Games, Exercises

and Warm Ups

2002-2003

The Official
Resource Booklet of
the Canadian Improv Games
In association with
Dedicated to the memory of
Johnson Moretti

Long Live
The Spirit of the Games
 The Canadian Improv Games Oath

We Have Come Together

In The Spirit Of Loving Competition
To Celebrate The Canadian Improv Games
We Promise To Uphold The Ideals Of Improvisation
To Co-Operate With One Another
To Learn From Each Other
To Commit Ourselves To The Moment
And, Above All,
To Have A Good Time!
WARM UP EXERCISES

10 A free association game to knock the mind about and break normal thinking patterns.
Unrelated
Things
Rules
Player must say 10 unrelated things in as short a time as possible. The player must avoid
patterns like “Items in the room” or “Things out the window”

Objectives:
To allow the free flow of ideas within a set of rules.

Comments:
Words should not be related to ANY of the words that have come before. The mind wants
to list or create sentences, and this game is designed to free the mind.

Adaptations:
Do this exercise in pairs, with A saying the words and B counting out loud.

Action Justification is a basic skill that allows improvisors to create worlds with strong internal
logic, no matter how ridiculous that logic seems in the real world.
Justify
Rules
Player A begins a repetitive abstract action (i.e. not an identifiable activity, such as raking
leaves.)
Player B, who has not seen this action, turns and makes an offer for the Where (location)
and Who (character.)
Player A justifies their abstract action by marrying the Who, Where and their action into
an activity based on the movement they are making.

Objectives:
To focus an improvisers ability to Justify.

Comments:
Player B’s endowment must include both character and location, but watch that it does not
include the activity. Example: “Well partner, here we are on the night shift” and not “Well
partner, here we are patrolling the mall late at night.”

4 The Canadian Improv Games

 WARM UP EXERCISES

Environments Creating worlds on stage is a fundamental skill. This game encourages players to create
locations non-verbally as well as strengthening team work.

Rules
The warm up leader calls out an environment, then loudly counts down from 10.
Without discussion or planning the players create and explore the environment using the
full space. Players may be objects or people.
Objectives:
To physically explore an improvised environment and all it’s possibilities. To force the
improvisors to be present in the space, and work together without discussion to create
full functioning environments.

Comments:
Don’t discuss it - do it! Explore all the aspects of the environment. If the environment is
a movie theatre, there’s the possibility of popcorn, people to sell the popcorn, moviegoers,
screen, seats, any of the myriad objects and persons that make up a movie theatre
experience. Watch each other, try to create balanced stage pictures. If you see everyone
else trying to be the screen, sit down and watch the movie.

Variations on a classic improv game.

Rapid Fire
Freeze Rules
Two players begin a scene.
Once the scene is minimally established, an off-stage player yells “freeze”. The on-stage
improvisors freeze in their last physical position.
The off stage player enters, taps one character out, takes their exact physical position and
then justifies it while establishing a new scene.
Once this new scene is established, the process repeats itself.
Objectives:
To practice establishing scenes through exploration of environments or activities, and to
practice justifying physical positions on the stage.

Comments:
Don’t wait for a great idea, call freeze as soon as the new scene has been established.

Adaptations:
Blind Freeze: Two players on stage, the rest in a line against the back wall. The first
improvisor in line turns their back on the stage, and when it sounds as though the scene
has been established they yell “freeze.” They then go in and take the position of one of
the players, seeing it for the first time, and initiate a new scene. A great variation for
teams that are waiting for the right moment to yell freeze.

Discovering The Moment 5

WARM UP EXERCISES

Yes, Let’s

Rules
Players find a space in the room.
A moderator asks the group to do an activity by calling out “Lets _____.”
The group, in unison, all respond by shouting out “Yes, Lets!”
The players then proceed individually and silently to explore the activity physically.
When the moderator feels the activity has been fully explored the moderator calls out
another activity.

Objectives:
To explore the entire physical environment of an activity.

This game increases player’s skills at creating environments as well as working on the
What Are ability to think about more than one thing at a time.
you Doing?

Rules
In partners, player A starts by exploring the physical environment of an activity.
Once A has established and explored the activity, B asks “What are you doing?”
Player A, completely engrossed in the activity “lies” to B and tells them a completely
different activity than the one they are actually exploring.
Player B immediately begins to explore the activity suggested by A. When B has
established and explored the activity, A asks “What are you doing?”

