Came and came

A host-managed scene: an audio signal triggers entries and exits of performers. Use for training quick response to external impulse, group coherence, and justifying abrupt cast changes on stage.

Players

3–6

Difficulty

Beginner

Host

Yes

Full description

Setup and Launch

Optimally played with four. Explain to performers: the scene runs continuously, the host gives an audio signal; exactly one person reacts to it, and the group must justify the cast change in action. Any number of people can start the scene; the rest wait off-stage, staying engaged and listening to what's happening.

Clarify the signals: one short signal means a new participant joins the scene; two quick signals mean one of the performers must leave the scene. Agree that exactly one performer reacts to each signal, and entries and exits are motivated by the circumstances of the moment.

Flow

  1. Start. The host gives the go-ahead; 1–2 performers begin the scene. The others listen and prepare a specific offer for a possible entry: role, relationship, action.

  2. Entry signal. After one signal, one off-stage performer quickly enters with a clear function, strengthening the action already in progress β€” not restarting it. The entry must be justified by what is already happening.

  3. Exit signal. After a double signal, one of those present leaves the stage, leaving a clear trace: a reason for leaving, a completed action, or a passed object/obligation, so those remaining can more easily continue.

  4. Tempo and focus. The host regulates signal frequency: gives performers time to develop an offer, avoids stage overload, and doesn't leave the stage empty. When energy drops or a moment has concluded, the host ends the scene verbally.

Key rules

  • Exactly one performer reacts to each signal; if two go simultaneously, the one who reacted later steps back.

  • Don't leave the stage empty: if someone exits, give the next entry signal before the stage is fully vacated.

  • Entries and exits must be motivated by the current circumstances, not by a technical "obeying the bell."

  • Off-stage performers listen and watch at all times, so they can enter with a useful and precise offer, not a new storyline.

  • Keep the signal tempo intelligible: too-frequent impulses break focus, too-rare ones dry out the energy.

Context