Improvisation for Theatre

Spolin

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-4-IMPROVISATION

for

the

THEATER

A

Handbook of _Teaching and Directing Techniques By

VIOLA

SPOLIN

All_rightsreserved

Libraryof CongressCatalog

Card Number:

63-7579

Manufacturedinthe U.S.A.

Anyone

wishing to

make

commercial use of scenes, exercises* or other material from this

book

is _obliged to _apply For _permission

to the author;

Viola Spolin

c/oNorthwestern_UniversityPress

Ed and all the YAC's and _my sons Paul and Bill

I wish to thank

Neva

L.

_Boyd

for the _inspiration she _gave

me

in thefield of creative _{group play.}

A

_pioneer in her field, she

founded

the Recreational _Training School at _Chicago's Hull House,

and

from 1927 until her retirement in 1941 she served

as a _sociologist on _{the faculty of} Northwestern _University.

From

1924 to 1927 as her student at _{Hull House,} I received

from

her

an

extraordinary training in the use of games, story-telling, folk

dance, and dramatics as tools for _stimulating creative _expression In both children and _{adults, through self-discovery}

and

_personal experiencing.

The

effects of her inspiration never left

me

for a single day.

Subsequently, three years as teacher

and

supervisor of crea-tive dramatics on the

WPA

Recreational _Project in _Chicago

where

mostof the students

had

little or

_{no background}

in theater or teaching provided the opportunity for

_my

first _direct

experi-ments

in _{teaching drama,}

from

which

_developed a non-verbal, non-psychological approach. This period of

growth was

most

challenging, as I struggled to equip the participating

men

and

women

_{with adequate}

knowledge and

technique to sustain

them

as teacher-directors in their _{neighborhood work.}

I

am

also _grateful for the _insights I

have

had, at spo-radic times _throughout

_my

life, into the works of Constantin

Stanislavsky.

To

_my

son, Paul Sills

who

with

David Shepherd founded

the first _{professional improvisational} theater in the country, the

grateful for his assistance in the writing of the first manuscript a dozen _{or so years ago}

and

his _experimental use of it at the University of Bristolwhile a Fulbright scholar.

He

has since ap-plied aspects of this system with actors at the Second City in Chicago.

The

finalrevision ofthis

book

could onlytakeplaceafter

I

came

to _Chicago, observed his

work

with his

_{company, and}

sensedhisvision of

where

itcould_go.

I wish to thank all

_my

California students

who

_nagged

me

over the _years; and

_my

assistant Robert _Martin,

who

was

with

me

_during the eleven _years of the

_Young

Actors

_Company

in

Hollywood where

mostofthesystem

was

developed;

and

Edward

Spolin,

whose

special genius for set design framed the

Young

Actorsin glory.

My

grateful thanks to Helene

Koon

of Los Angeles,

who

helped

me

through the second rewrite of the manuscript,

and

all

_my

dear _Chicago friends

and

students

who

_helped in _every

way

they could during the arduous task of completing the third and final draft of the _manuscript.

The

stimulus to write this

handbook

can

be

traced

back

beyond

the author's early

work

as

drama

_supervisor on the

Chi-cago

WPA

Recreational Project to childhood

memories

of de-lightful spontaneous "operas" that

were

performed at family gatherings. Here, her uncles

and

aunts

would

"dress up"

and

through song

and

dialogue

poke

fun at various

members

of the

family

and

their trials

and

predicaments with language

and

jobs as

newcomers

to America. Later, during her student days with

Neva

_Boyd, her brothers, sisters,

and

friends

would

gather

weekly

to _{play charades (used} as

WORD

GAME

In this _book),

literally tearing the house apart

from

kitchen to living

room

as

pot covers

became

breastplates for Cleopatra

and

her

hand-maidens and

_drapes from the

window

became

a cloak for Satan.

Using the

game

structure as a basis for theater _training, as a

means

to free the child

and

the so-called amateur from

mechan-ical, stilted stage behavior, she wrote an article

on

her

observa-tions,

_Working

_primarily with children

and

_neighborhood adults

at a settlement-house theater, she

was

also stimulated

by

the

response of school audiences to her small troupe of child

impro-visers. In

an

effort to

show

how

_{the improvising}

_game

worked,

her _troupe asked the audience for

suggestions

which

the players

then

made

into scene _{improvisations.}

A

writer friend

who

was

asked to evaluate the article she wrote about these activities

exclaimed, "This isn'tanarticle it's an outline for a book!"

The

idea for a

book was

_put aside until _1945,

_when,

after

moving

to California

and

_establishing the

_Young

Actors

theater _{techniques with boys}

and

_girls.

The

creative _group

work

and

_game

_principles learned from

_{Neva Boyd}

continued to be

applied to the theater situation in both workshops and rehearsal of

plays. Gradually the

word

"player"

was

introduced to replace "actor"

and

_{"physicalizing}

w

to _{replace "feeling."} At this _time,

the _{problem-solving}

and

_{point-of-conccntration approach}

was

added

tothe

_game

structure.

The

_trainingcontinuedto_develop theform that

had

_appeared

earlier in the _{Chicago Experimental} Theater scene

improvisa-tionalthough

the primary goal remained that of training lay actors

and

childrenwithin the formaltheater.

The

_players created scenes themselves without benefit of an outside

playwright or

examples

by

the teacher-directorwhile they were being freed to

receive the _stage conventions. _Using the _{uncomplicated guiding} structure labeled

_Where,

Who,

and What,

they

were

able to

put the full range of spontaneity to

work

as they created scene aftersceneof fresh material. Involved with thestructure

and

con-centrating

upon

solvingadifferent problemin eachexercise, they

gradually shed theirmechanical behaviorisms,, emoting,, etc,,

and

they entered into the stage reality freely and naturally, skilled in improvisationaltechniques

and

preparedto actdifficult rolesin

written_plays.

Although the material has been drafted for publication for

many

years, its finalform

was

reached after the author observed

how

_{improvisation} works _{professionally} at the Second _City in

Chicago, the improvisational theater of her son, director Paul

Sills. His further _development of the form in use _{professionally}

brought

new

discoveries

and

the introduction of

many

newly

invented exercises in her _{Chicago workshops.}

The

_manuscript

underwent

total revision to include the

new

material

and

to present the clearest use of the form for professional as well as

community and

children's theater.

