Improvisation for the Theater

by Spolin, Viola; Sills, Paul

• ISBN13: 9780810140097
• ISBN10: 0810140098
• Edition: 3rd
• Format: Hardcover
• Copyright: 1999-06-01
• Publisher: Northwestern Univ Pr

Table of Contents

Editor's Note	vii	(2)
Paul Sills' Introduction	ix	(4)
Paul Sills' Sayings of Viola Spolin	xiii	(22)
Alphabetical List of Exercises	xxxv	(12)
Acknowledgments	xlvii	(2)
Viola Spolin's Preface to the First Edition	xlix	(4)
Viola Spolin's Preface to the Second Edition	liii
THEORY AND FOUNDATION	3	(48)
CHAPTER I CREATIVE EXPERIENCE	3	(15)
SEVEN ASPECTS OF SPONTANEITY	4	(14)
Games	4	(2)
Approval/Disapproval	6	(3)
Group Expression	9	(4)
Audience	13	(1)
Theater Techniques	14	(1)
Carrying the Learning Process into Daily Life	15	(1)
Physicalization	16	(2)
CHAPTER II WORKSHOP PROCEDURES	18	(33)
Problem-Solving	20	(1)
Focus (The Point of Concentration)	21	(5)
Evaluation	26	(2)
Side-Coaching	28	(2)
Teams and Presentation of the Problem	30	(1)
Presenting the Problem	30	(1)
PHYSICAL SET-UP OF THE WORKSHOPS	31	(5)
Environment in Workshop Training	31	(1)
Preparation for the Acting Problem	32	(1)
Timing	33	(1)
Labels and/or Concepts	34	(1)
Avoiding the How	35	(1)
REMINDERS AND POINTERS	36	(15)
EXERCISES	51	(204)
CHAPTER III ORIENTATION	51	(36)
ORIENTATION PURPOSES	51	(1)
OUTLINE OF A THEATER GAME	52	(3)
EXPOSURE	53	(2)
SENSORY AWARENESS	55	(6)
SEEING A SPORT	56	(1)
SEEING A SPORT, RECALL	56	(1)
LISTENING TO THE ENVIRONMENT	57	(1)
WHAT AM I LISTENING TO?	57	(1)
FEELING SELF WITH SELF	57	(1)
IDENTIFYING OBJECTS GAME	58	(1)
GROUP TOUCH EXERCISE #1	58	(1)
GROUP TOUCH EXERCISE #2	59	(1)
TASTE AND SMELL	59	(1)
Evaluation of All Sensory Exercises	59	(1)
Points of Observation for All Sensory Exercises	60	(1)
MIRROR SERIES	61	(2)
MIRROR	61	(1)
MIRROR/WHO IS THE MIRROR?	62	(1)
MIRROR/FOLLOW THE FOLLOWER	62	(1)
PHYSICAL INVOLVEMENT	63	(16)
TUG-OF-WAR	63	(1)
PART OF A WHOLE ACTIVITY (WHAT)	64	(1)
OBSERVATION GAME	64	(1)
PLAY BALL	64	(1)
INVOLVEMENT IN TWOS	65	(1)
INVOLVEMENT IN THREES OR MORE	65	(1)
INVOLVEMENT WITHOUT HANDS	66	(1)
MIRROR/SUB-TEAMS FOLLOW THE FOLLOWER	67	(1)
PART OF A WHOLE OCCUPATION (WHO)	67	(1)
WHO STARTED THE MOTION?	68	(1)
DIFFICULTY WITH SMALL OBJECTS	68	(1)
HOW OLD AM I?	69	(1)
HOW OLD AM I? REPEAT	70	(1)
OBJECT MOVING PLAYERS	71	(1)
IT'S HEAVIER WHEN IT'S FULL	72	(1)
PART OF A WHOLE RELATIONSHIP	72	(1)
PART OF A WHOLE	73	(1)
THREE CHANGES	73	(1)
