UNIT TITLE
Acting Methods and Styles
LESSON TITLE
Viola Spolin
CLASS
Drama 4
DURATION
75 Minutes
EDUCATIONAL OBJECTIVE
Students will be able to demonstrate their understanding of the strength of improvisation exercises by participating in several improvisation games as a class.
NATIONAL STANDARDS
CREATING
• TH:Cr1.1.HSIII.a
o Synthesize knowledge from a variety of dramatic forms, theatrical conventions, and technologies to create the visual composition of a drama/theatre work
• TH:Cr3.1.HSIII.b
o Synthesize knowledge from a variety of dramatic forms, theatrical conventions, and technologies to create the visual composition of a drama/theatre work.
PERFORMANCE
• TH:Pr4.1.HSII.b
o Apply a variety of researched acting techniques as an approach to character choices in a drama/theatre work.
• TH:Pr5.1.HSIII.a
o Use and justify a collection of acting exercises from reliable resources to prepare a believable and sustainable performance.
MATERIALS
• Empty Playing Space
• Improvisation for the Theater, 3rd ed. by Viola Spolin (1999).
• Computer/projector so play the following clips:
o https://www.youtube.com/watch?v=Mil3d9oD_Uk (Viola Spolin Interview)
o http://www.secondcity.com/media/mediaplayerfull/53/0/ (Driver’s Ed, Second City)
TEACHING PRESENTATION:
Hook:
Show students the Driver’s Ed video from Second City.
Step 1: Discussion/Instruction Explain that this video is from an improv group called Second City. They are kind of like Whose Line Is It Anyway of Saturday Night Live. You may want to ask the students if any of them are familiar with these shows, just to be aware of their understanding of improvisation. After the preliminary questioning. Conduct a discussion using the following questions:
• How would being involved with something like this be a useful exercise for an actor?
• How would this help someone become a better actor? In what ways would an actor get better?
Let the class toss some ideas around. Field the questions, calling on as many students as you can within the span of a few minutes.
Explain that today we are going to be studying a very neat lady who is called Viola Spolin. Explain the following background information to the students:
• Viola Spolin was born in 1906 and died in 1994. In her lifetime, she became known as the mother of American Improvisation.
• She is a Chicago lady, though spent a lot of time on the west coast.
• Her son, Paul Sills, started Second City (the video we just say). He used her games in that program.
• She wrote a book called Improvisation for the Theatre, which is still the go-to book for improvisational games and exercises.
NOTE: This background information is not super important, but just tid-bits for students to connect to.
Explain that you are not going to watch Viola Spolin talk a little bit about her work with improv, and maybe that will give us a better idea of why we would be studying improv as a technique for acting.
Step 2: Clip/Discussion Explain that Spolin is being asked about Improv Sports, where points are awarded for the best improv sketches. She responds. Show the clip then conduct a short discussion:
• Why is Spolin against Improv Sports?
• Based on what she said, why would improvisation be good training for actors?
Allow students to respond. Follow-up with additional questions as you see fit. Ensure that students understand that improvisation in theatre is not about winning or loosing. It’s about being. It happens, and it’s neither good nor bad. There is no fail and there is no win! Also, be sure that students understand that improv takes away all the pre-conceived ideas of Stanislavski. In improv, you don’t know what the person is going to say. You don’t know the other persons objective. You are simply trying to react as honestly and as believably as you can.
Step 3: Group Practice Explain to the students that you are now going try out a bunch of her games. Explain that everyone must participate for his or her grade for the day. Also encourage students not to be scared! It’s improv, so there is no wrong or right! There is only do or do not. For the following games, use the instructions and side coaching provided in Spolin’s book (listed under the materials section of this plan). You can use any mix of the following game. The idea is to let students be exposed to a variety of her improv games, so that can better understand the range and depth of her work:
• Seeing a Sport, pg. 56
• Listening to the Environment, pg. 57
• Who Started the Motion, Pg. 68
• Mirror, pg. 61
• Tug-Of-War, pg. 63
• How Old Am I, pg. 69
• Who’s Knocking, pg. 105
• Gibberish, pg. 114
Step 4: Discussion In the last few minutes of class, after playing several games, conduct a short exit discussion:
• What do you like about these exercises?
• Having done a few, are you seeing potential ways to use them in rehearsals and things?
• How might you use them?
• What do you want to know more about?
This discussion will serve as an informal assessment, allowing you to see how students are starting to apply the theories and methods to the actual creation process, rather than just leaving them as games to be played for fun. It will be helpful to put in their mind, through questioning, the idea that these exercises are more than just fun.
Assessment
Students can be assessed on their participation in the improvisation games that are played during class. Willing and respectful participation is worth 20 points.