Objectives:
To separate the thought process into more than one part. To be able to think about
completely different things is the ability an improviser needs to be both present in the
moment and prepared to advance the scene.

Comments:
The classic trap for this game is to stop the action, face your partner and explain the
alternative activity. It is integral that the players understand that it is this impulse to stop
everything and think before action that we are trying to counteract.

Adaptations:
Upon hearing the question “What are you doing?” players must simultaneously break any
repetitive content within the activity by altering and answer the question with a lie.

6 The Canadian Improv Games

 WARM UP EXERCISES

Zoom is an energy and focus warm-up that is excellent for connecting players with impulse
Zoom and awareness of space.

Rules
Students get in to circles of 5-10 standing facing the center.
One student starts sending the energy around the circle by directing a hand clap towards a
particular player while simultaneously saying “zoom.”
When a player receives the energy they immediately send it to another player within
the circle.

Objectives:
To increase player awareness and to connect players to their impulses. To illustrate the
necessity for eye contact and connection with other players. To get players present in
the room.

Comments:
Eye contact is extremely important in this game as in all improvisation. It is best if “no-
look passes” that may work well in the NBA are banned. The amount of energy that is
initially thrown around in the circle will most likely set the tone for the exercise, so insure
that the team starts at a high level of commitment.

Adaptations:
Maverick Zoom
Players use team members actual names and they do not form a circle. Instead the
secondary objective is to run away from the player who receives the energy.

Discovering The Moment 7

EXERCISES

Arms Two improvisors become expert know-it-all’s on a subject of the audience’s choosing. The
Experts format can be an interview, talk show, lecture, debate...

Rules
One improvisor comes up to play an expert on a suggested topic.
A second improvisor stands behind the first. The front improviser wraps their arms around
the improviser behind. The rear improviser puts his arms out as the front persons arms.

Objectives:
To encourage spontaneity, and the making and justifying of physical offers. Freeing the
trust in ones impulses.

Comments:
The front improviser (the “voice” of the Expert) should include and justify all of the
physical offers made by the “arms” (rear) improviser. The rear improviser should stay
present, listen carefully to the front improviser and then add physical offers of their
own. Take your time: relaxation will keep you in the moment, and that will be more
interesting to watch than hurried or incomplete answers/statements. Confidence is both
more interesting and more important than speed.

A classic game that explores character while encouraging listening and discovery skills.
Bus Stop
Rules
A bench is placed centre stage. One improviser enters and sits on the bench
A second improviser enters and begins to play a scene. The scene is over when the first
character leaves the stage, and the second remains seated on the bench
A third character enters and begins a scene which ends when the second player exits.
Repeat until all players have been on stage.

Objectives:
To develop/practice the skills of characterization and character interaction.

Comments:
Don’t let an improviser use the same character or tactic too many times, or you
compromise the purpose of the exercise. Respect your fellow improvisers: the scene is
over when the first person leaves, but the scene must still be played together. Even when
you play an aggressive CHARACTER, remember that the good IMPROVISOR is always
listening and aware of offers made and actions taken by EVERYONE on stage.

Adaptations:
More than two people can be on the stage at one time
8 The Canadian Improv Games
 EXERCISES

A game that increases narrative skill, teamwork and listening.

Story
Story Die
Rules
Three to six improvisers form a line on the stage. The narrator/MC sits downstage of
them, facing the line.
The MC randomly points to players in the line. The player who is pointed at speaks.
When the finger moves, the speaking improviser stops (mid-syllable if necessary) and the
next improviser picks up EXACTLY where the previous one left off.
If a player stutters, repeats a word or says something totally incongruous, the audience
shouts “DIE!” The improviser “dies” and a new story begins.
The game ends when only one person remains.

Objectives:
To develop awareness and spontaneity. To tell a complete story as a team within the
restrictions of the game.

Comments:
Die with good grace: the audience takes their cue for reaction from the improviser. Keep
it fun. Concentrate on the story - listen to each other and keep it simple. If the action
advances out of hand, the story will lose coherence.

Emotional A great game to encourage players to alter their emotional states.

Transfer
Rules
Two improvisers start a scene with opposite emotions, and over the course of the scene
they switch.

Objectives:
To introduce the value of emotional transfer into scene work.. To heighten awareness.

Comments:
Don’t jump right into the transfer - establish the opposite emotions and then try to find an
organic transfer WITHIN the reality of the scene.

