The “give and take” transformation technique is a theatrical device in which an actor plays two characters and uses the transfer of an object, whether real or imagined, to transition between them. The object itself serves as the physical link between the two characters, while the act of giving and receiving the object anchors the transformation. This method often relies on minimal props and uses the actor’s physical and emotional engagement with the object to signal the shift in character.
The transition occurs when:
• Character A gives a real or imagined object to Character B.
• The actor, playing both characters, uses the act of giving to exit one character and the act of receiving the object to embody the next.
This creates a fluid passage from one identity to another, allowing the actor to seamlessly switch roles without a physical break or major external transformation (such as a costume change).
Key Aspects of the “Give and Take” Technique
Symbolism of the Object
The object’s symbolic significance is central to the transformation, whether real or imagined. The object acts as a bridge between the two characters, symbolising their relationship, power dynamic, or emotional connection. The way the object is handled—its weight, texture, or value—whether physically real or conjured in the imagination, informs the actor’s physicality and emotional approach to each character.
For instance, the object might represent something of great importance (like a crown, money, or a letter) or something abstract (like a memory or emotion). The actor must clearly define the object’s nature and how each character interacts with it, as this will influence the audience’s perception of the transformation.
Physicalisation of the Object
Whether the object is physically present or imagined, the actor must commit to physicalising its presence. This involves using precise gestures, timing, and posture to give the object as Character A and to receive it as Character B. The physical actions need to be distinct and detailed enough to differentiate between the two characters clearly.
For example, if Character A hands over a real object, such as a heavy book, the weight and bulk of the object will inform how both characters handle it. If the object is imagined, the actor must engage the audience’s imagination through their precision in miming its shape, size, and weight. In either case, how the object is given and received signifies the characters’ relationship and transformation.
Timing of the Transition
The moment of transition is crucial, as it happens during the act of giving and receiving the object. The actor must decide exactly when to let go of Character A and step into Character B. This timing can vary depending on the emotional or narrative context of the scene.
For instance, the transition might happen as Character A extends their hand to give the object, or it may occur at the moment when Character B takes hold of it. The precision of this timing affects the fluidity of the transformation and ensures that the audience follows the switch between characters.
Voice and Gesture
Voice and gesture play a significant role in this transformation. Character A’s voice may be distinct in pitch, tone, and rhythm compared to Character B’s, and these vocal qualities should align with the object’s physical transfer. Likewise, gestures used to hand over the object will reflect Character A’s physical traits (e.g., firm, rigid movements), while Character B’s gestures in receiving the object will signal a different energy or emotional state (e.g., gentle, hesitant).
For example, suppose Character A is authoritative and Character B is subservient. In that case, Character A might speak in a commanding, booming voice while thrusting the object forward (real or imagined). At the same time, Character B might respond with a soft, nervous voice and a tentative, small gesture as they receive the object. This change in vocal and physical energy defines the moment of transformation.
Emotional Transference
The object, real or imagined, also carries an emotional charge, which is transferred along with it. The actor must convey the emotions associated with the object and how each character reacts to it. For example, Character A might give the object with pride or contempt, while Character B might receive it with fear or gratitude.
This emotional exchange deepens the connection between the two characters and makes the transition more meaningful. The emotional state of Character A at the moment of giving the object may linger briefly in Character B’s response to receiving it, allowing for a moment of overlap where both characters are emotionally present in the same space.
Theatrical Applications of “Give and Take”
Power Dynamics
In many performances, the “give and take” technique can highlight shifts in power or control between two characters. The act of giving an object, real or imagined, can symbolise the transfer of authority, responsibility, or even life itself, and the way the actor handles the object can convey dominance or submission.
For example, in a play about royalty, an actor might transition from a king to a servant by using the symbolic exchange of a crown. As Character A (the king), the actor might give the real crown with dignity and authority, while Character B (the servant) might receive it with awe and reverence. If the crown is imagined, the actor must clearly physicalise its weight and importance. The act of giving and receiving the crown visually and emotionally represents the hierarchy between the two characters.
