RUEN

Voices in my head

A stage game: two actors play a scene, two others voice "object voices" from the wings inside one character's head; the second character can't hear them. Use when you want to strengthen active listening, impulse response, and clarity of verbal offers.

Players

4–8

Difficulty

Beginner

Full description

Setup and Launch

Assign pairs: two on stage, two as "voices." Decide which of the stage characters hears the voices. Ask the audience for a location rich with objects (workshop, kitchen, office), or a specific key object — this will feed the "object voices."

Agree on rules: voices stay off stage and speak in short lines as objects from the world (real or imagined). The second actor doesn't hear the voices and reacts only to the visible behavior of their partner. The "receiving" actor justifies what they hear through action, choice, or behavior change, not by "retelling."

How It Runs

  1. Scene start. Give actors 5–10 seconds of everyday interaction without voices to ground the relationships and circumstances.

  2. First impulse. One of the voices throws a short, concrete line on behalf of an object ("Cup: I wasn't washed", "Alarm clock: we'll be late!"). The trainer indicates who speaks first if needed.

  3. "Receiver" response. The actor manifests what was heard through action: picks up/avoids the object, changes tone, priority, status; doesn't report the voices directly to their partner. The partner reacts only to visible events and behavior.

  4. Rhythm and density. Voices alternate, leaving pauses for play. The trainer regulates frequency: if pace drops — ask for shorter/clearer; if there's cacophony — pause, let voices speak one at a time.

  5. Focus and conclusion. Track the arc: voices help sharpen or clarify choices. The trainer catches the "button" (strong action/line) and ends the scene with a blackout or clap.

Key rules

  • Clearly assign the character who hears voices; the others on stage don't hear them — cut off meta-reactions from the second actor.

  • Voices speak on behalf of world objects and give specific, playable impulses; avoid omniscient commentary and direct "controlling" of the actor.

  • Keep lines short and don't interrupt each other; if noise starts, slow with a clap/pause and launch voices one at a time.

  • The "receiver" manifests what they hear through action and choice, not a report to their partner; if stuck — allow them to acknowledge the voices' limits in character.

  • The second actor stays grounded and moves the relationship; don't ask about the "voices," react to visible actions and status changes.

Context

🧺 Cart