objects will speak to you and the faster your imagination will work on
stage. Then you can take the exercise to the next level by allowing your imagination to run wild (Adler calls
it "travelling"). For example, a green sofa may remind you of emerald earrings that a woman wore at a party
you went to, and it reminds you of the music that was playing, and so on, one memory brings another.
EXERCISE WITH THE TEXT OF A BOOK integrate it
Pick a book and write down a book idea in your own words, then present it on stage with others. Try to
experiment with the idea to give it a real dimension on stage. To do this, you must first understand the idea,
then respond to it and make it your own until you feel a real need to communicate it.
GROUP DYNAMICS:
The group dynamics aim to improve the personal relationships of the group and create a climate of solidarity
among colleagues. They can also serve to introduce some complex social issues.

 RADIO TRANSMITTER.
Each participant is a radio station in STOP position. The director of the session should pass between them
and turn on the station he wants with his hand. Participants must simulate a radio program broadcast
(formula radio, news, sports, etc.) until the hand stops touching them.
 COMPOSITE MACHINE.
The entire exercise will focus on a particular topic (sports event, musical performance, everyday situation,
etc.). One of the participants comes to the center and must make at least one gesture and a sound related to
the proposed topic. His performance will last in a loop: while he continues with his gesture and sound, the
rest of the participants must go out and compose the machine, each one contributing (at least) a sound and a
gesture. They can (should) interact with each other.
 STOP AND THINK.
After selecting part of the participants, a series of situations are secretly explained to them, in the style of a
group dynamic. This dynamic must be represented through a 3-5 minute skit (sounds are allowed). In the
middle of the performance, they must enter STOP after clapping. Once frozen, there is a group discussion of
what is happening, why, and how the conflict represented can be resolved.
EXERCISES TO TELL STORIES
FOLLOW THE STORY
The group of artists sit or stand in a circle. A moderator stands in the middle and provides a setting for the
story. Then he points to a person in the circle and he begins to tell a story. After the first narrator has
described the beginning of the story, the moderator points to another person. The story continues; The new
person takes up the last word and tries to continue the narrative. Each artist must have several turns to add to
the story. Typically, the moderator suggests when the story reaches a conclusion; However, more advanced
artists will be able to complete their story on their own.

YES, AND ….
After of a first phrase formulated by he teacher, each competitor adds
a reply that begins with "Yes, and...". By saying "Yes" the student is forced to integrate what the other has
said (oral comprehension phase) and by adding "and" he is forced to continue with another sentence (oral
formulation phase).
Example: I woke up in a bad mood. Yes, and it was raining outside. Yes, and I realized that my cat escaped.
Yes, and I went out on the street to look for it. Yes, and (…).

TELL ME A STORY IN 60 SECONDS

In groups of 3 to 5, students have 1 minute to tell a fairy tale in actions to the rest of the class. (The story can
be one suggested by the rest of the class and must be one known). The teacher acts as narrator to ensure a
good rhythm and that the 'actors' make an effort to create the characters and tell the story despite the rush.
Variations: try books read in class or even movies

THE AUTO STOPISTS

For this game we are going to take 4 chairs and place them in the space so that they simulate the interior of
a car . One person starts driving the car, and will pick up another person (one of the travelers/backpackers)
along the way to bring it closer to its destination. The backpacker character will have a tic or small
movement, which will stick to the driver, who must repeat it during the trip.
Later, the driver will meet a second backpacker on the road and pick him up as well. Then he will also do it
with the third. Each of them will have their own tic, which the driver must adopt simultaneously. Eventually,
one of the backpackers will get off at their destination, thus leaving room for another participant to take their
spot.
Of course, when a backpacker descends he must justify it.

Court
This is played by 6 to 15 players. 2 players start a scene. In the middle of the scene, any other player can say
“ cut !”, and instantly start another scene alongside another player.
All the scenes are interrupted in this way, and the idea is that all the scenes converge into a single story. Cut
scenes can be continued later. Generally, each player sticks to one character.
This game can be played with or without a director.
Variations: Usually, if the game gets out of hand, a common category is decided before starting. For
example: hospital drama, police drama, romantic comedy, murder mysteries, etc.

PHOTOGRAPHY WITH EMOTIONS.

The person in charge of the session sets an emotion. Whoever is ready must go on stage and, using a STOP
pose, represent a scene that identifies with the proposed emotion. The rest of the group must join
progressively and interact with the statues already formed.
The spectator group intervenes to tell us everything they see. Afterwards, each member of the painting will
explain their position and what they thought they saw before intervening in the composition.
PHOTO GRAPHIC WITH POSE
In groups of five or six (depending on the total number of the group), they come out one by one adopting a
fixed posture; The next one observes it and adopts another posture, related to the previous one, and so on
until a painting is composed. The spectator group intervenes to tell us everything they see. Afterwards, each
member of the painting will explain their position and what they thought they saw before intervening in the
composition.