The

handbook

is divided into three

parts.

The

first is

con-cerned with _{the theory}

and

foundations for

teaching

and

direct-ing theater, the second with an outline of

_workshop

exercises^

and

the third with _special

comments

on children in the theater

and

_{directingthe formal play} for the

_community

theater.

The

handbook

is

equally valuable forprofessionals, lay actors,

detailed

_workshop

_program. For directors of

_{community and}

professionaltheater it_{provides insight} into their actors'_problems

and

_techniques for_solvingthem.

To

the _aspiring actor or director

it

brings an awareness of the inherentproblems

which

lie before

him.

The

film director

who

wishes to use local, untrained people

for

some

of his _{scenes, will find}

_many

of the _simplier

Acknowledgments

vii

Preface ix

Alphabetical List of Exercises xyii

List of Illustrations xxv

THEORY

AND

FOUNDATION

I. CREATIVE EXPERIENCE 3

Seven_{AspectsofSpontaneity}

4

II.

WORKSHOP

PROCEDURES 18

Physical Set-Up of the

Workshops

31

Reminders

and

Pointers 36

EXERCISES

III. ORIENTATION 49

Orientation_Purposes 49

First Orientation Session 50

Second

Orientation Session 62

ThirdOrientation Session 67 Fourth Orientation Session 73

Fifth Orientation Session

77

Summary

87

IV.

WHERE

89

Introduction 89

First

Where

Session 90

Third

Where

Session 105

Fourth

Where

Session 110

Fifth

Where

Session 113

Sixth

Where

Session 115

Seventh

Where

Session 116

Eighth

Where

Session 118

Ninth

Where

Session 120

Exercises_for Three

More

Where

Sessions 125

Additional Exercises for Heightening the

Reality of

Where

127

Additional Exercises _{for Solving} Problems

of

Where

138

V, ACTING

WITH THE

WHOLE

BODY

146 Exercises_{for Parts of}the

_Body

147

Exercises _for Total

_Body

Involvement 152

VI.

NON-DIRECTIONAL

BLOCKING 156

Fundamentals 156

Exercises 158

VII. REFINING

AWARENESS

169

Listening 170

Seeing

and

Not

Staring 174

Verbal_Agility 178

Contact 184

Silence 188

VIII. _{SPEECH, BROADCASTING,}

AND TECHNICAL

EFFECTS 194

Speech 194

Radio

and

TV

197

Technical_Effects 203

IX.

DEVELOPING

MATERIAL FOR

SITUATIONS 207

X. RouNDiNG-Otrr EXERCISES 225

Speech 225

Physicalization 227

Seeing 231

DevelopingScenesfrom AudienceSuggestions 233

XI.

EMOTION

237

Physicalization 239

XII.

CHARACTER

253 Developing aCharacter 254

Who

Games

257 Physicalizing Attitudes 259 PhysicalVisualization 261 Physical Attributes 265

Developing Character Agility 269

CHILDREN

AND

THE THEATER

XIII.

UNDERSTANDING THE CHILD

277

The

Teacher's Attitude 278

The

Individual

and

the

_Group

279

The

ChildActors Theater

Environment

280

Games

280

Attention

_{and Energy}

282

Dramatic _Play 282

Natural_Acting 284

The

_{Fight for Creativity} 285

Discipline Is Involvement 286

The

UncertainChild 289

XIV.

FUNDAMENTALS

FOR CHILD ACTORS

290

Inner Action 290

Giving Reality with Objects 291

The

_{Telephone Prop} 292

Terms

To

Use 294

Evaluation 295

Points

To

Remember

297

XV.

WORKSHOP

FOR

SIX-TO-EIGHT-

YEAR-OLDS

300

Planningthe Sessions 300

First

_Workshop

Session 301

Exercises 307

THE

FORMAL

THEATER

XVI.

PREPARATION

317

The

Director 319

Theme

321

Choosing the Play 322

Seeking the Scene 324

Casting 325

The

_{Acting Side} 327

XVII.

REHEARSAL AND

PERFORMANCE

329

Organizingthe Rehearsal

Time

329

Seasoning the Actor 338

Acting Exercises during Rehearsals 345 Suggestionsforthe First Rehearsal Section 352 Suggestionsfor the Second Rehearsal Section 353 SuggestionsfortheThirdRehearsal Section 355

The

_Performance 361

Random

Pointers 361

XVIII.

