Why Freeze Tag is the anti-Improv Game

“The heart of improvisation is transformation” – Viola Spolin

Playwriting: Manipulation of situation and fellow actors; an unwillingness to believe that a scene will evolve out of the group playing; not understanding the focus; deliberately using old action, dialogue, information, and facts (ad-libbing) instead of spontaneous selection during improvisation; not usable in improvisational theater; "Stop playwriting!" - Improvisation for the Theater, 3^rd Edition Pg. 365

Transformation: Creation; momentarily breaks through isolation, and actors and audience alike receive (ahhh!) the appearance of a new reality (theater magic); improvisation.  - Improvisation for the Theater, 3^rd Edition Pg. 372.

Above are two key ideas that point to the gulf between Spolin's view of Improvisation and the common view of so-called Comedy Improv. One major technique in Comedy Improv is calling "Freeze!" to stop the action and change the direction a scene goes in. It is a directorial tool and is used in the game Freeze Tag, a widely used warm-up and performance game.

A distinction is made in the Spolin tradition between “Freeze” and "No-motion" and in my opinion marks the fork in the road where Improvisation for the Theater and Comedy Improv diverged.

Freeze:

1. to become fixed or motionless; especially : to become incapable of acting or speaking
2. to cause to grip tightly or remain in immovable contact
3. to cause to become fixed, immovable, unavailable, or unalterable

No Motion:

1. The eye of the storm (stillness amid action)
2. A state of waiting (not waiting for, but just waiting)
3. Being ready, connected to the ongoing action in stillness.
4. A pause between beats
5. Action at a simmer.
   
   

[1]Freeze Tag (exercise) Synonyms: Clap, switch, freeze, tag

Introduction: Everybody up in a line. The first two players start some shared physical activity.

Description: At any time during the two person scene that is taking place someone calls out freeze. The two players immediately stop what they are doing and 'freeze' into whatever positions that they were in when the 'freeze' was called. The next player in the line immediately tags one of the players that is frozen on stage and assumes their exact position. For the exercise freeze, as opposed to the performance handle freeze, the player must assume the exact physical position of the player they chose to tag out. This ensures that the player was paying attention to the physical detail of the scene as opposed to just the words. They must be listening with their eyes. Once they assume the position they must start a whole new scene that justifies the position that they are in. This scene must be completely different from the preceding one. This means that they must be paying attention to the scene, so as to assure that their new scene is completely different. If the player breaks any of these rules stop the exercise and give a note. It is also a good idea to put a moratorium on those activities that can be called upon which justify any position: fighting, dancing, adhesive accidents, painting models, store mannequins etc.

Freeze Tag is taking turns at labeling and seeing what other players can 'make out of it'.

Although it is a physical game, and the body is involved, the head or intellect guides the game and the intuitive connection between players is lost.

Freeze Tag is a game of playwriting[2] and ad-lib with a "Yes, And…" imperative. It is a game where funny labels are put to funny poses. It is not a process of improvisation in the sense that the unknown is explored.  It is merely a game of ad-lib where old information is shuffled around to produce clever bits of comedy. It thwarts transformation, one of the fundamental goals of improvisation. Freeze Tag, therefore is the anti-improv game.

The emphasis on creating improvisational situations from Freeze Tag, asks players to awaken instantly from a 'freeze' and label a scene. The player who calls "Freeze!" enters the scene and provides a line that gives a bit of common reference. The other player(s) must adopt the idea and expand upon it. (Yes! And…) and although this seems like improvisation, it is not. It is a way to manipulate and label a situation cleverly or initiate a 'new' scene based on a frozen position.

Freeze shuts us down and cuts us off from the ongoing reality. Try it. Rather than sit still and be in a "state of waiting" for a few moments. FREEZE! Notice the suspension of thought and separation from your current situation. It takes conscious effort to freeze. Energy that is better used in staying connected to what is going on between players.

When someone labels a scene or position, one does so without taking in the energy and circumstance of the others. A frozen players' mind shuts down; connection to the other players is lost. Muscles are held tense in the freeze, trying to maintain the last pose. The focus is on holding on until a new label is called out. Each player is isolated from everyone and "in his head" until a new idea for the positions is called out. The rule then becomes "Yes! And…" meaning the mechanical acceptance of the initiator and an effort to add to the suggestion instantly, while awakening from the freeze. Connection between players is barely present and only the quickest minds can adopt and act on the new suggestion in an instant. I have observed that most freeze tags become verbal justifications and jokes. How can it not?