Symbolising Relationships
This technique is also useful in symbolising the relational dynamic between characters. The object being exchanged, whether real or imagined, might represent the bond, conflict, or shared history between the two. The way the object is handled provides insight into the nature of the relationship.
For example, in a play about a parent and child, an actor could use a symbolic object, such as a letter or photograph, to transition between the two roles. The parent might give the letter (real or imagined) with sternness or detachment, while the child receives it with tenderness or longing, symbolising the emotional distance or closeness in the relationship.
Exploring Duality or Inner Conflict
The “give and take” technique can be particularly effective in exploring duality within a single character or an internal conflict. The actor can use the object, real or imagined, as a representation of opposing aspects of their identity, transitioning between the two within a single exchange.
For example, in a performance where a character is torn between two conflicting emotions, such as love and hate, the actor might use an object (e.g., a rose or weapon) to transition between the two sides of their psyche. As Character A (the lover), they may hand over the rose gently, while as Character B (the hater), they might snatch it away forcefully, illustrating the inner battle within the character.
Pacing and Dramatic Tension
The technique can also be manipulated to create pacing and tension in a scene. The speed at which the object is given and received can reflect the emotional stakes of the exchange. A slow, deliberate handover might create suspense, while a rapid exchange could heighten tension or urgency.
For example, in a fast-paced thriller, the actor might use the “give and take” technique to switch between a detective and a criminal rapidly. The detective might hand over a piece of evidence (real or imagined) slowly, building suspense, while the criminal snatches it quickly, signalling panic or guilt. This dynamic use of pacing enhances the dramatic impact of the transformation.
Comedic or Farcical Transitions
The “give and take” technique can be exaggerated for humour in comedic theatre. The object, real or imagined, can be used as a prop for playful or absurd transitions between wildly contrasting characters, often to comedic effect. For example, in a farcical comedy, an actor might use a ridiculously oversized or invisible object, such as an imagined pie or an overly large suitcase, to transition between characters. Character A might give the object with great pomp and ceremony, while Character B might receive it with exaggerated clumsiness, creating a humorous contrast between the two characters and highlighting the situation’s absurdity.
“Give and Take” Exercises for Senior Drama and Theatre Arts Students
This series of exercises, ranging from basic to advanced, will help students grasp the subtleties of the “give and take” technique and use it for seamless character transformations.
Exercise 1: Simple Object Exchange (Basic)
This exercise introduces students to the physical mechanics of giving and receiving between characters. By passing a simple object (e.g., a ball or cup), students explore how intention behind the “give” affects the “take,” such as delicately offering an object versus forcefully handing it over. The focus is on how body language and energy shift in response to the object and the giver’s intent.
Objective
To understand the physical mechanics of giving and receiving objects between characters.
Instructions
1. Pair up students and give them a simple object (e.g., a ball, a book, or a cup).
2. Have Character A (the giver) offer the object with intention (e.g., delicately, urgently, or forcefully). Character B (the receiver) must take the object while responding to the giver’s intention (e.g., gently, cautiously, or eagerly).
3. After several exchanges, ask the pairs to swap roles, focusing on the change in body language and energy during the exchange.
Reflection
How did the intention behind the “give” change the way the “take” was received? How does the type of object affect the exchange?
Exercise 2: Imaginary Object Exchange (Basic)
Building on the basic object exchange, this exercise removes the physical object and requires students to mime giving and receiving. Students must use their imagination to focus on the object’s weight, texture, and size, ensuring consistency in their movements. This challenges students to maintain focus and specificity in their interactions, refining their awareness of space and physicality.
Objective
To build imagination and awareness when interacting with invisible objects.
Instructions
1. Remove the physical object and repeat the same exercise, but this time, students must mime the object they are giving and receiving.
2. They should focus on the weight, texture, and size of the imagined object to guide their movements.
3. Encourage students to make each object specific (e.g., a heavy stone, a fragile flower) and to adjust their interaction accordingly.
Reflection
How does the absence of a real object change the dynamics of the “give” and “take”? How do students ensure the imagined object stays consistent in both the giving and receiving?