POST-MORTEM AND

SPECIAL

PROBLEMS

363

The

Time

Chart_for Rehearsals 363

Directing the Child Actor 368

Removing Amateur

Qualities 370

DEFINITION

OF

TERMS

DEFINITION OF

TERMS

375

RECOMMENDED

GAME

BOOKS

The

Abstract

Where

A

142

The

Abstract

Where

B

143

Add

an

_Object

Where

#1

87

Add

_{an Object}

Where

#2

112

Add

aPart 86

Animal

_Images 262

Art_Gallery 139

Audience

Directs 235

Basic Blind 171

Begin

and

End

135

Begin

and

End

with Objects 79

Blindfor

Advanced

Students

A

172

Blindfor

Advanced

Students

B

172

Calling-Out Exercise 194

Camera

231

Changing Emotion

241

Changing

Intensity ofInnerAction 242

Changing

Places 165 Character_Agility

A

269 Character_Agility

B

270 Character_Agility

C

271 Character_Agility

D

271 Character_Agility

E

271 Choral Reading 195

ConflictExercise 250

Conflict

Game

252

Contrapuntal

Argument

A

180

Contrapuntal

Argument

B

181

Contrapuntal

Argument

C

(TransformationofPointofView) 181

Converge

and

Re-Divide 163

Conversationwith Involvement 76

Costume

Piece 266

Creating

Moods

on Stage 204

Creating Scenes without Costumes 314

Creatinga StagePicture 273

Deaf

Audience 227

Difficulty with Small Objects 67

Drawing

Objects

Game

78

Dubbing

227

Emotion

Game

245

Emotion

_through

Camera

_Techniques 247

Exchanging

Where

117

Excursionsintothe Intuitive 191

Exercise for

Back

150

Exits

and

Entrances 167

Exploration ofLarger

Environment

116

Explore

and

Heighten (TransformationofBeat) 235

Eye

Contact

#1

176

Eye

Contact

#2

176

FeelingSelfwithSelf 51

Feet

and

_{Legs Alone} 147

FindingObjectsinthe

Immediate

Environment

105

FirstRadioExercise 198

Gibberish Exercise

#l~Demonstration

123

Gibberish Exercise

_#2~Past

Incident 123

Gibberish

_#3~Teaching

124

Gibberish

_#4-~The

Gibberish

Game

125

Gibberish

_#5-Where

withGibberish 125

Gibberish

_#7-Two

SceneswithGibberish 127

Gibberish

_#8-Giving

aLecture 226

Gibberish

_{#9-Foreign-Language Rhythms}

226

Give

and Take

230

Greek

Chorus 196

Group

Touch

Exercise

#1

57

Group

Touch

Exercise

#2

57

Hands

Alone 148

Hero

Exercise 214

Hidden

Conflict 250

Hidden

Problem

221

Hold

It!

A

259

Hold

It!

B

260

Hold

It!

C

260

How

Old

Am

I? 68

How

Old

Am

I? _Repeat 69

Identifying Objects

Game

56

Inability

To

Move

A

239

Inability

To

Move

B

239

IntegrationofOn-Stage

and

Back-Stage Action

A

203

IntegrationofOn-Stage

and

Back-StageAction

B

204

Involvement without

Hands

65

Involvement withthe

Immediate Environment

118

Involvement with Large Objects 77

Involvementin Threes or

More

64

Involvementin

Twos

64

It's Heavier

When

It's Full 71

Jump

Emotion

243

Leaving Something

on

Stage 216

Listeningto the

Environment

55

Lone Wolf

164

MaintainingSurfaceHeights 79

Man-on-the-Street

A

201

Man-on-the-Street

C

201

Metronome

Exercise 229 Mirror Exercise

#1

60 Mirror Exercise

#2

66 Mirror Exercise

#3

75 Mirror Exercise

#4

175 Mirror Exercise

#5

234 Mirror Exercise

#6

234 MirrorExercise

#7

234 MirrorExercise

#8

235

Mob

Scenes 166

Name

Six

Game

63

NervousHabits or Tics 268

No

Motion

_#1

189

No

Motion

_#2

191

No

Motion

_#3

191

No

Motion

_#4

191

No-Motion

_Warm-Up

85

Object

Moving

Players 70

Observation

Game

62

On

the_Spot

A

233

On

the _Spot

B

233

Once Upon

a_Time,

Minimum

_Equipment

303

Once

_Upon

a_{Time,Full Stage} 307

Orchestration 220

Orientation

Game

_#1

62

Orientation

Game #2

66

Orientation

Game #3

72

Partofa

Whole

73

Parts ofthe_Body: FullScene 152

Penetration 86 PhysicalExaggeration 265 Physical Irritation

A

266 PhysicalIrritation

B

267

Pitchman

176 Ball 63

Poetry-Building 180

Preoccupation

A

133

Preoccupation

B

158

Puppets and/or

Automation

154

Quick

SelectionExercisefor

Where

116

Random

Walk

221 Rejection 246 RelatinganIncident 170

Rhythmic

Movement

153

Ruminating

137 Scene-on-Scene 217 Seeing a Sport 54

Seeinga Sport, Recall 54

Seeing the

Word

232

Sending

Someone

On

Stage 144

Shadowing

177

Showing Emotion

throughObjects

#1

244

Showing Emotion

through Objects

#2

245

Showing

Where

withoutObjects 143

Showing

Where

through

Who

and

What

145

Showing

Who

throughthe

Use

of an Object 139

Sight-Lines (Transformation ofStagePicture) 166

Silent

Scream

239

SilentTension 188

SingingDialogue 225

Space Substance (Transformation of_Objects) 81

The

_Specialized

Where

138

Stage

Whisper

195

Story-Building 179

Story-Telling 312

Suggestions

by

the

Audience

222

Supplication 219

Taste

and

Smell 58

Telephone 225

Television Screen 215

Tense

Muscle

153

Theme-Scene

218

Three

_Changes

73

Throwing

Light

Game

179

The

Thumbnail

Sketch 144

Total

_Body

Involvement 152

Trapped

78

Transformation of_Relationship

_(Who)

272

TransformingtheObject 214

Tug-of-War 61

Two

Scenes 160

Using Objects

To

EvolveScenes

A

212

Using Objects

To

Evolve Scenes

B

213

Verbalizingthe

Where

128

Vocal

Sound

Effects 205

Wandering

Speech

A

182

Wandering

Speech

B

183

Weather

Exercise

#1

113

Weather

Exercise

#2

114

Weather

Exercise

_#3

114

What

Am

I Listening

To?

55

What

Do

I

Do

for_{a Living?}

74

What

Do

I

Do

for_{a Living?Repeat} 126

What

Time

IsIt?

A

107

What

Time

IsIt?

B

108

What

Time

IsIt?

C

108

What To

Do

withthe _Object 251

What's

_Beyond?

A

102 What's

_Beyond?

B

103 What's

_Beyond?

C

103 What's

_Beyond?

D

130 What's

_Beyond?

E

131 What's

_Beyond?

F

131

Where

Exercise i 92

Where

Homework

Exercise 141

Where

without

Hands

145

Where

with

_Help

103

Where

withObstacles 104

Where

withSet Pieces 140

Where

_through

Three

_Objects 119

Where

with Unrelated_{Activity (}

What

) 106

Whisper-ShoutExercise 196

Who

Game

A

109

Who

Game

B

257

Who

Game

C

258

Who

Game,

Adding

Conflict 259

Who

_{Game, Adding}

Where

and

What

115

Who

Started the Motion? 67

Who's

_Knocking?

A

110

Who's

_Knocking?

B

110

Word Game

A

207

SKETCHES

SuggestedFloorplan

Symbols

93

Building the Floorplan 94

Original Floorplan

Compared

to

Audiences

Floorplan 96

Additional Information

on

_Floorplans 100

PHOTOGRAPHS

Original

Second

City Cast following 166

Workshop

Scenes

Random

Walk

_following 294

Once Upon

a

Time

Everyone

can act.