Discovering The Moment 9

EXERCISES

Environments Creating worlds on stage is a fundamental skill. This game encourages players to create
locations non-verbally as well as strengthening team work.

Rules
The warm up leader calls out an environment, then loudly counts down from 10.
Without discussion or planning the players create and explore the environment using the
full space. Players may be objects or people.
Objectives:
To physically explore an improvised environment and all it’s possibilities. To force the
improvisors to be present in the space, and work together without discussion to create
full functioning environments.

Comments:
Don’t discuss it - do it! Explore all the aspects of the environment. If the environment is
a movie theatre, there’s the possibility of popcorn, people to sell the popcorn, moviegoers,
screen, seats, any of the myriad objects and persons that make up a movie theatre
experience. Watch each other, try to create balanced stage pictures. If you see everyone
else trying to be the screen, sit down and watch the movie.

A simple exercise in group awareness and physical responsiveness.

Machine

Rules
One player enters and begins a repetitive sound and action.
Once that is established, a second improviser comes up and takes a position relative to the
first, beginning a different repetitive sound and action.
Each improvisor enters and becomes part of the machine.
After the machine is established, performers may freeze and identify the machine (i.e.
“Oh, it’s a top spinner and tabbouleh mixer.”)

Objectives:
To increase group awareness. To practice making, incorporating and justifying physical
offers.

Comments:
When in doubt, keep it simple. If you’re blocked, it probably means that you denied
your first impulse.

10 The Canadian Improv Games

 EXERCISES

This exercise builds justification skills.

Slide
Show
Rules
Improvisers take non specific poses while the narrator explains the nature of the slides.
Many formats can be used: vacation, area of expertise, lecture, etc..

Objectives:
To justify the poses while creating a complete story within the rules of the game.

Comments:
Slide improvisers should listen to what is being described, but are not by any means
limited to “what happened next” slides. Respect the narrator, and trust that they will
justify the poses into a story.

A fun teamwork and narrative game.

Speak in
one Voice
Rules
Two or more improvisers take the stage. Together are a single expert or know-it-all.
A solo player interviews the collective expert, who respond to the questions
simultaneously, all speaking with one voice.

Objectives:
To improve listening skills and spontaneity

Comments:
If you find yourself driving the group, let go and follow. This games works best under
the same principles as the Follow the Follower game. Focus on each other and let the
interviewer weave the group’s answers into order.

Discovering The Moment 11

GAMES

A restriction game.
Alphabet
Game
Rules
This scene has 26 lines. Each line of dialogue must begin with the next sequential letter
of the alphabet. There isno real need to start with ‘A’. Ask for the starting letter from
the audience.

Objectives:
To work within the limitations of the rule and still create a full story.

Comments:
Don’t allow the rules of the game to dominate the scene - the “stunt” version
overemphasises the letter progression. The challenge is to create a full STORY in which
each consecutive line of dialogue just happens to begin with the next letter of the
alphabet. Trust yourselves.

Adaptations:
Every line spoken on stage must start with the next consecutive letter of the alphabet. This
challenges the tendancy with this game to use long paragraphs of exposition to advance
the story to avoid the structure of the game.
Each character on the stage gets a letter: all of their lines must begin with this letter.
Alliteration: each character gets a letter, then has to use that letter as many times as
possible within the scene.

Actor’s
Nightmare
Rules
Using a book of plays, an improviser has an audience member choose a page number.
The improviser holding the book must take all of his dialogue from the consecutive lines
of dialogue of a single character, beginning on the assigned page.
One or more team mates work to justify the dialogue.

Objectives:
To justify the line of dialogue immediately and create a full scene.

Comments:
It is very important to keep the story moving. This scene has a tendency to end up being
a “Your crazy, I’m not” scene, which weakens the justification process and dismisses the
reality of the reader’s diologue. Make sure you find an activity within the scene that will
allow you to explore and physicalize.
12 The Canadian Improv Games
 GAMES

A great game to explore non-human habitual movement

Animal
Actors Rules
Improvisers ask for an animal or animals to inspire their characters.
The team then plays the scene as a human with that animal’s characteristics.

Objectives:
To use the Animals inherent talents and well known traits to solve problems (or create
them) and create the elements of scene work. It is also important to find the similarities
between animal and human.