WHAT DO I DO FOR A LIVING?	74	(1)
MIRROR PENETRATION	75	(1)
CONVERSATION WITH INVOLVEMENT	76	(1)
INVOLVEMENT WITH LARGE OBJECTS	76	(1)
DRAWING OBJECTS GAME	77	(1)
TRAPPED	77	(1)
PHYSICALIZING AN OBJECT	78	(1)
MAINTAINING SURFACE HEIGHTS	78	(1)
BEGIN-AND-END WITH OBJECTS	78	(1)
SPACE SUBSTANCE	79	(6)
SPACE WALK I (EXPLORATION)	80	(1)
SPACE WALK II (SUPPORT AND EFFORT)	80	(1)
SPACE SHAPING/SINGLE	81	(1)
SPACE SHAPING/ENSEMBLE	82	(1)
TRANSFORMATION OF OBJECTS	82	(1)
SPACE WALK III (TOUCH & BE TOUCHED/SEE & BE SEEN)	83	(1)
NO MOTION WARM-UP	83	(1)
PENETRATION (SIGHT)	84	(1)
ADD A PART	85	(1)
ORIENTATION SUMMARY	85	(2)
CHAPTER IV WHERE	87	(48)
INTRODUCTION	87	(1)
The Three Environments	87	(1)
Involvement with Where	87	(1)
EARLY WHERE SESSION	88	(11)
Establishing Focus on Where, Who, and What	88	(2)
EMERGING WHERE	90	(1)
WHERE/FLOORPLANS & STAGE DIRECTIONS	91	(1)
WHERE EXERCISE WITH FLOORPLANS	92	(6)
THE WHERE GAME	98	(1)
WHAT'S BEYOND? EXERCISES	99	(1)
WHAT'S BEYOND?/WHERE	99	(1)
WHAT'S BEYOND?/ACTIVITY	100	(1)
FURTHER WHERE SESSIONS	100	(4)
WHERE WITH HELP	100	(1)
WHERE WITH OBSTACLES	101	(1)
FINDING OBJECTS IN THE IMMEDIATE ENVIRONMENT	101	(1)
WHERE WITH UNRELATED ACTIVITY	102	(1)
WHAT TIME IS IT? A	103	(1)
WHAT TIME IS IT? B	104	(1)
WHAT TIME IS IT? C	104	(1)
WHO EXERCISES	104	(3)
WHO'S KNOCKING? A	105	(1)
WHO'S KNOCKING? B	105	(1)
WHO GAME	106	(1)
WHO GAME/ADDING WHERE AND WHAT	106	(1)
INVOLVEMENT WITH THE ENVIRONMENT	107	(5)
WEATHER EXERCISE #1	107	(1)
WEATHER EXERCISE #2	108	(1)
WEATHER EXERCISE #3	108	(1)
EXPLORATION OF LARGER ENVIRONMENT	108	(1)
QUICK SELECTION EXERCISE FOR WHERE	109	(1)
EXCHANGING WHERES	110	(1)
INVOLVEMENT WITH THE IMMEDIATE ENVIRONMENT	111	(1)
WHERE THROUGH THREE OBJECTS	111	(1)
GIBBERISH	112	(6)
Developing Organic Response Through Gibberish	112	(2)
Introducing Gibberish	114	(1)
GIBBERISH/INTRODUCTION	114	(1)
GIBBERISH/DEMONSTRATION	114	(1)
GIBBERISH/PAST INCIDENT	115	(1)
GIBBERISH/TEACHING	116	(1)
GIBBERISH/THE WHERE GAME	116	(1)
GIBBERISH/WHERE WITH GIBBERISH	116	(1)
GIBBERISH/FOREIGN LANGUAGE A	117	(1)
GIBBERISH/FOREIGN LANGUAGE B	117	(1)
GIBBERISH/GIVE AND TAKE (TWO SCENES)	118	(1)
ADDITIONAL EXERCISES FOR HEIGHTENING THE REALITY OF WHERE	118	(10)
Stop!	118	(1)
VERBALIZING THE WHERE	118	(3)
WHAT'S BEYOND?/UNKNOWN EVENT	121	(1)
WHAT'S BEYOND?/PAST OR FUTURE EVENT	121	(1)
WHAT'S BEYOND?/PRESENT EVENT	122	(1)
PREOCCUPATION A	122	(3)
BEGIN AND END	125	(2)