_Everyone

can _improvise.

_Anyone

who

wishes to can _play in the theater

and

learn to

become

"stage-worthy."

We

learn _{through experience}

and

_{experiencing,}

and

_no^ one

teaches _{anyone anything. This} is as true for the infant

_moving

from_kicking to _crawling to_walking as it is for the scientistwith

his _equations.

If the environment _permits it, _{anyone can} learn whatever

he

chooses to learn;

and

if the individual_permits it, the

environ-ment

willteach

him

_everything it has to teach. "Talent" or "lack of talent"

have

littleto do withit.

We

must

reconsider

what

is

meant by

"talent." It is _highly

possible that

what

is called talented behavior is _simply a greater

individual capacity for _{experiencing.}

From

this

point of view,

it is in the_increasing of the individual _capacity for _experiencing that the untold _potentiality of a _personality can

be

evoked.

Experiencing is _penetration into the environment, total

or-ganic involvement with it. This

means

involvement on alllevels:

intellectual, _physical,

and

intuitive.

Of

the three, the intuitive,

most

vital to _{the learning} situation, is _neglected.

Intuition is often _thought to

be

an

endowment

or a_mystical

force _enjoyed

_by

the _gifted alone. Yet all of us have

known

moments

when

the _right answer _"just

came"

or

we

did _"exactly the _{right thing} without _thinking." Sometimes at such

moments,

personhasbeen

known

totranscend the limitation ofthefamiliar, courageouslyenter the areaof the

unknown, and

release

momen-tary genius within himself.

When

response to experience takes place at this intuitive level,

when

a person functions

beyond

a constructedintellectual _plane, he is

trulyopen for learning.

The

intuitive _{can only respond} in

_immediacy

_right now. It

comes_bearingits

giftsinthe

moment

of spontaneity, the

moment

when

we

are freed to relate and act, involving ourselves in the moving, changing worldaroundus.

Through

spontaneity

we

are re-formed into ourselves. It creates an _explosion that for the

moment

frees us from

handed-down

frames of reference,

memory

choked with old facts

and

information and _undigested theories

and

_techniques of other people'sfindings. Spontaneity is the

moment

of_personal

freedom

when

we

are faced with a _reality

and

see it, _explore it

and

act

accordingly. Inthis realitythe bits

and

pieces of ourselves func-tion asan _organicwhole. Itis the time of _discovery, of

experienc-ing,of creativeexpression.

^Acting

canbetaughttothe "average"aswell as the"talented"

if the _{teaching process} is oriented towards

_making

the theater techniques so intuitive that they

become

the students' own.

A

way

is needed to _get to intuitive _knowledge. It _requires an

en-vironmentin which_experiencing cantake _place, a _person free to experience, and anactivity thatbrings about spontaneity.

The

fulltextis a charted course ofsuch _activity.

The

_present

chapter attempts to help both teacher

and

student find personal

freedomsofar asthetheater isconcerned.

Chapter IIis intended

to

show

the teacher

how

to establish an environment in

which

the intuitive can _emerge

and

experiencing take place: then teacher

and

studentcan

embark

together

upon

an inspiring, crea-tive

experience.

Seven Aspects

of

_Spontaneity

Games

The

_game

is anatural _{group form}

providing the involvement

and

_personalfreedom _necessaryfor _{experiencing.}

Games

_develop

personal techniques

and

skills necessary for the

game

itself,

through playing. Skills are developed at the very

moment

a

to offer this is the exact time he is _truly

_open

to receive them.

Ingenuity

and

inventiveness appear to

meet

any crises the

game

presents, forit is understood_{during playing} that _{a player}is

free to _{reach the game's objective} in

_any

_style he chooses.

As

long as

he

abides

by

the rules ofthe game,

he

may

swing, stand

onhishead, or

flythrough the air.In fact,

_any

unusualor extraor-dinary

way

of playing is loved

and

_applauded

_by

his fellow players.

This

makes

the

form

useful not _only in formal theater but

especiallyso for actors interested inlearning sceneimprovisation,

and

it is _{equally valuable} in _exposing

newcomers

to the theater experience, whether adult or child. All the techniques,

conven-tions, etc. that the student-actors have

come

to find _{are given}

to

them

_{throughplaying}theater

_games

_(acting exercises).

Playing a

game

is _{psychologically} different in _{degree but} not in kind from dramatic _acting.

The

_ability to create a situation _{imaginatively}

and to _{play a}role in it is a tremendous _{experience, a} sort ofvacation

from one's _everyday self and the routine of _{everyday living.}

We

observe that this _{psychological} freedom creates a condition in which

strain and _conflict aredissolved and _{potentialities} are released in the

spontaneous effort to meet the demands of thesituation.1

Any

game

worth

playing is highly social

and

has a

problem

that needs _solving within it an _{objective point} in

which

each

individual

must

become

involved, whether it

be

to reach a _goal or to _flip a _chip into a _glass. There

must

_{be group agreement}

on

the rules of the

_game

and

_group interaction

_moving

towards the objectiveifthe

game

isto

be

_played.

Players

grow

agile

and

alert, ready

and

eagerfor

any

unusual

play as they respond to the

many

random

happenings

simul-taneously.

The

personal capacityto involveone's selfin the

prob-lem

ofthe

_game

and

the effort _put forth to handle the _multiple

stimuli the

_game

_provokes determine the extent of this

growth.

Growth

will occur without difficulty in the student-actor

be-cause the _very

_game

he _plays will aid him.

The

_objective

_upon

which

the _player

must

_{constantly focus}

and

towards

which

_every action

must

bedirected_{provokes spontaneity.} Inthis _spontaneity,

1_NevaL.

personal freedom is released,

and

the total person, physically,

intellectually, and intuitively, is awakened. This causes

enough

excitation for the studentto transcend himself he is freed to _go

out into the environment, to _explore, adventure,

and

face all

dangershe meetsunafraid.

The

_energy released to solve _{the problem, being} restricted

by

the rules of the

_game

and

_{bound by}

_group decision, creates

an _explosion or _spontaneity

and

as is the nature of

explosions, everythingistorn_{apart,rearranged,} unblocked.

