Personal Engagement:   If you were all by yourself on stage, how would you feel about who you are, where you are and/or what you’re doing? Finding an emotion and an active scene element to feel that emotion toward can be the continued catalyst for a successful scene.
If I say, “I love cats,” I’m just emoting.  If I say, “I love this cat,” I’m emotionally reacting.  If we make the object of our emotion active in the scene – actually tangible/ observable/ repeatable on stage – then we have something to react to instead of just talk about.
What is it specifically that we’re feeling about who we are, where we are and/or what we’re doing?  What is it specifically that we’re feeling about who our scene partners are, where they are and/or what they’re doing?  If we make a decision to connect our feeling to a tangible/observable/repeatable anything on stage, we can progress the scene by heightening our feeling and that “anything.”

Suggested Exercises:

PERSONAL ENDOWMENT CIRCLE – One by one around a circle, each player engages an emotion and makes explicit what it is that is evoking that emotion.
Example:
• I love this cat
• I hate pulling weeds
• Des Moines, you’re impressive
• I’m proud of my shoes
• I’m afraid of my face
• I’m sad I have no friends
Lessons:
• Specificity breeds details – when you know what you’re feeling and what you’re feeling about, then our creative minds have a clear direction to explore.
• Active elements keep us physically active – it’s much harder to sit still when you love this cats than to sit in a chair and talk about loving cats.
• Don’t wait to be joined before making a choice – We don’t need anyone else. You’re never alone on stage, even if you’re the only improviser not on the wings; you have a world to explore and to react to.