Game of the scene is a concept in longform improvisational theater, particularly associated with the Upright Citizens Brigade (UCB) and iO Chicago traditions. It refers to the central comedic pattern or dynamic that emerges organically within an improvised scene, which performers then heighten and explore through repetition with variation.
Definitions
There are several common definitions of the Game of the scene:
- The first unusual thing to happen in a scene and how it goes on to define the scene.
- A pattern that arises from the relationship between the characters.
- The repeatable, heightenable pattern that gives a scene structure and momentum — the behavioral "what the scene is about."
The concept is articulated in detail in The Upright Citizens Brigade Comedy Improvisation Manual (Besser, Roberts, Walsh, 2013) and is also related to principles described in Truth in Comedy (Halpern, Close, Johnson, 1994).
Application
Working the concept into a scene is known as "playing the game." Once the Game is discovered, performers have two primary methods of applying it:
Exploring — Delving into the psychology of the characters to understand why they behave as they do.
Heightening — Escalating the Game by raising the stakes, taking a character's actions to an extreme, or placing them in more absurd situations to see how the pattern plays out.
A scene typically begins with a "base reality" — an ordinary situation grounded in recognizable human behavior. Within that base reality, something unusual surfaces (an unexpected reaction, an odd point of view, a behavioral quirk). That unusual thing is the first beat of the game. Performers recognize it, commit to it, and then heighten it, finding new ways to revisit and escalate the pattern while maintaining the internal logic of the scene.
Related concepts
Mick Napier uses the term "the deal" as a near synonym, describing it as what the scene is about or what it is centered in. The concept also relates closely to "heightening," "exploration," "base reality," and the principle of "yes-and," which sustains the collaborative agreement needed for both partners to commit to the same pattern.
Criticism and limitations
Some practitioners have argued that an overemphasis on finding the Game of the scene can constrain performers. Dave Razowsky has contended that focusing too heavily on game and conflict can diminish the art form. It is also noted that focusing too much on trying to find the Game can cause players to miss it entirely; some suggest that performers should focus on the immediate relationship and that the Game will arise naturally. Common pitfalls include forcing a pattern before one has emerged, abandoning a game too early, and prioritizing cleverness over genuine connection between scene partners.
