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Improv... Courses? At NUS??

Emergent in the original and secondary literature on improvisation are four central principles of applied improvisation: (a) accept all offers, (b) recognize gifts, (c) build on every idea, and (d) support fellow players.1 The improv mantra “Yes, and” encompasses the first three tenets. Saying “yes” means an improviser accepts any offer her fellow players present; she will not block or reject ideas. Johnstone (1979/2012) calls blocking “a form of aggression,” a default response to fear of the unknown or giving up control (p. 96). To think like an improviser is to reverse this tendency and become open to allowing the action to develop by accepting the ideas of the ensemble. Furthermore, saying “yes” means that a player is alert and listening to all the offers a scene partner presents. Because improvisation traditionally uses no props or costumes, improvisers must recognize everything that their ensemble says and does as a “gift” or “offer” that they might use to advance the scene. In other words, improvisers develop a strong sense of presence, so they can attend to the complexities of every statement, tone, gesture, and expression. The principles of acceptance and recognizing offers mean improvisers do not make “mistakes.” Misspoken words, mistaken identities, and other so-called errors do not appear as problems but as opportunities to advance a story in new directions. The “and” of “yes, and” recognizes that a story cannot move forward through acceptance alone. Every improviser shares responsibility for building on offers and extending them in some way. “And” represents the need to develop ideas and let them grow. Improvisation is fundamentally an ensemble art. Thus, another improv mantra—“Make your ensemble look good”—follows from “Yes, and” and emphasizes the importance of support in improvisation. Good improvisers do not steal the spotlight and outshine one another. They collaboratively co-construct a compelling story. Spolin (1999) writes, “Group participation and agreement … open the way for harmony” in an ensemble, a sense that “fellow players are needed and welcomed.” This collaborative atmosphere creates space for players to solve problems “not at the expense of another person … by working harmoniously together with others to enhance the group effort or project” (pp. 11–12). Improvisers make one another look good by saying yes to one another's offers and honoring those offers by using them to develop a story.

Here are the four central principles of applied improvisation in point form:

  1. Accept all offers: Improvisers should be open to any idea presented by their fellow players, avoiding blocking or rejection.
  2. Recognize gifts: Everything a scene partner says or does is considered a "gift" to be used and built upon. This requires focus and attentiveness.
  3. Build on every idea: The "and" in "Yes, and" emphasizes building upon and developing the ideas presented by others.
  4. Support fellow players: Improvisation is a collaborative art. Good improvisers avoid stealing the spotlight and instead work together to create a compelling story. This involves saying "yes" to offers and using them to develop the scene.



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