Here is the thoroughly revised third edition of the bible of improvisational theater.
Viola Spolin's improvisational techniques changed the very nature and practice of modern theater. The first two editions of Improvisation for the Theater sold more than 100,000 copies and inspired actors, directors, teachers, and writers in theater, television, film. These techniques have also influenced the fields of education, mental health, social work, and psychology.
Product Details
ISBN-13: 9780810140080
Media Type: Paperback
Publisher: Northwestern University Press
Publication Date: 07-28-1999
Pages: 412
Product Dimensions: 6.00(w) x 9.00(h) x 1.20(d)
About the Author
VIOLA SPOLIN, the originator of theater games, was introduced to the use of games, storytelling, folk dance, and dramatics as tools for stimulating creative expression in the 1920s while a student of Neva Boyd at Chicago's Hull House. During her years as a teacher and supervisor of creative dramatics there, she began to develop her nonverbal, nonpsychological approach. Her books have been translated into Swedish, German, and Portuguese. She died in 1994. PAUL SILLS is Viola Spolin's son and the founding director of Chicago's Second City and of Story Theater. He is the coeditor of the third edition of Improvisation for the Theater.
What People are Saying
What People are Saying About This
Valerie Harper
She has genius and shares it.
Alan Alda
It's like basic research...she has changed the theater for generations.
Rob Reiner
Her book is the bible.
Table of Contents
Table of Contents
Editor's Note Paul Sills' Introduction Paul Sills' Sayings of Viola Spolin Alphabetical List of Exercises Acknowledgments Viola Spolin's Preface to the First Edition Viola Spolin's Preface to the Second Edition
THEORY AND FOUNDATION I. Creative Experience II. Workshop Procedures
EXERCISES III. Orientation IV. Where V. Acting with the Whole Body VI. Non-Directional Blocking VII. Refining Awareness VIII. Broadcasting, and Technical Effects IX. Developing Material for Situations X. Speech and Rounding-Out Exercises XI. Emotion XII. Character
CHILDREN AND THE THEATER XIII. Understanding the Child XIV. Fundamentals for the Child Actor XV. Workshop for Six-to-Eight-Year-Olds
FORMAL THEATER AND IMPROVISATIONAL THEATER XVI. Preparation XVII. Rehearsal and Performance XVIII. Post-Mortem and Special Problems
DEFINITIONS Definition of Terms Glossary of Side-Coaching Phrases
APPENDIXES Appendix I. New Exercises Appendix II. Traditional Games