Alter Ego

How to Explain It

"Two players per character: the person out front and the person directly behind them. The person out front speaks the character's words. The person behind speaks the character's real thoughts. You can hear what they say and what they think at the same time."

Alter Ego is an excellent exercise for teaching subtext, a skill that many beginning improvisers struggle to access. The game externalizes the inner monologue, making the concept of subtext visible and audible rather than abstract.

Start by having students identify scenes where characters think differently from what they say: social situations with stakes, politeness conventions, or power imbalances. These scenarios produce the richest material for the game.

Coach alter ego players to avoid simply narrating what the character does. The alter ego should reveal what the character wants, fears, or judges. The most useful coaching prompt is: "What does this character want that they would never admit?"

A common failure mode occurs when alter egos become stand-up comedians, cracking jokes to the audience rather than voicing genuine inner thoughts. Redirect these players toward emotional truth. The comedy should emerge from the contrast between the two voices, not from the alter ego trying to be funny independently.

For beginning groups, start with just one character having an alter ego. This simplifies the game and allows the class to focus on the technique before adding the complexity of two simultaneous inner monologues.

The exercise translates well to actor training beyond improv. The alter ego technique helps actors identify and articulate the subtext of scripted scenes, making it a useful bridge between improv training and text-based performance.

The game requires four performers: two scene players and two alter egos. Each alter ego must closely track their character's emotional state and behavioral choices to provide inner thoughts that feel authentic rather than random.

The most effective alter ego contributions contradict the surface behavior of the character. When the character appears calm and agreeable, the alter ego should reveal anxiety, irritation, or scheming beneath the surface. Simple agreement between character and alter ego wastes the game's potential.

Timing matters. Alter ego interjections work best at moments of social tension: after a compliment that might be backhanded, during an awkward pause, or immediately following a lie. The pause created by the alter ego interjection heightens the audience's awareness of the subtext.

The downstage players must listen to what their alter egos say and allow it to subtly influence their subsequent behavior. When an alter ego reveals jealousy, the character's next line should carry a trace of that jealousy, creating a layered performance that rewards attentive audience members.

Physical staging matters. Alter egos should remain still and neutral when not speaking to avoid distracting from the scene. When they step forward to speak, a slight physical shift, such as leaning in conspiratorially toward the audience, signals the transition clearly.