The

ear alertsthe

feet,andthe eye throwstheball.

Everypartofthe personfunctions together as a working unit,

one small _organic whole within the _{larger organic}

whole

of the agreed environment which is the

game

structure.

Out

of this integrated experience, then, a total self in a total environment,

comes _{a support} and thus trust

which

allows the individual to

open

up and

develop any skills that

_may

be

needed

for the

com-munication within the game. Furthermore, the acceptance of

allthe _imposed limitations creates the _playing, out of

which

the

game

appears, oras in thetheater, the scene.

With

no _{outside authority imposing} itself

_upon

the _players,

telling

them what

to do,

when

to do it,

and

how

to do it, each

playerfreelychooses self-discipline

by

accepting the rules ofthe

game

("it's

more

funthat way") and enters into the group

deci-sions with enthusiasm and trust.

With

no one to _please or

ap-pease, theplayercanthenfocus full energydirectly

on

the prob-lem andlearn

what

hehas

come

to learn.

Approval/Disapproval

The

first _step towards _playing is _feeling

personal freedom. Before

we

_{can play (experience),}

we

must

befree to

do

so. It is

necessary to

become

part of the world around us

and

make

it

real

_by

_touchingit, seeingit,feelingit, _tastingit,

and

_smelling

it-direct contactwith the environmentis

what

we

seek. It

must be

investigated, questioned, acceptedor rejected.

The

personal

free-dom

to do so leads us to _experiencing

and

thus to self-awareness

(self-identity)

and

self-expression.

The

hunger for self_-identity

and

self-expression, while basic to all ofus, is also _necessary for

thetheater_expression.

reality.

Our

simplest

move

outinto theenvironmentis

interrupted

by

our need for favorable

comment

or _{interpretation}

_by

estab-lished auhority.

We

either fear that

we

will not

get approval, or

we

_{accept outside}

comment

and

_{interpretationunquestionably. In} a culture

where

approval/disapproval has

become

the predomi-nant _regulatorof effort

and

_position,

and

often the substitute for

love,our personalfreedomsare_dissipated.

Abandoned

to the

whims

of _others,

we

must

wander

_daily

through the

wish

to beloved

and

the fear of rejection before

we

can

be

_{productive. Categorized "good"} or "bad"

from

birth _(a

"good"

baby

does not cry too

much)

we

become

so

enmeshed

with the tenuous treads of _{approval/disapproval} that

we

are

cre-ativelyparalyzed.

We

seewithothers' eyes

and

smellwith others'. noses.

Having

thus tolookto others to tellus

where

we

are,

who

we

are,

and what

is _happeningresults inaserious _{(almost total) loss} of_{personal experiencing.}

We

lose the _abilityto

be

_organically

in-volvedina_problem,

and

in adisconnected_way,

we

functionwith

onlypartsofourtotal selves.

We

donot

know

our

own

substance,

and

in the _attemptto live _{through (or} avoid _{living through)} the eyes of others, self-identity is obscured, our bodies

become

mis-shapened, natural grace is _gone,

and

_learning is affected.

Both

the individual

and

the art

form

are distorted

and

_deprived,

and

insightislosttous.

Tryingto save ourselves from attack,

we

build a

_mighty

fort-ress

and

_{are timid, or}

we

_fight each time

we

venture forth.

Some

in _striving with _{approval/disapproval develop egocentricity}

and

exhibitionism;

some

_give

_{up and}

_{simply go along.} Others, like

Elsa in the _fairy tale, are forever _knocking

on

windows, _jingling

their chain ofbells,

and

_wailing,

"Who

am

I?" In all cases,

con-tact with the environment is _{distorted. Self-discovery}

and

other exploratorytraits tendto

become

atrophied. Trying to

be

"good"

and

_avoiding "bad" or _{being "bad" because one} can't

be

_"good"

developsinto a

way

oflifeforthoseneeding approval/disapproval

from authorityand

the _{investigation}

and

_solving of _problems

becomes

of_{secondaryimportance.}

Approval/disapproval grows out of authoritarianism that has

teacher

and

_ultimately the whole social structure _(mate,

em-ployer, family, neighbors,etc.).

The

_language

and

attitudes of authoritarianism

must

be con-stantlyscourgedifthetotalpersonalityis to

emerge

as a

working

unit. Allwords

which

shut doors, have emotional content or

im-plication, attack the student-actor's personality, or keep a student

slavishly dependent on a teacher's judgment are to be avoided.

Since most of us _{were brought}

_{up by}

_{the approval/disapproval}

method, constantself-surveillance is

necessary on the part of the teacher-director to eradicateit inhimself so thatit will not enter theteacher-student_{relationship.}

The

_expectancy of _{judgment prevents} free _{relationships} within the _{actingworkshops.} Moreover, the teacher cannot _truly

judge good or

bad

for another, for there is

no

_{absolutely right} or

wrong

way

tosolve_{a problem:} a teacher of

wide

_{past experience}

may

know

a hundred

_ways

to _{solve a particularproblem,}

and

a

student

_may

turn

_up

with the

hundred and

first!2 This is

particu-larlytrue in thearts.

Judging on thepart ofthe teacher-director limits his

own

ex-periencing as wellas the students', forin judging,

he

keeps

him-selffrom a fresh

moment

of _experience

and

_{rarely goes}

_beyond

what he

_alreadyknows. This limits

him

to the use of

rote-teach-ing, offormulas or other standard concepts

which

prescribe stu-dentbehavior.

Authoritarianism is

more

difficult to _recognize in _approval than in

disapproval particularly

when

a student begs for ap-proval. It gives

him

a sense of himself, for a teacher's approval

usuallyindicates progress has

been

made, butit remains progress

intheteacher's terms,nothis own. In_wishing to avoid_approving therefore,

we

must

be careful not to detach ourselves in such a

way

thatthe student feels _lost, feels that he is

learning nothing,

etc.

True _personal freedom

and

_{self-expression} can _{flower only} in

an atmosphere

where

attitudes _{permit equality}

between

student

and

teacher and_{the dependencies} of teacherfor student

and

stu-dent for teacher are done

_away

with.

