No touching or eye-contact?  Check.  Characters with idiosyncratic personalities and mannerisms?  Check.  Blocking for each scene?  Check…hold off.  How does a Duo transition from scene to scene?  A average question inquired by Duo Interpretations.  Due to Duo’s nature of not being competent to appear at or touch your partner–and playing aggregate characters–most Duos will happen themselves transitioning in and out of scenes with fluidity.  And they must.  A Duo would go quite leaden if all a pair did was construe one scene for ten minutes (which, ironically, is the norm for Duet Acting because actors stick to one character and one scene).  The rule interdicting absolute interaction means performers mostly look at the audience, and gazing out into the 4th wall, with little movement, handing over lines for a ten-minuet-one-scene-Duo will not do.  Scene and character changes are incumbent to keep momentum fluxing.  Transitions should be unseamed, constructive, and work with the material.  Below are some common transition types.  Mold these archetypes to your Duo Interpretation and your transitions will really pop!

A noise A clear way to transition is to create a noise between scenes.  Some people use the same noise for every transition for consistency (efficacious but might go diplomatic).  Others only use a noise when apropos for a transition (like if the next scene took place at a train station a binding transition noise could be that of a train).  Duo transition noises work best when they directly tie in to the text, instead of utilizing some ergodic sound

Song Some Duos sing to signal transition.  Again, any transitions done to song should work with the material being interpreted so it does not stand out as odd

Straight pops Your Duo can use straight pops to go into the next scene.  If you use this method be bound that your body undergoes a characteristic alteration.  Change the angle of your stance, as you would in a Dramatic Interpretation or Humorous Interpretation, to signal that you are in a fresh location or time.  Better yet, have a character change.  This will let for supreme differentiation

Turning around Watch Duos and you will notice a popular transition–that of turning.  It’s easy to do and a very blatant way to show that you have transitioned into a new scene.  It’s discriminating too because you and your partner can reel the reemergence of either of you into a scene (one person talks, the other stands with their back to the audience to give the impression of one person executing) simply by keeping your back turned.  Further, while one partner is narrating the other not in play can create sound effects with their back turned, or they can execute fast reenactments/reactions with a fast spin around towards the audience then “conceal” again with another twist

Upstaging Like turning around but instead of having two people standing side by side (or both clearly visible) one actor stands in front of the other.  This blocking of the other from sight allows for the “hidden” interpreter to make noises or provide creative blocking help (such as if a narrator was talking about a monster the “hidden” interpreter could help the narrator sprout arms without being fully seen) from behind.  This technique is utilitarian in that both of you can construe and then easily transition into a fresh scene just by fully “uncovering” the actor behind the upstaging

Speed changes Transitions can also be done with varying speeds to help show passage of time.  Want to fast-forward?  Create a fast shift.  If your Duo wants to elongate time seek executing a transition in slow-motion

Whichever transitions your Duo decides to utilize be sure to practice, be creative, and vary them.  Though it might be easier to use the same style of transition for scene changes, rarely does a script back much abuse.  Refer to your script and experiment with ways to transition within your Duo that work with the material

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