RUMINATING	127	(1)
ADDITIONAL EXERCISES FOR SOLVING PROBLEMS OF WHERE	128	(7)
THE SPECIALIZED WHERE	128	(1)
ART GALLERY	128	(1)
SHOWING WHO THROUGH THE USE OF AN OBJECT	129	(1)
WHERE WITH SET PIECES	129	(1)
WHERE HOMEWORK EXERCISE	130	(1)
THE ABSTRACT WHERE A	131	(1)
THE ABSTRACT WHERE B	132	(1)
SHOWING WHERE WITHOUT OBJECTS	132	(1)
SENDING SOMEONE ON STAGE	133	(1)
THE THUMBNAIL SKETCH	133	(1)
SHOWING WHERE THROUGH WHO AND WHAT	134	(1)
WHERE WITHOUT HANDS	134	(1)
CHAPTER V ACTING WITH THE WHOLE BODY	135	(10)
EXERCISES FOR PARTS OF THE BODY	135	(6)
FEET AND LEGS ALONE	135	(2)
HANDS ALONE	137	(1)
EXERCISE FOR BACK	138	(2)
PARTS OF THE BODY: FULL SCENE	140	(1)
EXERCISES FOR TOTAL BODY INVOLVEMENT	141	(4)
TOTAL BODY INVOLVEMENT	141	(1)
RHYTHMIC MOVEMENT	141	(1)
TENSE MUSCLE	142	(1)
PUPPETS AND/OR AUTOMATION	143	(2)
CHAPTER VI NON-DIRECTIONAL BLOCKING	145	(12)
FUNDAMENTALS	145	(3)
Stage Business	146	(1)
Share with Your Audience	147	(1)
EXERCISES	148	(9)
PREOCCUPATION B	148	(1)
GIVE AND TAKE/TWO SCENES	149	(3)
CONVERGE AND RE-DIVIDE	152	(1)
LONE WOLF	152	(1)
CHANGING PLACES	153	(1)
SIGHT-LINES (TRANSFORMATION OF STAGE PICTURE)	154	(1)
MOB SCENES	155	(1)
EXITS AND ENTRANCES	156	(1)
BEGIN AND END	156	(1)
CHAPTER VII REFINING AWARENESS	157	(23)
LISTENING	157	(4)
RELATING AN INCIDENT ADDING COLOR	157	(1)
GIVE AND TAKE/TWO SCENES	158	(1)
BASIC BLIND	158	(2)
BLIND FOR ADVANCED STUDENTS A	160	(1)
BLIND FOR ADVANCED STUDENTS B	160	(1)
Summary on Blind Exercise	160	(1)
SEEING AND NOT STARING	161	(4)
MIRROR/SUB-TEAMS REFLECT FEELINGS	162	(1)
GIBBERISH/DEMONSTRATION	163	(1)
PITCH	163	(1)
EYE CONTACT #1	163	(1)
EYE CONTACT #2	164	(1)
SHADOWING	164	(1)
SHADOWING THE SELF	165	(1)
VERBAL AGILITY	165	(1)
THROWING LIGHT GAME	166	(1)
BUILDING A STORY SERIES	166	(4)
STORY-BUILDING	166	(1)
POETRY-BUILDING	167	(1)
CONTRAPUNTAL ARGUMENT	167	(2)
WANDERING SPEECH A	169	(1)
WANDERING SPEECH B	170	(1)
CONTACT	170	(4)
CONTACT	171	(3)
SILENCE	174	(2)
SILENT TENSION #1	175	(1)
SILENT TENSION #2	175	(1)
NO MOTION EXERCISES	176	(4)
NO MOTION #1	176	(1)
NO MOTION #2	177	(1)
NO MOTION #3	178	(1)
NO MOTION #4	178	(1)
EXCURSIONS INTO THE INTUITIVE	178	(1)
Silence Before Scenes	179	(1)
CHAPTER VIII BROADCASTING AND TECHNICAL EFFECTS	180	(9)
RADIO AND TV	180	(5)
FIRST RADIO EXERCISE	181	(2)
ANIMAL IMAGES	183	(1)
Children's Introduction to Radio	183	(2)
ROVING REPORTER A	183	(1)
ROVING REPORTER B	183	(1)
