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THE SALESMAN : EDUCATOR NOTES
THE SALESMAN : EDUCATOR NOTES
General Notes About Circuit Unit Go Here
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THE SALESMAN
THE SALESMAN
↓THE SALESMAN IMPROS ↓
↓THE SALESMAN IMPROS ↓
GIVE US A SMILE?!
GIVE US A SMILE?!
"TRY NOT TO LAUGH"
"TRY NOT TO LAUGH"
BULGARIAN MARKET SELLER
BULGARIAN MARKET SELLER
(In Gibberish)
(In Gibberish)
SELL THIS THING
SELL THIS THING
(NON-GIBBERISH BULGARIAN SELLER)
COME WITH ME!
COME WITH ME!
DO SOMETHING BAD
DO SOMETHING BAD
HOT POTATO
HOT POTATO
"You Do It. No you, I'm Not Doing It."
ONE HOSTAGE RELEASED SITUATION
High Stakes Life or Death Hostage Scenario
A vs B: TWO PLAYERS ARE HOSTAGE
C: ONE PLAYER IS THE KIDNAPPER
PLAYER C has to release one hostage. WHO will it be!?
Improv scenario to fend for your character's life
Defend the importance of your character's life.
How and why should your character stay alive over the other?
SADDEST SACK
CHARITY IS UP FOR GRABS
Who gets the philanthropy money?
Defend your situation.
Essentially this is SHARK TANK for a sad oppressed backstory.
EMOTIONAL SCENE DEBATE
CATS vs DOGS
THIS vs THAT (more prompts needed)
PLAYERS IN TEAMS
GOAL: Create a scene or moment that showcases a reason why one is better than the other.
EXAMPLE: DOGS provide security. Short scene / moment / tableaux SHOWCASES not tells that Dogs are more awesome than cats through a DOG will defend the house and save the family.
The better the scene the better they will make their case. It could just be someone sneaking in and a dog barking and they leave or it could be much more detailed depending on level of players.
↓THE SALESMAN LAZZI ↓
↓THE SALESMAN LAZZI ↓
JUSTIFY, LEGITIMIZE A "BAD" ACTION
JUSTIFY, LEGITIMIZE A "BAD" ACTION
EXAMPLE:
Eating the rest of the cake.
One bite.
Losing Control.
Battling with the impulses
CLASSIC COMMEDIA EXAMPLE:
A Zanni is cooking a pot of something for dinner. He continually seasons the dish, then tastes it, then adds more seasoning, tastes again, and this goes on until there is no food left in the pot.
ALWAYS A SILVER LINING
ALWAYS A SILVER LINING
Finding the reasons why something that is typically or "normally" that accepted as wrong or bad or egregious is beneficial to the other character.
Seeing and verbalizing or showcasing the good side of things even if it is very removed from the "normal" accepted truth.
HOSTING GIG TAKE OVER
HOSTING GIG TAKE OVER
w/ AN OFF-STAGE REASON TO MAKE THE PREVIOUS HOST LEAVE
With or Without elimination, but elimination is more fun from the pressure.
One player starts as the "HOST" of a show of some kind.
The goal is to never find out.
This player goes through the schtick of introducing themselves and that there is a show and is about to say what the show is...
The next player enters and approaches (if needed) the host and cuts them off.
They have an excuse or reason that is "outside the room" for them not to be the HOST.
They embody the reason's emotion and feeling and atmosphere with their demeanor.
The goal of the entering character is to get them out of the room.
The host must play along and leave with the feeling they picked up.
The remaining player starts to host the gig from the beginning and then the next player starts the next round.
PARK BENCH TAKE OVER
PARK BENCH TAKE OVER
w/ CHARACTER REASON TO MAKE PREVIOUS PATRON LEAVE
CONFLICT
Someone is taking up the park bench.
You want the park bench all to yourself.
Being a character
Allow your character traits to fuel your
Actions
Dialogue
Clashing with the other
To find a solid way of making them leave the bench.
UMM... YOU NEED TO LEAVE
CAUGHT IN THE ACT WITH PANTS DOWN
Get Out From Being Suspiciously Caught.
You Don't Belong. How do you stay in the space created within the scenario.
SCENARIOS:
Too young for movie
Convince me that you belong here in the Mother ship
SADDLE WITH RESPONSIBILITY
JUST DO ME THIS ONE "LITTLE" (HUGE) FAVOR
Player is dying or has to leave or going to jail something final in a way.
Player A needs Player B to do them a favor
Player A needs to deliver favor in a way so that Player B agrees and doesn't feel overwhelmed
One More Thing / One More Factor ]
Example: "Tell my sister... " something difficult.
"I have a son... I need you look after him"
High Stakes Surrounding Favor
stakes Increases each element and step of favor
complexity increases each step of favor
Player B needs to push back a little
Player B creates reasons, excuses, avoidance, not buy in
RELATIONSHIP ASPECT:
Player A needs to keep connected in other ways than just revealing what needs to be done.
STAY ON THE PHONE WITH ME
SENTIMENTAL vs. PROCEDURAL
COMPANION ACTIVITY TO: "KEEP TALKING OR DIE"
SPECIFIC SCENARIO EXAMPLE
Simple filing an insurance claim.
GAME:
Keeping them on the phone.
Make something out of nothing.
Sentimental.
Connect anything and everything to everything else or something.
GOALS:
PLAYER A: Keep the conversation sentimental and emotional and lengthy
PLAYER B: Keep the conversation sterile and procedural and factual and short and businesslike.
