Commit to the moment and leave your emotional response lead you through your scenes

Length: 2 x 3 hours
Punctuality: Due to the nature of the topic, every participant must do exercises to be in the moment and say yes to the offers of the other players, I recommend to close the door after 20 minutes.

Make choices with confidence and your scenes will flow! Discover that listening to your emotional response, yes or no, at its basic level, will easily lead you to next action, dialogue or focus change. Those overwhelming infinite possibilities improv offers will become managable and your scenes won't stall when your team is unsure of what to do next.

The key skills to learn are:

• Accept other's players offers with confidence
• Respond emotionallly
• Reduce the choices to binary ones (yes or no)
• Give your scenes a simple structure to relax and stop thing about what to do next

• Ask the students to explain their expectations before starting the workshop. This helps you understand what they are looking for
• Ask for feedback after each games to see if the students grasp the goals of them
• A short break of 5 minutes after 90 minutes gives smokers the opportunity to go outside and reloads the energy of the group

• Circle Up
• Hi-Ha-Ho
• Bunny:

This goal of this game is that students get into the mood of thinking more about others than themselves.

• Circle saying yes: All players stand in a circle. One player calls other one by name (or eye contact if he don't know the name). The called player says “Yes” when he hears his name. Then the first player start walking towards him and takes his place. The second player they calls a third one and waits for the yes to start walking. After a while the game is speed up. The main point here is that everyone waits for the yes before walking.
• Cross_Circle with Names, then eye contact
• 3 Different Sequences with a cities, fruits and cloths (movements, drinks, food, animals)
• I am a tree

Students learn not to care about making mistakes.

• Claping in triplets: Player A clap to B. Then C has to clap to A or B. If a mistake is done, the game continues
• 

Students learn to hear to their emotional response

• What comes next?: In pairs one player tells a story full of actions. The second player makes the action and asks what comes next, when he established it.
• “Yes”, “ok”, “too short” and “I come along with that”: In pairs the players do scenes. One of the players can only answer with those sentences. He can put emotion and entonation to convey more information about how much they like to direction where the scene is heading
• Dream storytelling: One player describes a dream the second player is having. The second player lays on the floor and can say “no” any time he wants. The story teller has to get some rejection after a while

• Telling a story with the help of your partner: Players are in pairs. Player A tells a story in first person describing actions, emotions, places and wishes. Player B has to perform that story. After a while they change roles. It can be noisy indoors
• Telling a story: In pairs, always saying yes
• Unfortunately / Fortunately
• Say one word in front of a supporting audience: Every student comes one on stage and the last student gives him secretly a word to say in front of the audience. When he says it, everyone applauses congratuling him. Afterwards he gives a word to the next player

• Holding the plate: Students move around the room randomly holding an imaginary plate on one hand. They can move around but the plate can't fall. They can pass the plate to the second hand and they must move their whole body in this game
• Follow your Nose At the end students become a tiger, a mouse and a cocodrile from an scale from 1 to 10 (mix with human beings)

The goal is to learn what meaning gives the position of the players on the stage

• Naming the human sculture: One player goes on stage in an abstract position. A second players comes and complements him in a second position. A third one comes a look for another position. When five players are on stage, the last player names the human sculture
• Explain the students what is upstage and downstage and why to change hands when holding objects. You can use a group of players to show this
• Explain the students not to give the don't give the back to the audience and to calculate where are the sight limits of the audience depending on their position

Students will be aware of the other players on stage. Because we in Rice Cookie mix beginners with experienced improvisers, I limit the numbers of players on a scene to three otherwise noted on the game description.

• Armando: Initial monologue based on the suggestion of the audience. Then players in groups of three perform scenes related to the monologue. Long form
• Triple Play: 3 teams of 3 players tell 3 stories in three scenes
• One for all / Einer für Alle (in German): The three initial players must remember the positions and speechs of the other one

• Synchroapplause: with advanced levels like one person in the middle between two applauses who has to jump or bend down
• 3 x different =Clap Snap Stamp
• 3 Different Sequences with a cities, fruits and cloths (movements, drinks, food, animals)
• Stations pattern game: Station 1 is associating, Station 2 is pitching and confirming funny ideas and Station 3 is putting 3 ideas together and giving a title
• Speak and stay with the players moderating themselves. The talking time must be equal

• Columbian fuck head

Make strong offers

• Scene mix 10x20 seconds

• Asassin
• I am a tree
• Bench takeover

The goal is to learn what meaning gives the position of the players on the stage

• Space Jump: Freeze game with up to five players coming into the scene
• Group scene with decomposition of subgroups and correction of weaknesses: Use the scenes with 4 and 5 players of the game “Space jump” to explain:
  • Balanced/Even numbers of players in groups easier for the audience to understand
  • One in front of a group, on a side of the group, behind a group means leading/caring, disagreement and exclusion respectivetily
• Laid out a conversation to an action choreography: A group of 3-5 players do different actions on stage without talking for about 4 minutes. Afterwards they replay the actions, this time they can talk. Students will learn to watch the body language and positions on stage of their stage partners

Students will be aware of the other players on stage. Because we in Rice Cookie mix beginners with experienced improvisers, I limit the numbers of players on a scene to three otherwise noted on the game description.

• Action+emotion and complementing action: All players are in two rows. Players of row A start a scene with an action and a basic emotion (like happiness, sadness, eanger). Players on row B come to the scene an find a complementing action. They repeat it, until they are allow to talk.
• Actions in two tempos on stage: Player A starts doing everyday activities on stage and changes the activity every five seconds while player B changes the activity every minute. Both players can talk with each other and justify the action change. The students in audience must observe what meaning conveys the tempo to the scene
• Re-run with three players entering the stage. Every time they enter the scene is freezed and the newcomer describes what gifts he got
• Sit, stand up and lay down
• Emotional family: with four players
• Countdown / Replay: we at least four players on stage

The group enjoyed these games