ROVING REPORTER C	184	(1)
TELEVISION EXERCISE	184	(1)
TECHNICAL EFFECTS	185	(4)
INTEGRATION OF ON-STAGE AND BACK-STAGE ACTION A	186	(1)
INTEGRATION OF ON-STAGE AND BACK-STAGE ACTION B	186	(1)
CREATING MOODS ON STAGE	187	(1)
VOCAL SOUND EFFECTS	187	(2)
CHAPTER IX DEVELOPING MATERIAL FOR SITUATIONS	189	(17)
WORD GAME A	189	(2)
WORD GAME B	191	(3)
ONCE UPON A TIME	194	(1)
USING OBJECTS TO EVOLVE SCENES	194	(1)
DETAILING THE OBJECT (TRANSFORMATION)	194	(1)
HERO EXERCISE	195	(1)
TRANSFORMING THE OBJECT	195	(1)
TELEVISION SCREEN	196	(1)
LEAVING SOMETHING ON STAGE	197	(1)
SCENE-ON-SCENE	198	(1)
THEME-SCENE	199	(1)
SUPPLICATION	200	(1)
ORCHESTRATION	201	(1)
RANDOM WALK	201	(1)
HIDDEN PROBLEM	202	(1)
SUGGESTIONS BY THE AUDIENCE	203	(3)
CHAPTER X SPEECH AND ROUNDING-OUT EXERCISES	206	(13)
SPEECH	206	(4)
EXTENDED SOUND	206	(1)
SINGING DIALOGUE	207	(1)
CALLING-OUT EXERCISE	208	(1)
STAGE WHISPER WARM-UP	208	(1)
STAGE WHISPER	208	(1)
CHORAL READING	209	(1)
GREEK CHORUS	209	(1)
WHISPER-SHOUT EXERCISE	210	(1)
PHYSICALIZATION	210	(2)
DEAF AUDIENCE	210	(1)
DUBBING	211	(1)
SLOW MOTION	212	(2)
SLOW MOTION/FREEZE TAG	212	(1)
SLOW/FAST/NORMAL	213	(1)
SEEING	214	(1)
CAMERA	214	(1)
SEEING THE WORD	215	(1)
DEVELOPING SCENES FROM AUDIENCE SUGGESTIONS	215	(1)
ON THE SPOT	216	(1)
VALUABLE MIRROR EXERCISES	216	(1)
MIRROR/THREE-WAY	216	(1)
MIRROR/COMBINATION	216	(1)
MIRROR/DISTORTING	217	(1)
MIRROR/GROUP FOLLOW THE FOLLOWER	217	(1)
AUDIENCE PLAYERS SIDE-COACH	217	(2)
AUDIENCE DIRECTS (SIDE-COACHES)	217	(1)
EXPLORE AND HEIGHTEN	217	(2)
CHAPTER XI EMOTION	219	(14)
PHYSICALIZATION	221	(8)
SILENT SCREAM	221	(1)
INABLILITY TO MOVE A	221	(1)
INABILITY TO MOVE B	221	(2)
CHANGING EMOTION	223	(1)
CHANGING INTENSITY OF INNER ACTION	224	(1)
JUMP EMOTION	225	(1)
SHOWING EMOTION THROUGH OBJECTS	225	(2)
EMOTION GAME	227	(1)
REJECTION	227	(1)
EMOTION THROUGH CAMERA TECHNIQUES	228	(1)
CONFLICT	229	(4)
CONFLICT EXERCISE	231	(1)
HIDDEN CONFLICT	231	(1)
WHAT TO DO WITH THE OBJECT	232	(1)
CONFLICT GAME	232	(1)
CHAPTER XII CHARACTER	233	(22)
DEVELOPING A CHARACTER	234	(3)
Physicalizing	236	(1)
WHO GAMES FOR CHARACTER DEVELOPMENT	237	(2)
WHO GAME/FACIAL EMOTION	237	(1)
WHO GAME/BODY ATTITUDE	238	(1)
WHO GAME/ADDING CONFLICT	238	(1)
PHYSICALIZING ATTITUDES	239	(1)
HOLD IT! A	239	(1)
HOLD IT! B	240	(1)
PHYSICAL VISUALIZATION	240	(4)
ANIMAL IMAGES	241	(2)
STATUES	243	(1)
PHYSICAL ATTRIBUTES	244	(3)
PHYSICAL EXAGGERATION	244	(1)
