![]() Students should present their ideas as though to an audience, and as though it were the best idea ever. Trifecta works best by moving quickly and with a great deal of attack/salesmanship/performative energy. To make offers or add to offers using impulses and not ideas of what is “funny” or “clever.” To create compelling and theatrical stage pictures from nothing. The game continues from there, with the first (i.e.: the remaining) student in each trifecta choosing one of the other two and taking them away. For example, “I’ll take the dog.” The hydrant and the dog leave the stage.Ī new set of ideas begins with the remaining student reiterating what they are, as in, “I am a hot summer’s day.” A new set of two ideas grows from there, related to hot summer’s day but unrelated to hydrant or dog. For example, “I am a dog.” The student might sidle up to the “hydrant” and lift their leg.Ī third student then offers a complimentary idea to those two, such as, “I am a hot summer’s day.”Īfter the third idea has been created, the first student (in this case, the hydrant) will choose one of the other two ideas to take off stage. For example, a student might step forward and make fists at their sides, announcing, “I am a fire hydrant.”Ī second student then adds to that picture by creating a complimentary idea to the first offer. With or without a suggestion, a student will step forward and physically create something, announcing what they are. Trifecta is an exercise in attack and idea association that targets impulse, offers and stage pictures all at once! ![]() Stress safety, commitment, agreement and fun. To have fun, to play, and to commit to a moment to communicate non-verbally with other players and to come to an agreement to create something new to sharpen awareness. If the Kitty (who is busy asking for a corner) notices players switching places and is able to take one of their spots in the circle, the player who lost their spot becomes the new Kitty. This almost always occurs behind the Kitty’s back. The Kitty then moves to ask the person the player has indicated.Īt the same time, any two other players can silently make eye contact and (when they have connected) quickly switch places across the circle. The Kitty approaches one of the players and says, “Kitty wants a corner,” The player who was asked responds with, “Ask my neighbour” and points to the player on his/her left or their right. Players stand in a circle, with one player in the centre (the Kitty). The students then create dance music and dance around joyfully for four beats, at which point Number 4 gets things going again: “Number 4, Number 7.” Play resumes from there.Ī fun, physical energizer and Brain Fry exercise. ![]() Number 4: Number 4, Number 4, BREAK IT DOWN! For example, if Number 4 receives the call, a dance break would look like this: Once your students are pro at Big Booty, you can add a dance break to the mix. Big Booty is a fun, high-energy way to take students away from the real world, where failing is bad, and thrust them into “improv world” where failing is joyfully celebrated. In the outside world, your students will be expected to be right, to always do well, and to apologize for mistakes. To energize mind, body, and voice, to create group mind and introduce the idea of failing joyfully and supporting one another even in failure. Number 5 moves into Number 4’s spot, becoming 4. For example, if Number 4 made an error, he/she moves to the end, becoming the last number (say Number 8). All other players move into vacant places left, adopting the number of the place in which they stand. ![]() The player who made the error then joyfully goes to the end of the horseshoe and becomes the last number. When there is a hesitation or an error, all players (continuing to keep rhythm by stomping) loudly and energetically call “Aw, shoot!” The call can be passed back to Big Booty, but there are no callbacks. Number 5 would then pass to another player as follows, immediately: “Number 5, Number 7.” Number 7 then follows, “Number 7, Number 4,” and so on. For example, the first turn is as follows:Īll: Big Booty, Big Booty, Big Booty. Aw, yeah.”īig Booty starts from there, calling his/her own name, followed by “Number” and the number of a player in the horseshoe. Students stomp rhythmically, one foot at a time (1,2,1,2) while energetically singing the Big Booty song: “Big Booty, Big Booty, Big Booty. Other students number off from 1, going clockwise starting with the player next to Big Booty. Students stand in a horseshoe formation, with the student at the right hand end of the horseshoe dubbed Big Booty. A great energizer and impulse warm up Big Booty is a positive way to get your group into the idea of failing joyfully while working that improv impulse muscle.
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