Exercise 3: Vocal “Give and Take” (Basic)
In this exercise, students explore how vocal dynamics can be exchanged between characters. One student offers a vocal “gift,” such as a word or sound with a clear emotional intent (e.g., a command or joyful expression). The receiving student responds by matching or contrasting the vocal energy. This exercise highlights how intention and energy are passed through voice, influencing character dynamics and relationships.
Objective
To explore vocal dynamics in the exchange of energy or intention.
Instructions
1. Pair students and have Character A give a vocal “gift” to Character B. This could be a sound, a word, or a sentence spoken with a clear intention (e.g., commanding, joyful, fearful).
2. Character B should “receive” this vocal offer by responding in kind, either matching the energy or contrasting it (e.g., if Character A shouts, Character B might respond quietly).
3. The focus is on how vocal energy is passed from one character to the next in the exchange.
Reflection
How did the vocal energy or intention of the giver influence the receiver’s response? How did the relationship between the characters evolve through the vocal exchange.
Exercise 4: Complex Power Dynamics in “Give and Take” (Advanced)
This exercise delves into how power shifts between characters during the exchange of an object, focusing on dominance and submission. Students explore how the act of giving and receiving an object symbolises the transfer of power, with the giver holding control at first and the receiver gradually transitioning into a position of dominance. This exercise explores the psychological effects of power and how it alters body language and emotional dynamics between characters.
Objective
To explore how power shifts between characters through giving and receiving, focusing on the psychological and physical effects of dominance and submission.
Instructions
1. Pair students and assign them roles with unequal power dynamics (e.g., a boss and an employee, a ruler and a servant). The students will use the “give and take” concept to explore how the exchange of an object (e.g., a key, a contract, or a crown) represents power being transferred between the characters.
2. Character A (the dominant character) will give the object with a clear display of control, while Character B (the submissive character) receives it, demonstrating reluctance, anxiety, or humility. After the exchange, Character B must gradually transition into a position of power, and Character A should shift to a submissive or vulnerable state.
3. The object in this exercise is symbolic of control, and the students must physically and emotionally transition as the power dynamic between the characters shifts.
Reflection
How did the shift in power dynamics affect the transformation process? How did each character’s control over the object influence the emotional response to the exchange?
Exercise 5: Sensory-Based Character Transformation (Advanced)
In this exercise, sensory stimuli (e.g., smell, sound, taste) serve as the trigger for character transformations. Students use imagined sensory experiences, such as a fragrant flower or a loud alarm clock, to explore how receiving the sensory input from another character influences their transition. The focus is on how the senses affect emotional and physical states during transitions, allowing students to explore character depth through sensory awareness.
Objective
To deepen character transformation by focusing on sensory experiences during the “give and take” process, emphasizing how different senses alter the perception of the interaction.
Instructions
1. Assign each pair of students a specific sense to focus on for their character interaction (e.g., smell, hearing, taste). One student will start as Character A, holding an object that strongly stimulates that sense (e.g., a fragrant flower, a loud alarm clock, or a delicious piece of food). Character B must receive this sensory stimulus, and the transition between the two characters will be triggered by how they respond to the sensory experience.
2. For instance, Character A may be holding an imagined cup of coffee and enjoying its aroma. As they give the cup to Character B, the transformation occurs as Character B’s experience of the smell (e.g., disgust or nostalgia) affects their emotional and physical response. Character A, in turn, transitions out of their state, reacting to Character B’s sensory experience.
3. The sensory stimulus becomes the central trigger for the transformation, allowing the students to explore how different senses influence character behaviour and transformation.
Reflection
How did focusing on sensory input deepen the “give and take” process? How did the sensory experience alter the way the characters transitioned into each other?
Exercise 6: Multi-Layered “Give and Take” in Ensemble Work (Advanced)
This ensemble-based exercise challenges students to manage multiple character transitions simultaneously. Each student begins with a unique object, emotion, or energy that they give to another student in the group. The receiver then transitions into a new character based on the exchange, creating an interconnected series of character transitions. The exercise explores timing, coordination, and awareness within an ensemble, emphasising the complexity of multiple “give and take” exchanges.
