Four Square
Also known as: Revolver
Four performers run four parallel scenes; the host switches between them by rotating the group. The format trains memory, clean editing and holding multiple storylines simultaneously.
Players
4
Difficulty
Beginner
Full description
Setup and Launch
Place four performers in a square facing the audience: two at the front, two at the back. The front pair always plays the current scene; the back pair is "frozen" and listening. Briefly explain the principle: the square has four sides, each with its own circumstances and its own scene.
Get specific circumstances from the audience or group for the front pair, then give the command "left" or "right" to rotate the square and gather circumstances for the next side. Repeat until all four sides have been given circumstances. Clarify to performers: when a side returns, the scene continues — either strictly from where it stopped, or with a time jump (a minute, a day, a year, a century).
How It Goes
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First scene starts. The front pair immediately begins playing from the given circumstances. The back performers stay neutral and actively listen to hold the full picture.
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Rotation commands. At any moment the host clearly calls "left" or "right". Performers synchronously shift one position; the new front pair instantly picks up their scene with the previously assigned circumstances.
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Returns and continuity. When a side is shown again, the corresponding scene continues: either from where it left off or after a reasonable time jump. Watch for the preservation of relationships, statuses and blocking; use short action-based or factual reminders rather than questions.
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Rhythm and conclusion. The host controls the frequency of rotations depending on the energy. Wrap up the format when each line has received several scene beats and a natural "button". If necessary, give a final pass through all four sides for a symmetrical close.
Key rules
Lock in four clearly distinct offers (circumstances) and state them aloud; reinforcing each side with a gesture or pose is possible — this reduces confusion.
Agree on the reference point for "left/right" commands: commands relate to the performers on stage, not stage-left/right from the audience — clarify this before starting.
On returns, preserve objects, relationships and status; if someone forgot, remind them with a fact at the start of the return ("You're still my shift partner") instead of questions.
Dose the rotations: don't spin too fast so scenes have time to develop, but don't stall — when energy drops, give the rotation command.
The back pair doesn't prompt and doesn't pull focus; their job is to listen, note details and enter smoothly on the next switch.
Context
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