COSTUME PIECE	245	(1)
PHYSICAL IRRITATION A	245	(1)
PHYSICAL IRRITATION B	246	(1)
NERVOUS HABITS OR TICS	246	(1)
DEVELOPING CHARACTER AGILITY	247	(8)
CHARACTER AGILITY A	248	(1)
CHARACTER AGILITY B	248	(1)
CHARACTER AGILITY C	249	(1)
CHARACTER AGILITY D	249	(1)
CHARACTER AGILITY E	249	(1)
TRANSFORMATION OF RELATIONSHIP	250	(1)
CREATING A STAGE PICTURE	251	(4)
CHILDREN AND THE THEATER	255	(42)
CHAPTER XIII UNDERSTANDING THE CHILD	255	(13)
THE TEACHER'S ATTITUDE	255	(2)
THE INDIVIDUAL AND THE GROUP	257	(1)
THE CHILD ACTOR'S THEATER ENVIRONMENT	257	(1)
GAMES	258	(1)
ATTENTION AND ENERGY	259	(1)
DRAMATIC PLAY	260	(2)
NATURAL ACTING	262	(1)
THE FIGHT FOR CREATIVITY	263	(1)
DISCIPLINE IS INVOLVEMENT	264	(2)
THE UNCERTAIN CHILD	266	(2)
CHAPTER XIV FUNDAMENTALS FOR THE CHILD ACTOR	268	(10)
IMPROVISING WITH SIX-TO-EIGHT-YEAR-OLDS	268	(4)
Inner Action	268	(1)
Giving Reality (Substance) to Objects	269	(1)
The Telephone Prop	270	(2)
TERMS TO USE	272	(1)
Complete or Incomplete Concentration	272	(1)
Becoming Audience	272	(1)
Rocking the Boat	272	(1)
Share with the Audience	273	(1)
Showing--Not Telling	273	(1)
EVALUATION	273	(2)
POINTS TO REMEMBER	275	(3)
CHAPTER XV WORKSHOP FOR SIX-TO-EIGHT-YEAR-OLDS	278	(19)
PLANNING THE SESSIONS	278	(1)
FIRST WORKSHOP SESSION	278	(6)
Preliminary Work	279	(2)
ONCE UPON A TIME, MINIMUM EQUIPMENT	281	(3)
EXERCISES	284	(13)
ONCE UPON A TIME, FULL EQUIPMENT	284	(6)
STORY-TELLING	290	(2)
CREATING SCENES WITH COSTUMES	292	(5)
FORMAL THEATER AND IMPROVISATIONAL THEATER	297	(58)
CHAPTER XVI PREPARATION	297	(10)
THE DIRECTOR	297	(2)
The Director's Focus	297	(2)
THEME	299	(1)
CHOOSING THE PLAY	300	(2)
SEEKING THE SCENE	302	(1)
CASTING	303	(2)
THE ACTING SIDE	305	(2)
CHAPTER XVII REHEARSAL AND PERFORMANCE	307	(34)
ORGANIZING THE REHEARSAL TIME	307	(8)
Atmosphere During Rehearsals	308	(1)
The Director's Ability to Inspire	309	(1)
Blocking the Show	310	(1)
Integration in Blocking	311	(1)
Stage Business	312	(1)
General Improvisations Around the Play	312	(1)
The Non-Stop Run-Through	313	(1)
The Relaxed Rehearsal	314	(1)
Spot Rehearsals	315	(1)
SEASONING THE ACTOR	315	(8)
Memorization	316	(2)
Reading Lines Naturally	318	(1)
Timing	319	(1)
Picking Up Cues	320	(1)
Laughter in Rehearsals	320	(1)
Growing Stale	321	(2)
ACTING EXERCISES DURING REHEARSALS	323	(7)
Gibberish	324	(1)
Where	324	(1)
Contact	325	(1)
Objects to Show Inner Action	325	(1)
Space or Extended Movement	326	(1)
