The Language of Authority

Written by Gary Schwartz on . Posted in Gary Schwartz, Improvisation, Learning, Spolin Games, teaching, Theater Games, Viola Spolin

Do this, don’t do that! Like this! Here’s how I want it! That’s better! That’s rotten! That’s not funny! Now that was FUNNY! That’s what I want! – spoken by a director at a recent improv workshop I attended.

If you teach or direct, you must be mindful of your role as leader and work to be a fellow player rather than the Authority, Know-it-all, etc.

There is great power in words. Choice of words can influence how relationships are determined. The use of some words to represent direction by improv teachers and coaches can be very destructive. Spolin was highly conscious of this vocabulary of authority and strove to counteract the unconscious use of such words often replacing “don’t” (a command from outside) with “avoid” (self-responsibility); “critique” (subjective opinion) with “evaluation” (objective reality).

A side-coach of “Help your fellow player play the game!” encourages mutual trust and attention by each individual to the group as a whole. It also breaks dependency on the teacher by the students and vice versa. These phrases are used consciously, to create a language of peerage and trust rather than a dependency on authority by “those who know.” i.e., teachers and directors or even senior members of a troupe of players. It is a very subtle point, but one of enormous consequence.

The Difference between Spolin Games and Popular Improv

Written by Gary Schwartz on . Posted in Improvisation, Learning, Spolin Games, teaching, Team Building, Theater Games, Viola Spolin

Over 50 years ago Viola Spolin, created a philosophy that is more relevant and needed today than it has ever been. She called it Theater Games. It created a movement in America and the world over that is now commonly called improvisation or Improv.

Her work deals in experiential learning. Where, with the support of a good sidecoach, playing the game becomes the teacher.  It is rooted in direct experience that lifts us out of our traditional roles and puts us in touch with our authentic self, each other and our circumstances.

Spolin’s improvisation training provides a way for people of different cultures, with different life experiences, to work together collaboratively to achieve productive outcomes.  It is a way for individuals to participate fully and authentically in the solving of problems. It is a path to innovation and inspiration and personal commitment[1]. That was how Spolin conceived of improvisation, but the word has come to mean something else.

Show! Don’t Tell!

Written by Gary Schwartz on . Posted in Gary Schwartz, Improvisation, Learning, Spolin Games, teaching, Theater Games, Viola Spolin

Interpretation and assumption keep the player from direct communication. This is why we say “show, don’t tell”. Telling is verbally or in some other indirect way indicating what one is doing. This then puts the work upon the audience or the fellow actor, and the student learns nothing. Showing means direct contact and direct communication. It does not mean passively pointing to something. – from Tips and Pointers, Improvisation for the Theater 3rd Edition, Viola Spolin Northwestern University Press.

When you don’t see where you are, all you can do is talk about it.

You get a suggestion for a scene:
Who – A husband and wife.   Where – at Disneyland.   What – waiting to get on a ride.

Most players will begin the scene with dialogue something like this.

Husband:  Well, well, dear isn’t this nice. Look! There’s the Matterhorn. Hi Mickey!

Wife:  Sweetie, Let’s go on the Pirates of the Caribbean ride after this.

Husband: Do we have to? I’m tired honey, can we sit down?

What’s wrong with that, you ask? Nothing really. Except they told in dialogue what they should have been seeing (and didn’t) and they also told their relationship by calling each other honey and dear. After all, that’s what indicates to the audience that there is a husband and wife relationship, right? Where do you go from here? It is likely you’ll use Yes, And… and add more information. Maybe there’s an earthquake or Mickey starts hitting on the wife – and you’d have a pretty funny scene.

But what if you showed where you were and showed you were married rather than telling the audience what they just told you?

Commentary on Spolin’s Tips and Pointers

Written by Gary Schwartz on . Posted in Gary Schwartz, Improvisation, Learning, Spolin Games, teaching, Theater Games, Viola Spolin

Viola wrote a collection of thoughts and musings on teaching that were developed for the text of her book, “Improvisation for the Theater”, but were to be left out of the final edit. She kept these ideas in a shoe box for insertion and elucidation at a later date. Rather than keep them on the cutting room floor, she considered them valuable enough to include in the book simply as ‘tips and pointers’.

I repeat them here with of my own commentary in the hope that teachers may get more fully involved in the teaching and coaching of Spolin’s games.

  1. Do not rush student-actors. Some students particularly need to feel unhurried. When necessary, quietly coach. “Take your time.” “We all have lots of time.” “We are with you.”

This deals with the common problem of urgency. Many students panic in an improvised scene because they get overwhelmed; they feel the need to move the scene forward; they feel nervous and judged (in their own mind or for real, as many directors make opinions on a player’s ability and that is picked up by the student).

The Seduction of the Teacher

Written by Gary Schwartz on . Posted in Gary Schwartz, Improvisation, Learning, Spolin Games, teaching, Team Building, Theater Games, Viola Spolin

The Trap

“Students who regard an instructor highly will tend to adopt that instructor’s attitudes, orientations, and values.  This is a seductive phenomenon because it can lead to the ego-enhancement of instructors who have not reached full psychological maturity.  This ‘ego-stroking’ can then motivate instructor behaviors which do not have the personal development of participants as their primary aim.  This pitfall is even wider and deeper than might be initially suspected because the instructor may be only vaguely aware or not aware at all that this is happening.  Unknowingly acting for the sake of ego-enrichment instead of for educational reasons, is an insidious risk…” [1][GS1] 

Imagine twenty or thirty students all preoccupied with success or failure in a subject, bent on getting all the right answers in order to pass the subject, all wanting to please the teacher who knows all the right answers, who sits kindly or severely in judgment of all who face him/her. This could be you. It used to be me.