Comments:
How does this animal character walk? Talk? Sit? Eat? How do they react to danger?
Happiness? The more detail your animal character has, the more interesting you will be
and the better you honour the suggestion. If you have a well rounded animal character,
the scene will organically evolve from that character’s specific traits. If you do some
animal character exploration with your group before you play the game, you’ll find
more detail and more levels to play on. The animals that you get from the audience
will (and should) be different but a familiarity with the exploration will help you create
well-rounded characters.

Backwards
Scene Rules
The team creates an entire story/scene in reverse, starting with the conclusion of the story
and improvising thier way to the beginning

Objectives:
The team must know the “Basic Scene Structure” so well they can forward the action
in reverse (I guess that would be “reverse” the action). Resolution, raising the stakes,
problem, characters, environment. Example: “I’m leaving - goodbye forever” “What will
you do now?” “I can’t take this anymore!” “Nothing’s ever good enough, is it.” “God,
how I hate carrots!” “Here’s your dinner, hon.” “Isn’t dinner ready yet? I’m diabetic.”
“Welcome home dear, have a seat. I’ll just be a minute.”

Comments:
You don’t have to speak backwards - just unfold the story in reverse order. Take your time:
this game is liable to disintegrate entirely if it’s rushed.

Discovering The Moment 13

GAMES

Counting
Game
Rules
Each player receives a number between 1 and 10.
The improvisers perform a scene using lines of dialogue with a word total the same as
their number.
A buzzer will sound if a player says a line containing the incorrect amount of words.

Objectives:
To create full scene while improvising within the restriction.

Comments:
This is an excellent game to play with teams that are fixated on narrating action instead of
physicalizing. Make sure the players do not become Cro-Magnon beings, make sure they
put themselves at risk and take part in the scene.

First Line
Last Line
Rules
Improvisers are given a first line for a scene and an unrelated last line of dialogue. Scene
begins and ends with these lines.

Objectives:
To improvise and justify a full scene within the rules of the game.

Comments:
Concentrate on the elements of the story structure. If you focus on getting to the last
line of dialogue, you will lose the process by which it is reached. It’s the process that
we want to see on the stage.

14 The Canadian Improv Games

 GAMES

Audience This is a great game for students to practice and explore physical embodiment. The game
Character . focuses on the ability for one or more players to extrapolate attitudes, alignment and voice
from photo’s or business cards of an audience member.

Rules:
Get photo ID cards or business cards from the audience as well as a suggestion of a
location or activity.
Designated players mold/match their faces to the photos. They also use the name from
the ID as well.
The scene is created by showing the characters within the suggestions from the audience

The Objective:
To create full characterizations from audience suggestions, and build a scene based on
their lives.

Comments:
This game thrives on discovery. The more the players explore the character they’ve
unleashed the more the scene will benefit. Beware: many people don’t like to get their
picture taken at the DMV so you may end up with fairly negative characters. Don’t let
the character’s negativity give you the impulse to block or cancel offers. Remember to
forward the action.
Create fully rounded characters from the ID/business card and also from your impression
of the person who donates it. Mocking them will draw an easy laugh from the audience,
but it disrespects both that audience member and his/her suggestion (of themselves). Once
again, a with a well-rounded character the story will evolve simply and organically from
their traits, mannerisms and ideosynchrasies. You don’t have to recreate the person who
makes the suggestion in exacting detail: but they are the jumping off point for YOUR
character, which you will created in detail.

Discovering The Moment 15

GAMES
.

Dubbing Rules
Offstage improvisers provide the voices for the onstage characters and action. May be
played as a Foreign Film.

Objectives:
To perform a scene with the narrative being supplied by one part of team and the
physicalization by the other

Comments:
The onstage improvisors have the option of simply moving their lips, speaking in gibber-
ish or (if you have the option) actually conducting the scene in a language other than
English. Familiarize yourself with the convention of pausing after each line of dialogue
for the translation - don’t let the action of the scene stop just because nobody’s speaking.
Stay present and connect to the scene physically to give it continuity.

Entrances
and Exits

Rules
Each player is given a word, number or famous phrase (preferably not something said
in every sentence.)
Whenever the player’s word is spoken within the scene the player must justify an entrance
or an exit.

Objectives:
To improvise and justify within the rules of the game while creating a scene.

Comments:
Players should be asked not to say their own word unless necessary to avoid the trap
of “saying it for laughs.” Be sure to remember to create an activity and find a common
focus for the players within the scene. You can also try to forward the story with each
entrance and exit.

