The Thing
The Thing is an object work exercise in which a player is handed an imaginary object whose identity has not been declared in advance. The player must discover what the object is solely through the physical act of handling it -- registering its weight, texture, shape, and behavior in real time. The exercise teaches that specificity of handling creates the object; the object does not exist prior to the player's physical commitment to it.
Structure
Setup
One player stands in the playing space. The coach or another player mimes handing the player an object of a particular weight and size. No verbal description is given. The player receives the transfer and holds the imaginary object in their hands.
Progression
The player begins to handle the object without declaring what it is. The handling must be specific: how heavy is it? How large? How does it move when tilted? What does the surface feel like? Is it fragile, rigid, or flexible? The player works through these physical questions through their hands and body, not through narration.
As the handling develops, the nature of the object becomes apparent -- not because the player has decided what it is beforehand, but because their physical choices have accumulated into a specific reality. The coach observes what the object appears to be from the outside and notes whether the player's physical choices are consistent with each other.
If the player's physical treatment is inconsistent -- holding the object as if it were heavy and then suddenly swinging it as if weightless -- the coach notes the break without naming it. The player must maintain physical logic throughout.
In the group variant, the object is passed from player to player, each inheriting the physical properties established by the previous player. Each handoff reveals whether the object's accumulated reality is being transmitted or reset.
Conclusion
The exercise ends when the coach is satisfied that the player has sustained a specific and internally consistent physical reality for the object. The coach may then name what they observed the object to be and compare it to the player's internal imagination.
Common Pitfalls
The most common failure is pre-deciding what the object is and then imposing that decision onto the mime, rather than allowing the physical handling to reveal the object. Players who decide first and handle second tend to produce generic, imprecise physicality. The coach watches for players whose hands contradict their supposed certainty.
A second failure is inconsistent scale or weight: players who shift between treating an object as small and as large within the same handling sequence without physical justification. Every physical choice constrains all subsequent choices; awareness of this constraint is the exercise's central lesson.
How to Teach It
How to Explain It
"You are holding a specific object. It has a weight, a texture, a temperature. Show us what it is without telling us. The object is real. It exists in this room. Handle it accordingly."
Objectives
The Thing trains physical precision in object work: the capacity to make specific, consistent physical choices that create an imaginary object's reality for an audience. It addresses the common improv failure of generic or inconsistent object handling.
Scaffolding
Begin with a coach-controlled handoff in which the coach establishes the weight of the object through their own mime before transferring it. This gives the receiving player a physical starting point: the object is clearly heavy, or clearly light, and the player must honor that established reality.
For intermediate players, have groups of four pass the object around the circle, with each player required to add one new physical property to the object's reality before passing it on.
Advanced: instruct players to handle the object for two minutes, discover its nature entirely through physical engagement, and then place it somewhere on stage. A second player enters, picks it up, and must identify what kind of object it is from the physical reality left behind by the first player's handling.
Common Coaching Notes
- "What does the surface feel like? Be specific."
- "How heavy is it? Show me with your body, not with your face."
- "You changed its weight. Find it again."
- "Don't decide what it is. Let your hands tell you."
- "Is it fragile? How do you know?"
History
The Thing is documented by Marsh Cassady in Spontaneous Performance (2000) and appears in the exercise curriculum of Gavin Levy's 112 Acting Games (2005), which references it as a body-awareness exercise connected to object commitment and physical specificity.
The underlying principle -- that imaginary objects in improvisation must be created and sustained through precise physical handling rather than through verbal declaration -- traces to Viola Spolin's object work curriculum in Improvisation for the Theater (1963), where exercises in sensing imaginary objects form a core component of the sensory training sequence. *The Upright Citizens Brigade Comedy Improvisation Manual (2013) identifies object work as a foundational long-form skill, noting that improvisers must mime the objects that would exist in a given reality as if they were physically present.
The specific format of presenting an unnamed, undefined object for physical discovery appears across multiple acting and improv training curricula without being traced to a single originator.
Worth Reading
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Theatrical Improvisation
Short Form, Long Form, and Sketch-Based Improv
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The Art of Chicago Improv
Short Cuts to Long-Form Improvisation
Rob Kozlowski
Creating Improvised Theatre
Tools, Techniques, and Theories
Mark Jane
Improvisation for the Theater
A Handbook of Teaching and Directing Techniques
Viola Spolin
The Upright Citizens Brigade Comedy Improvisation Manual
Matt Besser; Ian Roberts; Matt Walsh
The Improv Illusionist
Using Object Work, Environment, and Physicality in Performance
David Raitt
Related Exercises
What's the Object?
What's the Object is a physical mime and object-work exercise in which participants handle an imaginary object with sufficient specificity and consistency that observers can identify what it is, training precise physical commitment, object permanence, and the performer's spatial relationship to invented material.
Objects
Objects is an ensemble exercise and short-form game in which players use their bodies to form the physical shape of an audience-suggested object. Players enter one at a time, each adding themselves to the growing sculpture until the group collectively represents the object in physical space. The exercise builds spontaneous physicality, spatial awareness, and the ensemble skill of offering and accepting physical contributions without verbal negotiation.
Passing Around Objects
Passing Around Objects is a circle exercise in which players create imaginary objects with distinct physical properties and pass them to their neighbors, who must receive and reproduce each object faithfully before sending it on. When objects return to their creators, the group examines what changed along the way. The exercise develops object work consistency, observation, and the discipline of treating a partner's physical choices as real.
Be Specific
Participants silently exchange imaginary objects in a circle, then trace how objects transformed, illustrating the importance of specific communication.
Tossing
Tossing is a circle warm-up exercise in which players pass real or imaginary objects around the group with clear physical intention. Each exchange requires specific attention to the give and the receive: the sender must establish the object's weight, size, and nature before releasing it; the receiver must honor those physical qualities in the catch and carry. The exercise trains physical specificity, eye contact, ensemble attention, and the fundamental habit of truly giving something to a partner.
Object Circle
Object Circle is a warm-up exercise in which participants stand in a circle and pass physical or mimed objects to each other, transforming each object through imagination as it travels. One participant sends an object with a specific size, weight, and character; the next participant receives it, uses it briefly, then transforms it into something new before passing it on. The exercise develops physical specificity, collaborative imagination, and the habit of accepting and building on what a partner offers.
The Lineage
Explore the schools and structures that influenced or evolved from The Thing.
112 Acting Games (Levy)
How to Reference This Page
The Improv Archive. (2026). The Thing. Retrieved September 28, 2026, from https://improvarchive.org/exercises/the-thing
The Improv Archive. "The Thing." The Improv Archive, 2026. https://improvarchive.org/exercises/the-thing.
The Improv Archive. "The Thing." The Improv Archive, 2026, https://improvarchive.org/exercises/the-thing. Accessed September 28, 2026.
The Improv Archive is a systemically maintained repository. The archive itself acts as the corporate author.