The

_problems within the subjectmatterwillteachboth ofthem.

2

Accepting simultaneously a student's right to equality in

ap-proaching a

problem and

his lack of

experience puts a

burden

on the teacher. This

_way

of

teaching at firstseems

more

_difficult, for

the teacher

must

oftensit out thediscoveries ofthe student with-out_{interpreting orforcing conclusions}

on

him. Yetitcan

be

more

rewarding for the teacher, because

when

student-actors have

trulylearnedthroughplaying, the quality ofperformancewill

be

high indeed!

The

problem-solving

games and

exercises in this

handbook

will _help clear the air _{of authoritarianism,}

and

as the _training continues, it should _disappear.

With

an

_awakening

sense of self,

authoritarianism drops away. There is

no need

for the "status" given

by

approval/disapproval as all _(teacher as wellas _student) struggle for personal insightswith intuitive awareness

comes

a feelingofcertainty.

The

shift

_away

from

the teacheras _{absolute authority does not}

always take place immediately. Attitudes are _years in _building,

and

all of us are afraid to let _go of them.

Never

_{losing sight} of the fact that the needs _of the theater are the real master, the teacher will find his _{cue, for the teacher too should accept the}

rules ofthe _game.

Then

he will _easily find his role as _guide; for

after all, the teacher-director

knows

the theater technically

and

artistically,

and

his experiences are

needed

inleading the group.

Group

Expression

A

_{healthy group relationship}

demands

a

number

of

individu-als _{working interdependently} to _{complete a given project} with

fullindividual_{participation}

and

_personalcontribution. If one

per-son dominates, the other

members

have little _growth or _pleasure

inthe_activity; atrue_{grouprelationship}does notexist.

Theaterisanartistic _{grouprelationship}

_demanding

the talents

and

_energy of

_many

_people

from

the first _thought of _{a play} or scene to thelast echo of _applause.

Without

this interaction there

is

no

place for the single actor, for without group functioning,

who

would

he

_playfor,

what

materials

would he

use,

and

what

ef-fects could

he

_produce?

A

student-actor

must

learn that

"how

toact," like the _game, is _inextricably

bound up

with _{every other}

person inthe complexity of the artform. Improvisational theater

agreement

and

groupplayingthat material evolves forscenes

and

plays.

For the studentfirst _entering the theater experience, _working

closely with a group gives

him

a great security on one

hand and

becomes

a threat on the other. Since _{participation} in a theater

activity is confused

by

many

with exhibitionism (and therefore

with the fear of

exposure), the individual fancies himself one against

many.

He

must single-handedlybrave a large

number

of "malevolent-eyed" people sitting injudgment.

The

student, then,

benton_provinghimself, is _{constantlywatching and judging}

him-self

and

moves

nowhere.

When

_{working with}a _group,however,playing

and

experienc-ingthings together,the student-actor integrates andfinds himself within the whole _activity.

The

differences as well as the

similar-itieswithin the_{groupare accepted.}

A

_group shouldnever

be

used

to_{induce conformitybut,}as ina_game,should

be

a _spurto action.

The

cue for the teacher-director is _{basically simple:}

he

must

see thateachstudentis

participating freely atevery

moment.

The

challengeto the teacher or leader is to activize each student in the _group while _respecting each one's immediate _capacity for participation.

Though

the giftedstudentwillalways

seem

to

have

more

to

give, yetif a student is _{participating} to the limit of his

powers

and

using his abilities to their fullest extent, he

must be

respected for so doing,

no

matter

how

minute his contribution.

The

student_{cannot always} do

what

the teacher thinks

he

should

do, but as

he

_progresses, his

capacities will enlarge.

Work

with the student

where he

is,not

where you

thinkheshould be.

Group

participation

and

agreement

remove

all the

_imposed

tensions

and

exhaustions of the _{competitiveness}

_{and open}

the

way

for _harmony.

A

_{highly competitive atmosphere} creates arti-ficial_tensions,

and

when

competition replaces participation,

com-pulsive action is the result. Sharp competition connotes to even the_youngestthe ideathat

he

has to bebetterthan

someone

else.

When

a_playerfeels_this,his

energyis _spent onthis _alone;

he

be-comes

anxious

and

_driven,

and

his _{fellow players}

become

athreat

to him. Should _competition be mistaken for _{a teaching} tool, the

whole

_meaning

of

playing

and games

is distorted.

Playing allows a personto _{respond with}his "total_organism withina total

envir-onment."

_Imposed

forit _destroys the basicnature of_playing

_by

_occluding self

-iden-tity

and by

separating playerfromplayer.

When

_competition

and

_{comparisons run high} within

an

ac-tivity,thereis an immediate effecton thestudent

which

is _patent

in his behavior.

He

fights for status

by

tearing another person

down,

_{develops defensive} attitudes (_giving detailed"reasons" for

the simplestaction,_bragging, or_blamingothers for

what he

does₎

by

aggressivelytakingover, or

_by

_signsofrestlessness.

Those

who

find it

impossible to cope with imposed tension turn to apathy

and boredom

for release. Almostall

show

signs offatigue.

Natural _competition,

on

the other hand, is an

organic part of every group activity

and

gives both tension

and

release in such a

_way

asto_keep the_playerintactwhile_playing. Itis the_growing excitement as each

_problem

is solved

and more

challenging ones appear. Fellowplayers are

needed and

welcomed. It can

become

a processfor greater penetration into the environment.

With

_mastery of each

and

_every

_problem

we

move

out into larger vistas, for once a _problem is _solved, it dissolves like cotton candy.

When we

master crawling,

we

stand,

and

when

we

stand,

we

walk. This _{everlastingappearing}

and

_{dissolving of}

_phenomena

develops agreater

and

greater sight (perceiving) inus with each

new

set of_{circumstances. (See} alltransformation_exercises.)