To label cleverly, or even clumsily, what is suggested to you by a frozen tableau in order to "start" a scene is, at the very least, awkward. It makes dictators of the labeling player and slaves of the others who have to try to make something from the suggestion. It must come from the head of the labeler and therefore is usually a common reference and/or a stereotypical character or situation. The banality of such an interaction is only good for one or two laughs of recognition and never or rarely contains any real surprise.

There is no give and take, only "Yes! And..." It is trying to follow directions in order to produce some clever bit of stage interaction that might be original. But originality is almost impossible to achieve when we are reduced to selecting from a set of common references to instantly flesh out a scene suggested by the labeler. Invariably caricatures and universal behaviors and responses must be used to keep everyone on the same page. The acting is phony and the references keep the scene trite and uninspired. The fun comes when the next player 'freezes' everyone as he or she sees an opportunity to impose yet another situation in an ad-lib fashion.

True relationship[4] is not what this game is about. This game is a brainstorming session for writers -- Flash cards for funny people. I agree it can be entertaining and it has its place as an exercise to polish comedic invention, but it is not complete improvisation.

To freeze a player and impose a situation and verbally label it so others can quickly understand is only playwriting. Even without fully knowing where it may go, players rely on acceptance of the usually verbally initiated script (offer) by a fellow player to move it either in the direction intended or a different direction. In other words, each player is taking turns trying to impose their idea into the interaction rather than heightening and exploring what is going on.

In the game of Transformation of Relationship players focus on holding on in ‘No-Motion’, waiting for a relationship to emerge between players and then together explore that relationship before looking for another moment to drop back into no-motion and a follow the follower mode in order to discover a new relationship and proceed together to change that reality. In the game of Freeze Tag, players shut each other off and initiate a new scene. Without the connection no-motion creates, urgency is created instead. And that urgency often creates its own energy which stems from panic at not having "a funny idea" to offer. The first one to offer an idea rescue's the scene from the vacuum created by freeze is a hero and everyone happily accepts and Yes, Ands... the offer.

Many see improvisational players dealing with this urgency and think "Oh, my god! This is terrifying!" and it is. And I won’t deny it isn’t often funny and entertaining. Audiences marvel at the performers who can accomplish it with seeming ease. It is indeed a skill to think so quickly on your feet. Panic can be handled by quick wits and fast thinking. There is an excitement that comes with this urgency, but to the average person it is very scary to imagine themselves out there fielding offers from other clever players.

The key difference between Freeze and No-Motion is that one forces you to switch ideas/scenarios quickly where No-Motion asks you to transform what's going on. When forced to switch, it is merely the adopting of someone else's idea which comes from that individual's head  (old information). When transformation[3] happens, both players are contributing simultaneously to the situation and relationship and arrive together at a new situation and or relationship unplanned by both. The goal of improvising is that spontaneous discovery by all who are playing.

How Freeze tag evolved: A theory.

My theory is that when Spolin's Transformation of Relationship[5] game was observed, it appeared that the players moved from one scene to the next or from one relationship to the next, in a series, spontaneously changing like a kaleidoscope in a follow-the-follower connection. The initiation of a new scene or relationship seemed to be magically appear. The players were coached to stay in constant relation with one another by following the follower and the result was a fantastic collage of scenes and relationships that seem to simply "just occur" simultaneously to the players.

From the outside, the uninitiated observer/director, wanting to recreate that 'result', would try to do transformations without the background of being able to get players to follow the follower. Without fully understanding the connection needed between players, the director would then try to maneuver the players into an approximation of the Transformation of Relationship game by calling "Freeze!" "Now change!".

I imagine this exercise became freeze tag. The director, wanting to 'make something happen,' developed a way for each actor to take turns transforming the relationship. It was not a true transformation, rather a subtle direction and suggestion for a new scene. In order for this to work, new rules had to be imposed to replace the flowing give and take produced by following the follower. Rules like "always accept an offer" and "Don't block someone's idea" had to be created. Adding what you can to someone else's offer in order advance it in new directions. (Yes! and…) must be used. This process is more mechanical and will get something to occur, but with it comes the fact that the magic of transformations is lost. In its place -- just some comical associations. Labeling and re-labeling scenes in turn.

I do not mean to say that Freeze tag is without merit. It produces clever and funny situations and, in the hands of naturally funny people can be very entertaining. But it is not improvising, it is comedy being written and produced on the fly.

"So what?" You say. "…as long as it's funny."

That attitude and concept is condemning Improvisation to be viewed as a trivial and novel entertainment rather than the important art form and philosophical movement it could be. If we were all able to play from that position of mutuality and trust without trying to be clever, quick and manipulative, we would have a very different world. And the laughter would flow from true spontaneous surprise for player and audience alike. We would then be on a true course for self-discovery. Transformation would be the rule.

