La Ronde
La Ronde is a long-form improvised format inspired by Arthur Schnitzler's play of the same name, in which a chain of two-person scenes is connected by one character carrying over from each scene to the next. Character A appears in Scene One with Character B. Scene Two features Character B with a new Character C. Scene Three features Character C with Character D. The chain continues until the final scene reconnects with Character A, completing the circle. The daisy-chain structure builds a portrait of a community through its overlapping relationships, revealing how each character behaves differently depending on who they are with.
Structure
The show begins with an audience suggestion that establishes a theme, a location, or a community. Two performers play the opening scene, establishing two characters and their relationship.
When the first scene concludes, one of the two performers exits. The remaining performer stays onstage, maintaining their character. A new performer enters as a new character, and the second scene begins. This scene explores the carried-over character's relationship with the new arrival.
The pattern repeats: at the end of each scene, one character exits and a new character enters to join the remaining performer. Each scene explores a different relationship while the carried-over character provides continuity.
The format builds toward the final scene, in which the last new character encounters the very first character from the opening scene, completing the circle. This circular structure creates a sense of closure and reveals the community's interconnectedness.
The number of scenes varies by cast size and show length, typically ranging from six to twelve scenes. Each scene runs three to seven minutes, long enough to establish the relationship and explore its dynamics.
Variations include thematic La Ronde (all scenes share a topic or event), La Ronde with callbacks (later scenes reference events from earlier ones, building a web of connections), and compressed La Ronde (shorter scenes with faster character rotation).
How to Teach It
How to Explain It
"La Ronde is a chain of two-person scenes. Characters overlap: the person who ends Scene 1 also begins Scene 2 with a new partner. That new partner then continues into Scene 3 with yet another character. The chain continues until the last scene connects back to the first. The whole show is built from those overlapping pairs."
La Ronde is an effective format for teaching two-person scene work because it isolates the scene as the fundamental unit. Each scene must succeed on its own terms, and performers cannot rely on group mind, callbacks, or ensemble support to carry them. The format forces performers to build complete relationships in single scenes.
The character carry-over mechanism teaches performers to sustain and develop a single character across multiple scenes with different partners. This skill transfers directly to Harold and other long-form formats where characters recur.
Coach performers to make strong relationship choices at the top of each scene. The carried-over character's first interaction with the new character should immediately establish the power dynamic, emotional tone, and history (or lack thereof) between them. Vague, uncommitted openings waste the format's tight scene structure.
The format's circular structure teaches performers to think structurally. Performers must track which characters have appeared and plan the final connection. This structural awareness, holding the shape of the show while living in the moment of each scene, is a skill that elevates all long-form work.
How to Perform It
The Ensemble
La Ronde requires a minimum of four performers (to create at least four scenes before the circle closes) but works best with six to eight. Each performer plays one or two characters, depending on cast size. The format does not require a host, narrator, or musician, though musical transitions between scenes can enhance the show.
The carried-over character must maintain consistency across scenes while revealing new facets in each new relationship. A character who acts identically with every partner wastes the format's central insight: that people change depending on who they are with. The same character who is dominant in one scene may be submissive in the next, and this contrast reveals character depth.
Each scene must stand alone as a complete two-person scene while also contributing to the larger portrait. Scenes that exist only to set up later connections feel thin. Scenes that ignore the format's connective tissue feel disconnected. The balance between self-contained scene work and format awareness is the performer's central challenge.
The final scene carries special weight. The audience anticipates the circle closing, and the return of the first character should feel both surprising and inevitable. The final scene works best when it reveals something about the first character that recontextualizes the opening scene.
Pacing across the full show matters. Early scenes can take more time to establish the world and the format. Middle scenes can move more quickly as the audience understands the pattern. The final scene should be given room to breathe and resolve.
How to Promote It
La Ronde weaves a chain of connected scenes into a single story about a community. Each scene features two characters, and one character carries over into the next, linking every relationship in a circle that closes at the end of the show. The result is a portrait of interconnected lives built one conversation at a time.
History
La Ronde takes its name and structure from Arthur Schnitzler's 1897 play Reigen (known in English as La Ronde), later adapted into Max Ophuls' celebrated 1950 film. Schnitzler's play used the circular, daisy-chain structure to explore sexual relationships across social classes in Vienna. Del Close introduced the format as a classroom exercise at iO (formerly ImprovOlympic), where it served as a teaching tool for relationship-focused scene work. Miles Stroth of the Family is generally credited with first using the exercise in class to teach story structure. The format evolved from a rehearsal exercise into a full performance form, valued for its structural clarity and its ability to build ensemble shows without the complexity of a Harold. Companies adopted La Ronde as an accessible long-form format that showcases two-person scene work while creating a larger narrative through accumulation.
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Related Formats
Montage
Montage is a long-form improvised format in which performers present a series of thematically connected scenes inspired by a single audience suggestion. Scenes are linked by shared ideas, recurring motifs, emotional resonances, or occasional character callbacks rather than a continuous plot. The format's strength is its flexibility: any scene can follow any scene as long as the thematic connection holds. Montage is one of the foundational structures in Chicago-tradition long-form improvisation and is among the most widely performed long-form formats worldwide.
Deconstruction
The Deconstruction is a long-form improv format that takes a single opening scene and systematically revisits its elements from different angles, time periods, perspectives, or contexts. Each subsequent scene deconstructs an aspect of the original, exploring a character's backstory, a theme's implications, or a relationship's origin. The format demands structural thinking, the ability to identify multiple entry points within a single premise, and the ensemble skill of building an interconnected web of scenes that deepen the audience's understanding of the original material. The Deconstruction rewards analytical improvisers who can identify the richest elements of a scene and expand them into full explorations.
French Harold
French Harold is a long-form format variant of the Harold, developed within European improv traditions and distinguished by a structural emphasis on imagery, poetic logic, and the thematic monologue opening rather than a suggestion-driven audience call. The format preserves the Harold's three-beat, three-group architecture but tends toward more abstract, metaphor-rich scene work and a slower, more contemplative pacing than the North American Harold tradition.
French Braid
French Braid is a long-form format in which three or more separate storylines are introduced independently and then gradually woven together as characters, themes, and events from different threads begin to intersect. Like braided strands of hair that remain distinct but become inseparable, the format's separate storylines maintain their own identities while crossing, influencing, and eventually converging with each other. The format demands strong ensemble coordination, the patience to develop threads slowly before connecting them, and the narrative awareness to recognize when a braid point is ready to be made.
How to Reference This Page
The Improv Archive. (2026). La Ronde. Retrieved September 28, 2026, from https://improvarchive.org/formats/la-ronde
The Improv Archive. "La Ronde." The Improv Archive, 2026. https://improvarchive.org/formats/la-ronde.
The Improv Archive. "La Ronde." The Improv Archive, 2026, https://improvarchive.org/formats/la-ronde. Accessed September 28, 2026.
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