If

we

are to _{keep playing, then, natural competition}

must

exist wherein each individual strives to solve

consecutively

more

complicated problems. These can be solved then, not at the

ex-pense of anotherperson

and

not with the terrible personal emo-tionalloss that

comes

_{with compulsive behavior,} but

_by

_working harmoniouslytogetherwith others to enhance the group effort or

project. It is only

when

the scale of values has taken competition

as the battle _cry that _danger ensues: the

end-resultsuccessbe-comes

more

_{important thanprocess.}

The

useof_energyin excess of a

_problem

is_{very evidenttoday.}

While

it is true that

some

_{peopleworking}

on

_{compulsive energies}

do

make

successes, they have for the

most

part lost sight of the pleasure in the activity

and

are dissatisfied with their

achieve-ment. It stands to reasonthat if

we

direct all our efforts towards

reaching a goal,

we

standin grave danger oflosing everything on

su-perimposed on an activity instead of evolving out ofit,

we

often

feelcheated

when

we

reachit.

When

_{the goal appears} easily

and

naturally

and comes from

growth rather than forcing the end-result, performance or

what-ever, willbe no different from the _process that achieved the

re-sult. If

we

are trained _only for success, then to _gain it

we

must

necessarily use everyone

and

everything for this end;

we may

cheat, lie, crawl, betray, or give

up

all social life to achieve

suc-cess.

How

much

more

certain

would knowledge be

if it

came

from

and

out of the excitement _{of learning} itself.

How

_many

human

values will be lost and

how much

will our art forms be

deprivedif

we

_{seek only}success?

Therefore, in _{diverting competitiveness} to _{group endeavor,}

remembering

that process comes before end-result,

we

free the student-actorto trust the

scheme and

_help

him

to solve _the

prob-lemsofthe_activity. Both the

giftedstudent

who

would

have

suc-cess _{even under high} tensions

and

the student

who

has little

chance to succeed under _pressure

show

a _{great creative release}

and

the artistic standards within the

_workshop

rise _higher

when

free, healthy energy

moves

unfettered into the theater activity.

Since the _acting

_probems

are _cumulative, all are

_{deepened and}

enriched

_by

eachsuccessive _experience.

Audience

The

role of the audience

must

become

a concrete _part of theater _training. For the most_part, it is _{sadly ignored.}

Time

and

thoughtare given to the placeofthe actor, set _{designer, director,}

technician, house manager, etc., but the _{large group without}

whom

their efforts

would be

for _nothing is _rarely

given the least consideration.

The

audience is _regarded either as a cluster of

Peeping

Toms

to be tolerated

by

actors

and

directors or as a

many-headed

monstersittingin judgment.

The

_{phrase "forget} the audience" is a

mechanism

used

_by

many

directors as a

means

of _{helping the} student-actor to relax

on

_stage.

But

this attitude _probably created the fourth wall.

The

actor

must

no

more

_forget his audience than his _lines, his

props,orhisfellowactors!

The

audience is the most revered

member

of the theater.

Without

an audiencethereis

no

theater. _{Everytechnique learned}

by

the actor, every curtain

and

flat on the _{stage, every} careful analysis

by

the director, every coordinated scene, is for the

en-joyment of the audience.

They

are our guests, our evaluators,

and

the last _spoke in the wheel

which

can then _begin to roll.

They make

theperformancemeaningful.

When

thereis

understanding oftherole ofthe audience,

com-plete release

and

freedom

come

to the player. Exhibitionism withers

_away

when

the student-actor _begins to see

members

of the audiencenot as _judges or censors or even as _delightedfriends

but as a_{group with}

whom

heis _sharing an _experience.

When

the

audience is understood to be an _{organic part} of the theater ex-perience, the student-actor is immediately given ahost's sense of responsibility toward

them which

has in it

no

nervous tension.

The

fourthwall_disappears,

and

the _{lonely looker-in}

becomes

_part of the _{game, part} of the _experience,

and

is welcome! This

rela-tionship cannot be instilled at dress rehearsal or in a last minute lecture but must, like all other

_workshop

_problems,

be

handled

from

the_veryfirst_{actingworkshop.}

If there is _agreement that all those involved in the theater

should have _personal freedom to _experience, this

must

include theaudience each

member

ofthe audience

must

have _{a personal}

experience, not artificial stimulation, while _viewing a play. If

they are to

be

part of this group agreement, they cannot

be

thought of as a single mass to be pulled hither

and yon

by

the

nose,nor shouldthey

have

to live

someone

else's life story (even

for _{one hour) nor identify} with the actors

and

_{play out} tired,

handed-down

_{emotions through them.}

_They

are _separate

indi-viduals _watching the skills _{of players (}

and

playwrights),

and

it

is for each

and

_every one of

them

that the _players

_(and

play-wrights)

must

use these skills to create the magical world of a

theater_reality. This should be a world

where

_every

human

pre-dicament, riddle, or vision can

be

explored, a world of

magic

where

rabbits can

be

_{pulled out} of a hat

when

needed

and

the devilhimselfcan

be

_conjured

_{up and}

talkedto.

The

_problems of

present-day theater are only

now

being

for-mulated

into _questions.

When

our _{theater training}can enable the future_playwrights, directors,

and

actors tothink_through the role

of the audience as individuals

and

as _part of _{the process} called theater, each one with a right to a thoughtful

and

personal

ex-perience,is itnot possible that awhole

new

formof theater pres-entation will _{emerge? Already} fine _{professional improvising}

theaters have evolved _directlyfrom this

_way

of_working, delight-ing audiences nightafternightwithfresh theatrical experiences.

3

Theater Techniques

Theater _techniques are far from sacred. _Styles in theater

change radically withthepassing of years, for the techniques of thetheater are_{the techniquesofcommunicating.}

The

_{actuality of}

*

the communication is far

more

_important than the

method

used.

Methods

alter to

meet

theneedsoftime

and

_place.

When

a theater _{technique or stage} convention is _regarded as

aritual

and

the reason for its inclusion in the list of actors' skills

islost, it isuseless.

An

artificial barrieris set

_up

when

_techniques

are _separatedfrom _{direct experiencing.}

No

one _{separates batting}

aballfromthe

_game

itself.

Techniques are not mechanical devices a neat little

_bag

of

tricks, each neatly labeled, to be _pulled out

_by

the actor

when

necessary.

When

the formofan art

becomes

static, these isolated

"techniques"

presumed

to

make

theform are_taught

and

adhered

to

strictly.