Blind	326	(1)
Listening to the Actors	326	(1)
Seeing the Word	327	(1)
Shadowing	327	(1)
Use of Games	328	(1)
Biographies	329	(1)
SUGGESTIONS FOR THE FIRST REHEARSAL SECTION	330	(1)
SUGGESTIONS FOR THE SECOND REHEARSAL SECTION	331	(1)
SUGGESTIONS FOR THE THIRD REHEARSAL SECTION	332	(6)
Spot Rehearsals	333	(1)
The Director's Re-Evaluation	333	(1)
Seeing the Show	334	(1)
Stage Fright in the Director	334	(1)
Makeup and the Actor	335	(1)
The Costume Parade	336	(1)
The First Dress Rehearsal	336	(1)
The Special Run-Through	337	(1)
THE PERFORMANCE	338	(1)
RANDOM POINTERS	339	(2)
CHAPTER XVIII POST-MORTEM AND SPECIAL PROBLEMS	341	(14)
THE TIME CHART FOR REHEARSALS	341	(5)
Time Chart for First Rehearsal Section	341	(3)
Time Chart for Second Rehearsal Section	344	(1)
Time Chart for Third Rehearsal Section	345	(1)
DIRECTING THE CHILD ACTOR	346	(2)
REMOVING AMATEUR QUALITIES	348	(7)
The Amateur Actor	348	(1)
Causes and Cures	349	(6)
DEFINITIONS	355	(24)
DEFINITION OF TERMS	355	(19)
GLOSSARY OF SIDE-COACHING PHRASES	374	(5)
APPENDIXES	379
APPENDIX I NEW EXERCISES	379	(20)
NEW EXERCISES	380	(19)
BOX FULL OF HATS	380	(1)
BUILDING A STORY	381	(1)
DODGE BALL	382	(1)
ECHO	383	(1)
EXPLOSION TAG	383	(1)
FOCUS ON THE WORD FOR READING	383	(1)
GIBBERISH/ENGLISH	384	(1)
GIBBERISH INTERPRETER	385	(1)
GIVE AND TAKE FOR READING	386	(1)
GIVE AND TAKE WARM-UP	386	(1)
JUMP ROPE	387	(1)
MIRROR SOUND	387	(1)
MIRROR SPEECH	388	(1)
OCCLUDING	389	(1)
PLAYGROUND	390	(1)
SPACE SUBSTANCE INTRODUCTION (FOR HANDS)	391	(1)
SPACE WALK/ATTITUDE	392	(1)
SPELLING	392	(1)
STAGE PICTURE	393	(1)
STAGE WHISPER WARM-UP	394	(1)
THREE-WAY CONVERSATION	394	(1)
UNRELATED CONVERSATION	395	(1)
VOWELS AND CONSONANTS	396	(1)
WHERE WITH HELP AND HINDER	397	(1)
WHO AM I?	397	(2)
APPENDIX II TRADITIONAL GAMES	399
TRADITIONAL GAMES	400
BEAST, BIRD, OR FISH	402	(1)
BUZZ	402	(1)
CONCENTRATION	402	(1)
CRAMBO/I'M THINKING OF A WORD	403	(1)
DON'T LET GO	403	(1)
DUMB CRAMBO	404	(1)
GEOGRAPHY	404	(1)
GHOST	404	(1)
HOW MUCH DO YOU REMEMBER?	405	(1)
MY SHIP IS COMING FROM LONDON	405	(1)
NAME SIX	406	(1)
NEW YORK	406	(1)
NUMBERS CHANGE	407	(1)
OBJECT RELAY	407	(1)
OCEAN WAVE	407	(1)
PROVERBS	408	(1)
PUSSY WANTS A CORNER	408	(1)
RED LIGHT/GREEN LIGHT	408	(1)
RHYMES	409	(1)
RHYTHM	409	(1)
SINGING SYLLABLES	409	(1)
SINGLE FILE	410	(1)
STREETS AND ALLEYS	410	(1)
SWAT TAG	411	(1)
TRANSFORMATION OF WORDS	412	(1)
WHEN I GO TO CALIFORNIA	412