Objective
To coordinate complex character transformations within an ensemble, where multiple objects, emotions, and energies are exchanged simultaneously, requiring students to manage multiple transitions.
Instructions
1. Divide the students into groups of four to six. Each student starts as a different character, each with a distinct object, emotional state, or source of energy. The goal is to have a highly dynamic interaction where multiple “gives” and “takes” happen at once, with each student passing their object/emotion to a different group member.
2. As one student gives an object or emotion to another, both the giver and the receiver must transition into new characters as a result of the exchange. For instance, Student A (a sad character) gives their sadness to Student B, who takes it on, while simultaneously Student C gives joy to Student A, causing a transition from sadness to joy.
3. Each student must be aware of not only their own transitions but also how they influence others in the ensemble. The group must coordinate the timing of each exchange to create a fluid, interwoven series of character transformations without breaking the flow of the scene.
Reflection
How did managing multiple “gives” and “takes” affect the complexity of the transitions? What strategies helped maintain focus and fluidity in such a multi-dimensional exercise?
Exercise 7: Psychological “Give and Take” in Conflict (Advanced)
This exercise focuses on characters’ internal struggles, exploring how conflicting emotions or psychological states are passed between them. One student gives an emotion, such as guilt, to the other, who receives it and transforms based on this emotional exchange. This exercise encourages students to explore the weight of internal conflict and how these internal battles are transferred and reflected in the receiving character.
Objective
To explore the give and take of internal psychological states during character transitions, focusing on how conflicting emotions or inner battles are exchanged.
Instructions
1. Assign each student a character that is undergoing an internal psychological struggle (e.g., guilt versus innocence, love versus hate). The students will explore the “give and take” of these internal conflicts as they transition between characters.
2. Character A starts by embodying one side of the internal conflict (e.g., guilt). As they interact with Character B, they “give” their guilt to the other character, who must take on the guilt and slowly transition into a character consumed by that emotion. In exchange, Character B offers their own internal state (e.g., innocence) back to Character A, causing both to transition and change.
3. The students must explore the emotional and psychological weight of each exchange, showing how internal struggles can be passed between characters and how taking on the other’s burden transforms their own emotional state.
Variation
Incorporate physical actions or props that represent the inner conflict (e.g., a mirror symbolising self-reflection, a letter symbolising a secret). This physical symbol should enhance the psychological exchange between the characters.
Reflection
How did the exercise’s psychological layers deepen the give-and-take dynamic? What challenges did the actors face in transitioning between two conflicting internal states?
Exercise 8: Time and Space-Based “Give and Take” (Advanced)
In this exercise, the “give and take” process is stretched across time and space. Students are placed on opposite sides of the stage and must give and receive objects, emotions, or energy with a delay in response. This manipulation of time and spatial distance challenges students to explore non-linear character transitions, encouraging creativity and awareness of timing and spatial relationships in their performances.
Objective
To manipulate time and space within the “give and take” process, exploring how these dimensions affect character transitions and interactions.
Instructions
1. Pair students and place them on opposite sides of the stage. Character A will “give” an imagined object, emotion, or energy to Character B, but instead of a direct exchange, the give and take must happen across a time delay or spatial distance. For example, Character A might throw an object into the air, and Character B, on the other side of the stage, must react to receiving it several seconds later.
2. The challenge is for Character B to “receive” the object or energy as if it has travelled through space or time and to allow this delayed exchange to trigger their transformation. Similarly, Character A must react to the delayed response of Character B, transitioning out of their character in sync with the exchange.
3. This exercise encourages students to explore non-linear transitions and how the “give and take” dynamic changes when time and space are manipulated.
Variation
Incorporate physical actions or props representing the inner conflict (e.g., a mirror symbolising self-reflection, a letter symbolising a secret). This physical symbol should enhance the psychological exchange between the characters.
Reflection
How did the delay or distance in the “give and take” affect the transformation process? What did the actors discover about timing and spatial awareness in character transitions?