Copyright 2003 Gary Schwartz, North Bend, WA

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[1] Taken from www.learningimprov.com

[2] Playwriting: Manipulation of situation and fellow actors; an unwillingness to believe that a scene will evolve out of the group playing; not understanding the focus; deliberately using old action, dialogue, information, and facts (ad-libbing) instead of spontaneous selection during improvisation; not usable in improvisational theater; "Stop playwriting!" - Improvisation for the Theater, 3^rd Edition Pg. 365

[3] Transformation: Creation; momentarily breaks through isolation, and actors and audience alike receive (ahhh!) the appearance of a new reality (theater magic); improvisation.  - Improvisation for the Theater, 3^rd Edition Pg. 372.

[4] Relationship: Contact with fellow players; playing; a mutual involvement with an object; relationship grows out of object-involvement

[5] Improvisation for the Theater, 3^rd Edition, Viola Spolin Northwestern University Press Copyright 1999 Paul and William Sills.

The Art of Sidecoaching

The most subtle and essential element in Spolin Games is sidecoaching. The sidecoach is at once a fellow player, a grounded teacher and a canny director.

Sidecoaching is as much a skill as it is an art. It therefore requires the same intuitive ability evoked by playing. In addition, the sidecoach has to also be familiar with the advanced levels of playing. This means a good sidecoach must have a substantial amount of experience playing most of the Games in Spolin's canon, hopefully with a good sidecoach to help you make the most of them. I was lucky. I had Viola Spolin herself as a coach and mentor.

Where can a teacher gain this experience?

This only comes through lots of play with the support of a good sidecoach.

Through playing and coaching the sidecoach becomes familiar with what works and what doesn’t. Without someone like Viola to guide you, (except by her book) one needs to accumulate enough experience through play and trial and error mindful of the traps; of showing how instead of allowing the players to grapple with the problem (with support from you). By being a detached observer rather than being a fellow player. Acknowledging what works and what doesn’t while playing and coaching the game. “Hmmm. That one worked… Oh, that didn’t do it.” Knowing what you are shooting for is that spontaneous release of energy true play sparks.

It is also important to use words and phrases that will assist the player at the moment of playing to heighten the involvement in the game and focus.

Viola was very careful to use words of empowerment rather than authoritarian laden words. Phrases like ‘Do it this way’ or ‘It’s like this’ or ‘Don’t do it like that’ all come from an Authority with a capital A.

Action words like ‘use your where’, ‘heighten what’s going on!’ ‘Let the space support you’, ‘keep the space between you!’ are prompts to action rather than directions on what to do. A lot of it comes with experience and a desire to let the game do the teaching.

Observation of the student/players’ participation in a game requires a moment-to-moment diagnosis of several things:

• The resistance exhibited by one or more of the players during play.
• The interaction (or lack thereof) between the players.
• An understanding of what the game is capable of producing. (hard to do if you’ve not seen it work before)
• A familiarity with the variety of coaching phrases that might produce either more energy, less urgency, more connection, or more detachment depending on what might be called for. This is often an intuitive and reflexive response by the sidecoach.
• A familiarity and empathy with the problems faced by the student inside the game based upon the teacher’s own experience playing and/or coaching the game.

The side coach must always be aware and involved with the players as a fellow player! - Encouraging them to become fully involved with the focus, careful not to dictate, nag, or barrage them with unnecessary words.

There are a lot of obstacles and traps for a side coach:

·         Ego

·         Urgency

·         Not understanding the problem posed by the game or its potential

·         No rapport with the players’ experience inside the game

·         Not enough understanding or familiarity with the variety of sidecoaches

It is valuable to know the game from the player’s perspective. Playing a variety Spolin games will educate you to the problems faced by your students and expand your personal experience. Playing will give you a deeper understanding of yourself, the philosophy, and heighten your own self awareness while at the same time, reducing your reliance on intellectually understanding the games and their purpose. Instead you will get a direct experience of the games for you will be transformed by the playing.

This is extremely valuable for you as a teacher/director/workshop leader on many levels. Once you have gained this level of playing and understanding, you stand ready to begin your career as a sidecoach.

The book and the writings of Viola Spolin will continue to be a source for you. The wisdom is there to be mined continually. It is not a book to read through once. It’s because she wrote her prose with a profound knowledge of the players experience and resistances as well as guiding the teacher from her vast experience as a teacher/director. She addresses both the enlightened teacher and the resistant (but open minded) teacher. 

Viola and the Predators

Teaching the Games

Teaching is a cleansing. - Viola Spolin.

