THEATRE GAMES: COLLEGE

2 blindfolded students, or Samurai, are armed with newspaper "swords" and seek each other out.

Actors learn to commit to a private truthful moment in front of an audience.

This activity builds cooperation and trust and is a great beginning activity for new casts and/or theatre groups.

This is an ice breaker game that really just helps the students get to know each other better and to further help the students develop social skills.

"Duck, Duck, Goose" becomes an acting game when the "Goose" is replaced with anything the leader calls out.  A great game to break down inhibitions and introduce the concept of "always saying yes."

To take on the persona of the last person that gets into the taxi.

Here is a great icebreaker game that students seem to love!  It's called "Neighbors"  The participants will stand in a circle.  One player is picked to be in the middle.  That person will approach a person in the circle, he will ask: "Do you like your neighbors?"  If the answer is no, the two people on either side of the person must switch places while the person who did the asking will attempt to take one of their spaces in the circle.  If the answer is "Yes, I like my neighbors" The person must then say "...but I don't like _________"  The _________ can be a silly yet appropriate choice such as "People who are wearing blue" or "People with open toed shoes".  At that point, all the people who are wearing blue or open toed shoes must switch places in the circle with someone else who has on blue or open toed shoes.  It's fun and a bit wacky. Gets people moving. 

YES! is a deceptively simple yet effective concentration and ensemble building game.  The game can be played with new groups or groups who know each other well.

This is an opening for long form improvisation.  It uses audience suggestion and the imagination and physicality of the players.   Actors become inanimate objects as well as people, physically creating a setting as well as characters.

Students will demonstrate their ability to create a character background by participating in a character interview.

So, what do people say when they visit the grave?  Do they water the grave?

Today you are not going to portray your character... you are going to become someone elses character. 

Students watch one another and imitate one another's physical actions.  The prompts for movement can be motivated or just fun improvisational.  Students can explore their physical instrument and expand the limits of their creativity.  (Also good for getting students (and directors!) to learn names of their fellow students.)

"Poison Peepers" is a variation of "Down/Up" and "Scream."  The big difference is that no one is eliminated.  It is a superb low-risk way to encourage vocal production and dramatic gesturing, and it's a lot of fun!

This is one of the most requested games in my acting classes.  The more times they play it, the more specific and competitive the session becomes.  Anyone can participate, but you will need a quick mind to win!

Actors identify the animal and/or song that their character represents or reminds them of.  This can be seen throughout the play and/or for curtain calls.

This game can go on for hours as groups begin to trust and enjoy the process of working as an ensemble.  In theory, it is like one large mirror activity, however, coach should encourage movement and vocal involvement in the exercise.  The purpose is not to mirror perfectly, but to move, breath and begin to think as one connected ensemble.  Best for creating a sense of unity and a wonderful physical warm-up.  I learned this one at the National Theatre of Great Britain while attending a post-graduate actor training program.  

Actors are cast as families with last names that inform how the family is to be played.  A salesperson or neighbor comes to the door and must adjust according to the family type.

This energetic warm-up will get your group focused, listening, limber, and "ready to roll".

This is a fun game used to cultivate teamwork while warming up physically and vocally.

Develop character by discussing statements such as: If my character were a color...If my character were a food...If my character were a book...If my character were a kitchen appliance...If my character were a vacation...If my character were an animal..If my character were a magazine...etc.

Students establish a instant spirit of ensemble by clapping in unison with the person to their left or right depending on the directing of the clapping wave. 

This exercise allows students to create the characters, settings, and plots for their own improvisations. Depending on the age group, it is interesting to see how, inventive, humorous even silly, and/or dramatic the scenes can be.

Assemble cast in a circle.  The first actor mimes an object and uses it.  Then he/she hands the object to the next actor who also uses it in it's first form. The second actor then "stretches", "squishes", or manipulates it into a new object uses it and passes it on to the next actor.  The same process continues around the circle. The goal of the exercise is used to increase cast connection, camaraderie, and creativity.

Excellent for cast building to be used early during the rehearsal process.  Divide cast into two teams.  Students mime that they are playing volleyball. Regular volleyball rules apply.  The student "serves" to the other team and calls out the cast member's name, that student can "set" to a fellow team member by calling his/her name or send it back "over the net" to the other side.  If  a student misses a name or calls the wrong name, a point is awarded.  The teacher acts as the referee.  Feel free to "rotate" in and out, "spike", "bump", "set", and "block"!

Two actors working through a scene or improv will be given a separate motivation or goal to obtain in the scene that is unrelated to the scene itself. Works on a young actor's ability to gain something from the other actor while staying in the moment. 

Articulation exercises relax the mouth and is good practice for an actor's voice and characterization.

To physicalize emotion by showing emotions and feelings through use of space objects.

A variation on the Meisner repetition exercise that allows for scene and character development.

To develop improvisational skills, use creative imagination, nonverbal language and become aware of voice inflections by telling a story in gibberish.

The game requires both exchanging and transforming energy by blending with your fellow players as a ball of energy is thrown amoungst the group.  Its about being in the moment, keeping open, grounded and free as well as being aware of your surroundings and articulating. You must be aware of the energy sent, available to the energy - allowing it to change you, and you must be articulate in sending the energy back out.

To get students moving, thinking fast and on their feet through improvisation.