Armando
Long-form format where a monologist shares true personal stories, then performers build scenes inspired by the details, emotions, and themes β expanding rather than retelling.
Players
4β10
Duration
20-30 min
Difficulty
Intermediate
Full description
Setup and Launch
Choose your monologist β a guest or a team member. Agree on monologue length (typically 2β6 minutes) and editing signals. Get a single word or short phrase from the audience as your starting impulse.
Flow
1. Audience suggestion
The host asks for one word or short phrase. This gives a shared direction, not a rigid plot.
2. Monologue
The monologist tells a true story packed with specifics: real people, places, exact phrases, sensory details, emotions. Your job as a performer during the monologue is to listen and absorb β not to plan your first scene. Let the details land. Notice what sticks: a throwaway phrase, the way someone's voice changed, the color of a room.
3. First scene set
Performers launch 2β3 scenes inspired by the monologue. Work from the meaningful nodes β relationships, tensions, recurring motifs, emotional undertones β not from a plot summary. Some scenes may directly explore a story from the monologue, some go tangential, picking up a theme, a game (a repeating behavioral pattern in a scene), or a tiny detail.
4. New monologue
When the energy dips or a fresh angle is needed, the monologist returns. The new monologue can build on the original suggestion or respond to themes that emerged in the scenes β creating a feedback loop between real stories and improvised ones.
5. Continuing the cycle and the finale
The show alternates monologues and scenes. As it progresses, callbacks (returns to earlier details) and thematic intersections emerge naturally. Don't force a perfect close β end on a strong organic beat.
Key rules
Editing methods must be clear to all performers. Transition to a new monologue happens every 2β3 scenes or when the format's energy drops. Editing between scenes can use sweep edit, tag-out, transformation, and other techniques. A new monologue can be initiated by any performer who feels the need for fresh inspiration.
Deconstruction, not reconstruction β don't recreate events from the monologue literally; expand the smallest details into new stories, reach for tangential connections.
Listen on a deep level β focus on emotions, themes, characters, specific locations, and unique phrases, not on the plot of the monologue.
Don't plan scenes during the monologue β just listen and let the details settle naturally in memory; the first idea is often not the most interesting one.
The first 2β3 scenes can be more directly linked to the monologue β that's fine, but then grow more tangential, exploring themes and patterns rather than retelling.
Monologues must be real stories β authenticity and concrete details create better material for scenes than invented abstract stories.
Improv is 70% confidence (Del Close) β monologists should start speaking the moment they receive the word, trusting that the story will come.
Use the "Third Thought" technique β step away from the first obvious idea toward the third, more creative and unexpected one.
Format structure
Context
Resources
What to try next
Similar formats, so you can keep the rehearsal moving without stopping to search.
Harold
The foundational long-form format: one audience suggestion spawns three independent threads that organically converge through callbacks, heightening and group mind. Haroβ¦
Pretty Flower / Spokane
A contemporary format combining mono-scene and montage: one main scene serves as the "flower's center," from which improvisers make short sketch offshoots and return bacβ¦
Lunar path
Monologue format: actors in a line tell one shared story from the perspectives of their characters, without acting out scenes. Use for training monologue, point of view,β¦
Jar of jam
A modified Harold with character shuffling between scenes across three beats, where performers swap partners while keeping their characters.
No Laughs Scene
A short-form game for three performers where whoever gets a laugh exits immediately and is replaced by the third performer β as the same character.
Inner Thoughts
A short-form scene where performers step out of dialogue to voice their characters' inner thoughts β or freeze and ask the audience what to do next.