Object Morphing

Players start with a scene using one or more imaginary objects. Periodically, a facilitator or another player will call out “morph!” and the imaginary object(s) must transform into something new. The players must immediately justify the new object and continue the scene with its altered properties.

Object Naming

Players quickly name objects, or identify uses for a single object. This stimulates creativity, quick thinking, and imaginative object work.

Object Narrative

A scene revolves around a single object (real or imaginary) that serves as the central focus. The story or narrative of the scene unfolds as players interact with, describe, and imbue this object with meaning, exploring its history, purpose, or symbolic significance.

Objects

This can refer to several warm-ups or exercises where players focus on precise object work—miming the handling of imaginary objects with clarity and consistency. It might involve passing an imaginary object around and defining its weight, size, and texture, or quickly transitioning between different imaginary objects in a scene.

Obstacle Race

Players create an imaginary obstacle course in the performance space. One or more players must then navigate this course, miming their way over, under, around, and through various unseen obstacles. Other players can add verbal or physical challenges to the course, making it a collaborative physical storytelling exercise.

Occupation Endowment

One player leaves the space, and while they are unable to hear, the team acquires a specific (and perhaps fictitious) occupation. A scene is played in which the returning improviser must be endowed with this role. The returning player can speak in English, but their teammates are limited to gibberish, gestures, and physicality.

Oldies, Doo Wop 1950s Style

A structured group sing short form game for four players. AABB Rhyme Scheme. Verse, Verse, Bridge, Verse. Shared 5th Verse. Verse traditionally has a 1 6 4 5 Chord pattern. Bridge can vary. Think Earth Angel and similar late 1950s songs.

Old Job, New Job

A player performs a scene where they are currently working at a new job, but their behaviors, phrases, or skills from an old job continually bleed into their current work, creating comedic juxtaposition.

One Character on Stage

Only one character can be on stage at a time. If a second character enters, the first must leave (though they may continue as an offstage character, heard but unseen).

One-Downing

n a scene, players repeatedly make choices that lower their status or put themselves in a less powerful position than their scene partner. This can lead to exaggerated humility, self-deprecation, or outright submission, often for comedic effect, in contrast to “One-Upping.”

One Duck

This is a quick verbal and physical warm-up. Players stand in a circle. One person starts by saying “One duck,” with an accompanying duck-like waddle or gesture. The next person says “Two ducks,” and so on, building up the count while maintaining the duck physicality. Mistakes cause the count to reset.

One-Eighty Five

This is a scene game where players are given a specific numerical goal or constraint, such as reaching a total of “185” points, items, or units within the scene. All actions and dialogue must subtly or overtly contribute to reaching this target, leading to unusual justifications and interactions.

One Line Scene

Players are given a suggestion and then must perform an entire scene where each player only gets to say one line of dialogue. The challenge is to create a coherent narrative or interaction with extremely limited verbal contributions, relying on strong offers and acceptances.

One Minute Life Stories

In this game, participants work in pairs. One person tells their life story for one minute without interruption, and the listener then repeats back as much as they remember. This exercise helps people get to know each other and demonstrates active listening skills.

One Mouth

Two or more players act as a single character with “one mouth,” meaning they all speak simultaneously to deliver lines. They must work together to form coherent sentences and express a unified thought, requiring strong group mind and vocal synchronization.

One to Five 1 to 5 (One Minute to Five Seconds)

Players start the game playing a 1 minute scene. The scene is repeated but compressed down to 30 seconds, then 15, 10, 5.

One-Upping

In a scene, players constantly try to outdo or surpass their scene partner’s previous statement or action, either by exaggerating their own experience, making their problems seem worse, or making their accomplishments seem greater. This leads to escalating comedic absurdity.

One-Voice Expert

Three players stand shoulder-to-shoulder, acting as one “expert” who speaks one word at a time. Another player acts as an interviewer. The audience suggests an expertise (e.g., rollerskating fish). The interviewer treats it as a TV channel about that expertise, and the expert’s word-at-a-time answers often become funny and weird.

One-Voice Scene

Two players are a single character, performing a scene by talking together, saying the same words at the same time. This develops extreme group mind and vocal synchronization.

