The Round Dance follows the model of the same name from Arthur Schnitzler. In this play, different characters appear on the stage one after the other. Throughout, there are always only two on the stage. It is about creating a relationship between all the previously introduced characters
The sequence of events by Schnitzler is the following
- whore - soldier
- soldier- chamber maid
- chamber maid - young gentleman
- young gentleman - young lady
- young lady - husband
- husband - cute girl ( slang)
- cute girl (slang) - poet
- poet - actress
- actress - Count
- Count - whore
At the Improv Round Dance the order is not set. So in the above example, in the third scene the chambermaid and the soldier could be seen.
The transition between the scenes occurs through a freeze-frame.
It is important that every actor always plays the same character.
Between the scenes, jumps in time to the future and the past can happen.
- Scene 1: Son - Father: " Back then, when I married your mother ..."
- Scene 2: Father - Mother: Mother "I am pregnant"
- Scene 3: Mother - Son: Son "Since father's death..."
- Classical guideline is a relationship.
- Name, age, profession, hobby, biggest fear (phobia), aim in life/dream of the hero/heroine.
- Someone from the audience will invited onto the stage and asked questions about their personal details - age, occupational situation, living arrangements, partners, children etc. -. Using this information, the actors/actresses construct a fictional story. If necessary they ask for further details during the game.
- It makes sense to orient the dramatic course of the hero's journey.
- After, the Freeze postures must not be taken over.
- When jumping in time to either the past or the future, one can give the audience a quick indication so as to reduce any confusion.
- Example: "10 years ago ..."
- In contrast to the piece by Schnitzler, the central figure (the " hero") by a lot of scenes at the same time.
- The unfortunate ones may only appear once on the stage
- The central figure (the " It may happen, that the leading character (the "hero") does only develop later in the scene, especially if only simple guidelines were requested.
by Guido Boyke