EMOTIONAL vs PROCEDURAL
Sentimental vs Not
Rousing vs Not
STAY ON THE PHONE WITH ME
ROMANTIC vs PLATONIC
COUSIN TO KEEP TALKING OR DIE
SPECIFIC SCENARIO EXAMPLE
Simple filing an insurance claim.
SOMETHING procedural or business like
Something Friendly
GAME:
Keeping them on the phone.
Make something out of nothing.
Sentimental.
Connect anything and everything to everything else or something.
GOALS:
PLAYER A: Keep the conversation romantic and emotional and lengthy
PLAYER B: Keep the conversation and friendly and platonic, sterile and procedural and factual and short and businesslike.
EMOTIONAL vs PROCEDURAL
Sentimental vs Not
STAY ON THE PHONE WITH ME
ROUSING / EXCITING / OFFENDED vs HUMDRUM / No Matter / Innocence
COUSIN ACTIVITY TO KEEP "TALKING OR DIE"
SPECIFIC SCENARIO EXAMPLE
Simple filing an insurance claim.
SOMETHING procedural or business like
Something Friendly
GAME:
Keeping them on the phone.
Make something out of nothing.
Rousing, An Issue, Conflict
Connect anything and everything to everything else or something.
GOALS:
PLAYER A: Keep the conversation exciting and and emotional and lengthy
PLAYER B: Keep the conversation and friendly and platonic, sterile and procedural and factual and short and businesslike. not defensive
EMOTIONAL vs PROCEDURAL
Conflict vs Not
FALLING INTO DESPAIR
GIVE US A SMILE SCENE
PLAYER A: Falls into depressed disparity, desperate, sad
PLAYER B: Keep Them Happy! Keep them afloat from sinking down.
OTHER SCENARIOS:
Panic vs Calm
Frustrated, Disturbed, Annoyed, Unfulfilled, Disappointed vs Content, Pleased, Delighted
Nervous, Flustered, Anxious, Insecure vs Confident, Relaxed, Triumphant
Scared, Spooked, Freaked Out vs
Embarrassed vs
WHACK THE BEE HIVE
"STIR THE POT," "MAKE WAVES"
START: PLAYERS ARE FAIRLY STEADY IN STATE
PLAYER A: Is In a fairly steady state of mind. Opposite state of being to a normal scenario.
CONFLICT: FAST vs SLOW / NOW vs LATER / LEAVE (Exit) vs STAY (Pack w/ care)
CIRCUMSTANCE: Late for the Airport For Their Plane Flight Player B will drive (or Taxi)
TOP OF SCENE STATE OF MIND (mantra): Calm State of Mind or Easy Street or No Worries. (can be many)
GOAL: Keep Their State Of Mind and To Stay or Go At Their Pace or Do It Later.
PLAYER B: Neutral (Intent can be decided before or evolve, but it is a choice)
Depending on relationship and status and viewpoint they have to get them to the airport
Player B decides on active image goal but player B wants them to feel panic / urgency.
Physically they want them to exit to the airport / exit with them so they can drive player A.
Depending on choice, their positive or malice intent will be revealed.
Stirring up panic. Etc.
NOTES:
Play with or without a pre-determined Circumstance Scenario (i.e. late for airport).
PLAYER A can begin congruent or dissonant to the scenario circumstances. Such as the two characters are on a ledge high up and one is in panic and spooked and the other is calm. Being calm is not common so this would be dissonant to the scenario circumstances.
IF the state of being IS congruent, such as Player A starting off serene in the park and the other one is trying to insight a spooked freak out, then that is ok too and usually is very fun.
OTHER SCENARIOS:
Panic vs Calm
Frustrated, Disturbed, Annoyed, Unfulfilled, Disappointed vs Content, Pleased, Delighted
Nervous, Flustered, Anxious, Insecure vs Confident, Relaxed, Triumphant
Scared, Spooked, Freaked Out vs
Embarrassed vs Comfortable
IS THIS THE SAME?
DISRUPT / DISTURB THE PEACE
THE FINAL FINAL LAST WORD
OPPOSITE HOT POTATO
Players have a conversation when a bell rings it must start the LAST WORD>
Or players start with just Good Day Sir, Well Good Day To You Sir
SCENARIOS:
Good Day Sir / Good Bye / See You Later Alligator etc. Can be goofy with added challenge or just regular.
You First No please let me get out of your way. You first. After you.
Thanks. Thank you. No thank you
Could be a couples fight so scenarios can be serious
MORE! MORE! GIVE 'EM MORE!
"PLEASE I INSIST"
"YOU DIDN'T EVEN KNOW YOU NEEDED IT"
Player A: Is Comfortable and displays it.
Player B: Insists that Player A needs to be more comfortable and shares how or why.
Player B: Keeps intensifying their comfort. Pushes the boundaries of comfortable.
Player A: OPTION 1 - Resists. Debunks and gives reason why comfort would not work.
OPTION 2 - Tries to one up the comfort offered.
OTHER CONFLICT SCENARIOS:
Comfort
Convenience
Happiness
Decadence
Luxury
Having Enough
NOT EXACTLY MY PITCH, MEETING
NOT EXACTLY MY PITCH, MEETING
BLINDLY SELLING SOMEONE ELSE'S IDEA ON THE FLY
BLINDLY SELLING SOMEONE ELSE'S IDEA ON THE FLY
Selling HORRIBLE ideas that someone else came up with.
TV Show
Toys
Game Pitch
You are reading for the first time.
Or maybe you are given a chance to read quickly.
NOTE: "Impractical Jokers" Did This Successfully
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