Flip

Flip is an editing technique and game in which the host or a performer signals a scene to "flip" to a parallel scene, a different time period, or an alternate perspective. The flip creates juxtaposition between contrasting moments. The technique trains performers to hold multiple threads and make clean transitions.

Structure

Setup

Two or more performers play a scene.
A host or caller stands outside with the ability to call "flip."
No specific preparation is required.

The Rule

When the host calls "flip," the active scene is paused and the performers begin a parallel scene, a scene from a different time period, or an alternate perspective on the same events.
"Flip" can return to a previous scene that was paused, or establish a new one.
The host controls the direction of the flip: "flip back" returns to the previous scene, "flip forward" moves to a new one.

Scene Relationships

The two or more scenes created by flipping may be causally connected (one scene shows the cause, another shows the effect), thematically related, or structurally parallel.
The juxtaposition between the scenes is where the game's meaning lives: what does Scene A reveal about Scene B, and vice versa?
Performers must hold both scenes simultaneously in mind, maintaining continuity across flips.

Variations

The flip technique is used in long-form as a narrative device without a host caller, with performers managing the transitions themselves.
The flip is used with time: flipping between past and present versions of a relationship or event.

How to Teach It

How to Explain It

"When I call 'flip,' you pause where you are and immediately begin a different scene or a different point in time for the same scene. When I flip back, you pick up exactly where you left off. Hold both scenes in your body at the same time."

Common Notes

Performers must remember exactly where they were physically and emotionally when the flip was called. Returning to a scene in a completely different state than where it was left breaks the continuity.
The power of the technique is in the contrast. Flips that reveal nothing new about either scene waste the structural opportunity.
As a training exercise, the director should call flips at moments of maximum tension, not at resolution. The unresolved tension carries across the flip and colors the other scene.

Common Pitfalls

Performers do not hold the physical positions and emotional states from the paused scene. The return should feel like time stopped, not like a reset.
The two scenes have nothing to say to each other and the flip becomes arbitrary interruption.
Flips happen too frequently and neither scene accumulates enough content to be meaningful when revisited.

How to Perform It

Audience Intro

"We are going to play two scenes that cut between each other. When I call 'flip,' the scene you're watching pauses and another one begins. When I flip back, everything picks up exactly where it left off. Give us a suggestion for the first scene."

Cast Size

Ideal: Two to four performers, split between the two scenes.
Both scenes should have at least two performers to maintain independent momentum.

Staging

Each scene occupies a defined area of the playing space so transitions are visually clear.
Performers freeze in place during a flip and hold until the flip returns.