While in Viola’s workshop, I taught mime at the American Academy of Dramatic Arts and was earning a living as a mime.I was eager to teach what I was learning from Viola. After all, I heard the best way to learn something is to teach it. She would get angry every time I brought it up. She insisted I not teach. I grew impatient and wanted desperately to communicate what I was learning to others.

“I don’t want another student who spends a few months in workshop with me then hanging out a shingle.” She barked. “They have no idea what they’re doing!”

By the time I encountered Viola, she had been teaching for twenty years. Many former students did indeed go out on their own, armed with her book and a notion on how to play some of the games. They were not steeped in the work or aware of the profundity of the underlying philosophy. Certainly not to the degree that made Viola feel comfortable. Over the years, this became like the game of telephone. Everyone who taught what they thought was her work came up with their own games and variations to distinguish themselves apart from Spolin.  To Viola’s great distress, many missed the idea of non-authoritarian teaching at the heart of her work. (Lemming, 2011)[1] 

“And they never even think to write me a letter.” Viola complained. “If you go out on your own I won’t have anything to do with you! You’ll just be another predator[2].”

I heard the bitterness in her voice and promised her I wouldn’t teach until she gave me permission. I resolved to not be a predator in Viola's eyes. I think it is one reason she chose to mentor me.

Mollified, Viola told me “A teacher must be vigilant! Teaching is a cleansing!”

I had no idea what she meant for a long time, but as I continued to play and eventually assist her in workshops, I understood that I didn't know what was truly involved in coaching. But time passed and I continued my study with her. I sat by her side and watched her coach all of us into brilliant work. She would sometimes call out a coach like ‘Slooowww motionnnn!’ and remark to me as an aside, “See what that did for him!” or she’d call out another phrase. ‘Use your where!’ or ‘Give and Take!’ and she’d lean over to me. “That didn’t penetrate.’ I didn’t realize it at the time, but I was watching her practice the art of sidecoaching.

I watched and learned what the proper word or phrase at the right time can do for a player. Knowing what to say, having a sense of timing, and throwing in the sidecoach just at the moment it is needed is an art I began to absorb over time. Both by playing and watching others play.

Four years went by and after many workshops, having played in most of them and assisted her in others; I began to absorb her approach to sidecoaching. Viola finally allowed me to teach.

 “You should teach children and you can teach your mimes.” She told me.

She wanted me to teach children because they’re the best group you can work with. They show you what they need immediately, without artifice. I was allowed to teach mimes because I had a great facility with space object work and Viola thought they would benefit from my experience as both a mime and improviser. (see my article “Out of the Head and Into the Space”)

Teaching children is eye opening. They respond so easily to the games with gusto. After all, Viola’s work came out of teaching and directing children and I could see why children were her laboratory.

Their resistance to the focus is easy to spot and, with a good background in having played the same games yourself, you can easily select and play and coach those games that change their behavior. It is very exciting to see what game or sidecoach dissolves resistance in children. I think it is because their nascent adaptation to the approval/disapproval syndrome is easy to spot. Egocentricity, lack of focus, timidity, fear of failing and other ills caused by conforming to a reward based learning system can be countered by selecting appropriate games and presenting them in a non-authoritarian way.

I recommend teaching children as a starting point for any Spolin sidecoach. Adults can fool you and it’s harder to dissolve the resistance in some cases. It takes longer with adults because there’s more to un-do!

"Never be the benevolent dictator. It's hidden authoritarianism. And don't be a know-it-all." - Viola Spolin.

My only caveat: Continually cleanse yourself of ego and desire. Be mindful of your own approval/disapproval syndrome. Have Fun and create fun for others.

But if you have a strong desire to teach. I say teach! But don't be a predator! Nod back to your source. Make your own strides and discoveries too. But never lay claim to an idea you got from someone else as yours! It's good for the soul.


GS North Bend

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[1] This dilution is described brilliantly in a review of a memoir of Second City by Walter Lemming in his article, Amnesia and the Laugh Track:  Mike Thomas, The Second City Unscripted. It chronicles the devolution of Second City since the departure of Sills and Spolin in the early 60’s. Lemming makes the distinction between “Improvisation” a la Spolin and “Improv” what it has come to mean.

[2] Over the years she simply referred to those who borrowed and changed her work calling it their own, as ‘predators’ and watched the reinterpretation of her work become packaged into a comedy formula. The distortions became popular, giving rise to institutions like Second City, The Improv Olympic and countless others. Sidecoaching gave way to ‘notes’ after the fact, or calling “FREEZE!” to stop the action and redirect it. Both techniques leaving the player stranded without the essential support that good sidecoaching provides.