16 The Canadian Improv Games

 GAMES

In
a ... with a
Rules
... Improvisors get audience suggestions to fill in the blanks IN A _____ WITH A _____
(WHILE_____). Scene does not necessarily begin with the suggestions,but may move
toward that moment.Or it may begin at the suggestion and proceed wherever it might.

Objectives:
To improvise and justify a complete scene within the rules of the game.

Comments:
Let the scene evolve directly from the suggestions. There’s no need to invent: each
suggestion contains a wealth of potential material. When working with more than one
suggestion it’s a good idea to “marry” the suggestions, bringing them together in some
way to help the scene find its resolution.

Adaptations:
Single blank, or any two of the three.

Moving
People Rules
Audience members or team-mates provide the locomotion for the improvisers on stage.
Improvisers may not move any part of their own bodies (except to provide dialogue
by moving their mouths).Movers should put the “puppets” in challenging positions, and
puppets should challenge the puppeteers with their verbal endowments.

Objectives:
To improvise and justify a complete scene within the rules of the game. This game
focuses on the team’s story telling ability.

Comments:
Be ready for anything.
Tell a STORY: this game risks becoming a series of justifications with no through line.
Focus on the elements of story structure, while staying within the rules of the game.

Discovering The Moment 17

GAMES

Object Game
Rules:
Object is chosen from a member of the audience. Scene is played using that
object. It may or may notbe used as what it really is (eg: credit card may be
used as a pocket TV...).

Objective:
To improvise and justify a complete scene within the rules of the game. This
game focuses on the teams abillity to create a story about the object

Comments:
Let the object tell the story in one way or another. If the story isn’t about the
object, the object should be a main character, or the solution of the problem, or
the ultimate goal, or Big Brother, or...

Word at
a Time

Rules
Players form a circle.
Players tell a story alternating players on each word, one word at a time.

Objectives:
To create group mind through cooperational storytelling.

Comments:
A lot of the time this game is derailed because of offers from space, ideas that are not
organically found within the story. It is important to stop stories that are not working
or cannot be understood and start afresh. It is through the process of stopping scenes
that you will produce an intrest in allowing the story to write itself rather than trying
to force it to be written.

Adaptations:
1,2,3, Word at a time
First cycle of players says one word at a time. The second cycle of players says two
words at a time, the third cycle says three words, the fourth cycle says 2 words, and
the fifth cycle says one word until the story ends (perhaps even on the last player.)
Physicallized Word at a Time
Two players begin a Word at a Time story game in the first person as “I”. The other
players act out all action within the scene while it happens.

18 The Canadian Improv Games

 GAMES

Paper
Game
Rules
The stage is strewn with pieces of paper each containing single, unrelated lines of
dialogue.
The players begin a scene based on a suggestion from the audience.
The players then pick up the lines of dialogue, read them with no introduction and then
justify them into the scene.

Objectives:
To justify the line of dialogue immediately and create a full scene.

Comments:
Some players attempt to set up or justify the line before they speak the line. This denies
both the player and the audience the full glory of the challenge of justifying the dialogue.
It is important not to shelve ideas once they have been justified. Use the paper lines to
advance the scene.

Adaptations:
Comics
The same game using actual boxes or bubbles from comic strips.

This game is a variation of Story Story Die in which each player is assigned a style in
Radio Dial which to tell their story.

Rules
Three to six improvisers form a line on the stage. The MC sits downstage of them,
facing the line
Each improviser is assigned a style in which tell the story. The narrator/ MC designates
who speaks by pointing at them.
When the finger moves, the speaking improviser stops (mid-syllable if necessary) and the
next improviser picks up EXACTLY where the previous one left off.

Objectives:
To develop awareness and spontaneity. To tell a complete story together within the rules
of the game.

Comments:
Concentrate on the story - listen to each other and keep it simple. If the action advances
out of hand, the story will lose coherence.

Discovering The Moment 19

GAMES

A great way to play with many different styles

Scene 3
Ways
Rules
Team plays a short neutral scene.
The team replays the scene 2 more times coloured with the elements of a particular
style or genre.

Objectives:
To improvise within many different styles. Create and practice the understanding of using
an element of a style to prove a section.

Comments:
Many of the scenes will end up as mimicry and parody of the style, however, this game
is excellent for finding a style the team enjoys. Experiment with many different styles,
so that the team gets a feel for exploring the conventions of each one. Sometimes those
conventions will call for a radical departure from the original neutral scene, but attempt to
retain the key structural elements - even as you play with their detail and presentation.