Growth

of both individual

and

form suffer thereby, forunlessthestudentis

unusuallyintuitive, such_rigidityin teach-ing, because it neglects Inner development, is _invariably

re-flectedinhis

performance,

When

theactor

knows

"in his bones" there are

_many

_ways

to

do

and

_sayone _{thing, techniques} will

come

_{(as theymust)}

from

his totalself. For it is

_by

_direct,

_dynamic

awareness of an _acting

experience that experiencing

and

techniques are spontaneously

wedded,

freeing the student for the flowing, endless pattern of stage behavior.Theater

games

dothis.

Carrying

The

Learning

Process Into

_Daily

Life

The

artist

must

always

know

where he

is, _perceive

and open

himselfto receive the

_phenomenal

worldifheis to create _reality

on

_stage. Since theater

training does not have its practice hours inthe

home

(itis

strongly

recommended

thatno scripts

be

taken

home

to _{memorize, even}

when

_rehearsing a formal _play),

what

3_TheSecond

we

seek

must be

_brought to the student-actor within the

work-shop.

4

This

must

be done in such a

_way

that he absorbs it,

and

carries itout again _{(insidehimself)} to his_dailyliving.

Because ofthe nature of the _acting

problems, it is _imperative

to _sharpen one's

whole

_{sensory equipment,} shake loose

and

free one's self of all

preconceptions, interpretations,

and

assumptions

(ifoneis tosolvetheproblem) soastobeableto

make

direct

and

fresh contact with the created environment

and

the _objects

and

the _people within it.

When

this is learned inside the theater world, it

simultaneously produces recognition, direct

and

fresh contact with the outside world as well. This, then, broadens the student-actor's _ability to involve himself with his

own

phenom-enalworld

and

more

_personallyto _experience it.

Thus

experienc-ing is the only actual

homework

and, once begun, like

ripples on

wateris endless

and

_penetratinginitsvariations.

When

the studentsees_people

and

the

_way

_theybehave

when

together,seesthecolor ofthesky,hearsthesoundsintheair,feels

the

_ground

beneath

him

and

the

wind

onhis face, he_gets a wider view of his _personal world

and

his _development as an actor is

quickened.

The

world provides the material for the theater,

and

artistic _{growth develops}

hand

in

hand

with one's _recognition of

it

and

himselfwithinit.

Physicalization

The

term _{"physicalization"} as used in this

book

describes the

means

_by

which

materialis

presented to the student

on

a

physi-cal,non-verballevel as_opposed toanintellectualor_{psychological}

approach. "Physicalization" provides the student with a personal concrete experience (which

he

can grasp)

on

which

his further

development depends;

and

it _gives the teacher

and

student a

working vocabularynecessaryto an objective relationship.

Our

first concern with students is to _{encourage freedom} of physical expression, because the physical

and

sensory relation-ship with the art

form

opens the door for insight.

Why

this is so

is hardto_say, but

be

certain thatit is so. It_keeps the actor in an

evolving world of direct perception an

open

self in relation totheworld aroundhim.

4

See Chapter

Reality as far as

we

know

can only be physical, in that it is received

and communicated

_through the _{sensory equipment.}

Through

physical relationships all life springs, whether it

be

a

sparkoffirefrom aflint, theroar ofthe surf hitting the beach, or

achildborn of

man

and

woman. The

_physical is the

_{known, and}

throughit

we may

findour

_way

tothe

unknown,

theintuitive,

and

perhaps

beyond

toman'sspirititself.

In _anyartform

we

_{seek the experience}of_going

_beyond

what

we

_already know.

_Many

of us hear the _stirring of the _new,

and

it is the artist

who

must

midwife the

new

_reality that

we

(the audience) eagerly await. It is

sight into this reality that inspires

and

_regenerates us. This is the role of the artist, to _{give sight.}

What

he believes cannot be our concern, for these matters are of_{intimate nature, private} to the actor

and

not for _public

view-ing.

Nor need

we

be

concerned withthe feelings of the actor, for

use in the theater.

We

should be interested _only in his direct

physical communication; his feelings are personal to him.

When

energy is absorbed in the _{physical object,} there is

no

time for "feeling"

any more

than a quarterbackrunning

down

thefield can be concerned with his clothes or whether

he

is _universally ad-mired. If thisseems_harsh,be assuredthat _insisting

_upon

this

ob-jective (physical) relationship with the art form brings clearer

sight and greater vitality to the student-actors. For the energy

bound up

inthefear of_exposureisfreed _(and

no more

_secretive)

asthestudent_intuitively

comes

to realize

no

one is

peepingat his

privatelife

and

no one cares

where he

buried the body.

A

_player can dissect, analyze, intellectualize, or _develop a

valuablecase_historyfor his _part, butif

he

is unableto assimilate

it

and

communicate it

physically, it is useless within the theater form. Itneither frees his feetnor_brings the fire of _{inspiration to} the _eyes ofthose in the audience.

The

theater is not a _clinic, nor

should it

be

a

place to gather statistics.

The

artist

must

draw

upon and

express a world that is _physical but that transcends objects

more

than accurate observation

and

information,

more

than _{the physical object itself,}

more

_{than the eye} can see.

We

must

allfindthetoolsforthis _{expression."Physicalization"} is such

atool.

When

a_playerlearns

he

can

communicate

_directly to the au-dience _{only through} the _{physical language} of the _stage, it alerts

his

whole

_organism.5

He

lends himselftothe

scheme and

letsthis

physical expression carry

him

wherever it will.

For

improvisa-tional theater, for instance,

where few

or

no

_props, costumes, or set pieces are used, the player learns that a _{stage reality}

must

have

_{space, texture, depth,}

and substancein

short, _physical

re-ality.Itishiscreatingthis reality outofnothing, so to speak, that

makes

it _possible for

him

to take his first _step into the _beyond.

For

the formal theater

where

sets

and

_props are used,

_dungeon

walls are but _{painted canvas}

and

treasure chests

_empty

boxes. Here, too,the _player can create the theater _{reality only}

_by

mak-ing it _physical.

Whether

with

prop, costume, or strong emotion the actor_{can only}

show

us.

5_{"Direct communication"}

as used in this text refers to a moment of

mutual_perceiving.