One-Word Story

Participants sit in a circle and collaboratively create a story, with each person contributing one word at a time. This exercise provides an outlet for silliness and helps individuals loosen up in a low-pressure environment, fostering spontaneity and active listening.

One Two Three

A rhythmic counting game. Players stand in a circle and pass an imaginary clap or gesture around, counting “One, two, three, four.” On “four,” they make a different sound or gesture, often involving a change of direction, forcing quick changes in focus and coordination.

On the Back Word Endowments

Two players perform a scene. A third player or the facilitator stands behind one of the performers and, by whispering a single “back word” (e.g., “greedy,” “nervous,” “suspicious”), instantly endows that character with the suggested trait. The performer must then immediately incorporate that trait into their actions and dialogue, and their scene partner must react to it.

On the Right Track

]Players improvise a scene that must constantly feel like it is “on the right track” or moving towards a specific, though initially unknown, goal. This encourages strong narrative momentum and collaborative agreement on the scene’s direction, avoiding aimless wandering.

Only Questions

Two or more actors perform a scene speaking exclusively in questions. The group first decides on a scenario. The game can be made competitive by deducting points or eliminating players for hesitating or making statements.

Open-Mouth

A turns-to-speak scene where a player holds the turn until they close their lips together. This focuses on vocal delivery, breath control, and intentionality of speech.

Open Offer

One player initiates a scene with a vague offer that doesn’t immediately define the “who/what/where.” Another player then joins in and completes the platform, establishing the scene’s core elements.

Open Your Hand

This is often a warm-up or trust exercise. Players stand facing each other. One player extends an open palm, and the other player gently places their open palm on top. The exercise encourages players to be present, receptive, and to give and take offers without pre-planning.

Opera

A scene formed in the style of an opera, with continuous singing.

Opera Minutiae

Players perform an opera scene, but the focus is on incredibly mundane or ordinary minutiae of daily life (e.g., washing dishes, folding laundry, looking for keys). The contrast between the dramatic operatic style and the trivial subject matter creates humor.

Opera Moment

Similar to “Oscar Moment,” but on the call of “Opera Moment!” one or more players must immediately break into a dramatic, operatic-style sung monologue or duet, regardless of what was happening in the scene, justifying it within the context.

Opposite Characters

Two players improvise a scene where they deliberately embody opposite characters in terms of personality, status, or emotional state (e.g., extreme extrovert vs. extreme introvert, highly optimistic vs. deeply pessimistic). The humor and scene development come from the clashing dynamics.

Opposites

Players engage in a scene where they must speak or act out the opposite of what they intend to convey or what is logically expected. For example, saying “I love you” while acting hateful, or trying to open a door by pushing when it pulls. This game challenges intentionality and creates comedic confusion.

Options

A director pauses the scene and asks the audience for suggestions on how it will continue.

Orchestrated Party

Players improvise a party scene where each character is given a hidden orchestrated or pre-assigned goal or secret motivation (e.g., “get someone to buy you a drink,” “avoid a specific person,” “tell a scandalous secret”). The scene then unfolds as these individual agendas play out and intersect.

Oscar Moment

On the call of “Oscar Moment!” a player steps forward and gives the kind of overwrought performance that would be shown on an Oscar clip.

Oscar-Winning Moments

Similar to “Oscar Moment,” but perhaps involving multiple players delivering short, dramatic, or comedic “Oscar-winning” snippets, often based on a suggested movie title or theme.

Out From Under

Players start a scene in a physically or emotionally “stuck” or disadvantaged position (e.g., trapped under something, feeling overwhelmed). The scene then develops as they try to creatively find their way “out from under” the predicament.

Over Confessor

One character in a scene is an “over-confessor” who reveals too much information, too often, and often inappropriately. Other characters must react to these unexpected and often awkward revelations, leading to comedic and uncomfortable situations.

Overload

A rapid-fire game or exercise where players are given a constant stream of information, suggestions, or tasks, creating an “overload” of input. Players must respond quickly and accept everything, even if it leads to chaotic or nonsensical outcomes.

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