Sit, Stand,
Kneel, Lie

Rules
Four players begin a scene. One player must always be sitting, one standing, one lying
down, and one kneeling.
When a player changes position the player whose position they’ve adopted must justify
their movement into a new position.
No two players are allowed to be in the same position at once.

Objectives:
To improvise and justify within the rules of the game while creating aa scene.

Comments:
A great game for reminding players of the use of levels and to be observant of their
team mates movement.

20 The Canadian Improv Games

 GAMES
Typewriter This is the classic third person narrative game

Rules
Get a suggestion from audience (e.g. Fictional title for a story.)
One player is the writer and narrates the story.
The other members of the team perform the actual scene that is being told including
the dialogue.
Players pass the advancing of the story back and forth between narrator and stage until
the story has been told.

Objectives:
To explore the principle of narration and work as a team to advance a story.

Comments:
One of the first hesitations a new team will have is to take over the scene from the
stage. Most new players will just want the narrator to tell them what to do thus ridding
themselves of any need to create a story. It is very important to get all of the players
to advance the scene.

Word
Machine
Rules
A member of the audience (or one member of the team) is invited on stage to become
the Word Machine. They offer random single words whenever a player taps one of their
outstretched fists.
The players begin a scene and tap the word machine’s hand mid-speech, the moment
they need an offer.
The word machine says a word and the player justifies this word in the scene.

Objectives:
To justify the word immediately and create a full scene.

Comments:
The game is most fruitful if the word machine is used for finding the ideas to establish
the elements of the Basic Scene Structure. It is especially great for creating problems
and solutions. It is very important that all offers from the Word Machine are used within
the scene.

Adaptations:
Pillars
Two word machines stand at either side of the stage ready to call out words.

Discovering The Moment 21

RESOURCES
Books on Improvisation and Learning to Improvise:
Action Theatre: The Improvisation of Presence by Ruth Zaporah
Characters of the Sacred: The world of Archetypal Drama by Bill Pearlman
Impro, Don’t Be Prepared: Theatresports for Teachers, and Impro for Storytellers by Keith Johnson
Improvisation by John Hodgson & Ernest Richards
Improvisation for the Theatre and The Director’s Handbook by Viola Spolin
The Improvised Play (The Work of Mike Leigh) by Paul Clements
Improvising Real Life: Personal Story in Playback Theatre by Jo Salas
Playing Boal: Theatre, Therapy, Activism, Edited by Mady Schutzman & Jan Cohen-Cruz
Rehearsals for Growth: Theatre Improvisation for Psychotherapists by Daniel J. Wiener
Theatre of the Oppressed, Games for Actors and Non-Actors, and The Rainbow of Desire by Augusto Boal
Truth in Comedy - The Manual for Improvisation by Charna Halpren, Del Close and Kim Johnson
Theatre Games by Clive Barker
The Ultimate Improv Book: A complete guide to comedy improvisation By Ed Nevraumont and Nick Hanson
Books on the History of Improvisation:
The Compass Players by Janet Coleman
The Italian Comedy by Pierre Louis Ducharte
The Second City by Donna McCrohan
Something Like a Drug: An Oral History of TheatreSports by Foreman and Martini
Something Wonderful Right Away edited by Jeffrey Sweet
Related Books:
Flow, and Creativity by Mihaly Csikszentmihalyi
Freeing the Natural Voice by Krisen Linklater
Freeplay - Improvisation in Life and Art by Stephen Nachomanovitch
The Hero With a Thousand Faces by Joseph Campbell
Lazzi by Mel Gordon
Scenarios of the Commedia Dell’arte by Flamino Scala
Tricks of the Trade by Dario Fo
Understanding Comics by Scott Macleod
Websites:
www.improv.ca - Canadian Improv Games home page
www.theimprovcamp.com - Canadian Improv Games Summer Camp homepage
www.yesand.com - a web based improv news magazine
www.improvisation.ca -a Canadian quarterly published improv news magazine
www.accessone.com/~up/playbook - The Living Playbook, a great resource for improv games and exercises
www.humanpingpongball.com - The Improv Encyclopaedia, an overview of many exercises and games
22 The Canadian Improv Games
 Contact
Information

We hope that you enjoy this manual and find it useful. It isn’t perfect yet... but
your suggestions can make it perfect. Please send your comments, questions, and
constructive criticism to our national office.

Canadian Improv Games

1028 E15th
Vancouver BC
V5T 2S5
(604) 874-7522
email: improv@magma.ca