Adapted from GameChangers–Improvisation for Business in the Networked World, by Mike Bonifer:
Addition–Entering a scene in progress for the purpose of contributing immediately to the team’s performance; contributing to a scene; giving a gift
Agreement, The Agreement Principle–A principle of improvisation, characterized by players’ openness towards each other and an organization or communications network’s openness at its edge; the group consensus around a game or theme that informs a scene
Audience–Those within and outside of an organization whose reactions and opinions will determine the success of a scene or performance
Audience, External–People outside an organization or network, including customers (and potential customers), competitors, bloggers, users, fans, viewers, etc. whose reactions ultimately determine the value of a performance or narrative
Audience, Internal–People inside an organization or network, whose judgment acts as a kind of filter on scenes and narratives before they reach the External Audience
Blocking–A performance-related problem that occurs when players impede the progress of a scene by refusing the gifts offered them by their teammates
Callback–The act of recalling information that was stated by a player earlier in a scene or in a previous scene.
Cast–Players who share the same business objective; also called a Group or Team; can also refer to the employees of an entire division or organization (Disney, for example, refers to all employees as ‘cast members’)
Casting–The process of selecting players who will comprise a business team
Character–Traits that make a player unique as an individual and consistently valuable to his or her team
Close, Del–Credited as one of the originators of longform improvisation, and one of its most influential teachers, Close (1934-1999) created ‘Harold,’ probably the most-performed structure for group improv theater performances; his proteges include Bill Murray, Dan Ackroyd, John Belushi, Amy Poehler and Tina Fey; legend has it that he willed his skull to the Goodman Theater in Chicago to be used in future productions of Hamlet, in which he was to be billed as playing the role of Yorick
Coach–A person who casts a team; an objective observer and critic of a team’s performance; one who establishes game-based strategies and standards of preparation and performance in directing a team toward its objectives; manager; director
Cosmetic Communication/Meaning–The surface level of communication within a scene, primarily through spoken dialogue; data; information. (See ‘Emotional Communication/Meaning‘ and ‘Meta Communication/Meaning‘)
Crazy Town–A performance-related problem that occurs when players indulge in fantasies, magical thinking, or egoistic behavior, until the scene becomes un-moored from any actionable reality.
Denying–A form of blocking in which a player repeatedly contradicts or ignores other players, confusing the audience and fellow players; refusing to recognize another player’s reality
Edit–The action of making an entrance for the purpose of shifting the scene’s focus, or to begin a new scene; edits usually occur in concert with other players exiting the scene
Emotional Communication/Meaning–The most dynamic and meaningful level of communication in a scene. conveying its players’ passions and desires, where reactions (both positive and negative), and reinforcements/alienation are strongest
Energy–The pitch at which a player or group performs (and modulates) its performance; an umbrella term for the level of activity and intensity the audience observes in the group, and that players in the group experience in one another
Entrance–A player’s first appearance in a scene
Environment–The setting in which members of team collaborate to achieve their objective; any place where players interact; more expansively, any place where an audience experiences a brand; the overall business climate in which an organization operates, shaped by factors such as regulatory agencies, competitors, geopolitical factors and the desires, attitudes and beliefs of customers
Exit–A player’s departure from a scene
Fantasizing–A performance-related issue that occurs when players build outlandish, or wildly fictitious scenarios that do not acknowledge or act on the real world environment or the businessa; magical thinking; (see ‘Crazy Town‘ and ‘Invention‘)
Flatlining–A performance-related problem that occurs when players show no energy or life, impeding or halting a scene’s progress
Game–Rules, roles, environment and objective(s) defined; an exploration of a theme; a strategy used to achieve a business-related objective; games fall into two broad categories – productive and unproductive
GameChanger–A player who has mastered the art and practical techniques of business improvisation; a manager/coach or player with the ability to identify and support productive games and quickly change or edit unproductive ones
Gift–A move that supports the scene and the players in it; ‘giving gifts’ is one of the most powerful and effective moves a player can make
Grandstanding–A performance-related issue that occurs when a player wastes time and effort trying to contribute something ‘heroic’ to a scene; holding back for effect instead of engaging in the moment; habitually swinging for the fences or reaching for the ‘Wow Factor’; going for a home run when a single would better serve the scene
Group Mind– The tangible web of connectivity between players that achieved through a shared focus on a game and the exploration of a theme; the collective unconscious; not the same as ‘Group Think‘
Group Think–Rubber-stamping; going along to get along; consensus for its own sake; agreement that does not involve a game or theme; behavior that is not intended to achieve the objective, but rather to reinforce status; uncritical or unquestioning support for a political agenda, ideology or hierarchy
TO BE CONTINUED….
I used to play a lot of golf, and the game taught me a lot. One bit of wisdom came my way one Sunday afternoon from a golfer named Jim Bishop, while he and I were playing the classic old Wilson Course at Griffith Park in Los Angeles. He told me that one reason he plays golf is that it that offers a person the chance to experience perfection. “Every now and then,” he said, “you make a perfect swing.” As any golfer who took the game seriously would, I understood exactly what Bishop was talking about.
In our crazy race to escape these kinds of vortexes, we can turn direction-blind. We pick a course of action, or someone picks a course for us, and in our all-out effort to escape a certain fate, we go heads down as hard as we can for as long as we can in that direction, like barn-sour horses galloping toward a distant barn. A strategy, 
