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.

What's in a Game?

What happens to us when we have fun?

Acting requires presence. Playing produces this state. – Viola Spolin

When I assisted in a workshop with Viola Spolin, author of Improvisation for the Theater, the very first thing we did was play a game of “Swat Tag”.

The game involves a group of people sitting in chairs, a ‘home base’ (a chair or stool set out in front of the group) where the swatter (a rolled up newspaper) is placed. The person who is ‘it’ takes the swatter and moves into the audience and tags someone with the swatter. That person must then jump up and chase the swatter back to home base where the swatter has to put down the rolled newspaper on the home base and try to run back to where the tagged person was sitting and sit down in their chair before the other person can pick up the swatter and tag them back.  If the runner makes it back to the chair without being tagged, the tagged person is now ‘it’ and must tag someone else in the audience and take their chair in the same manner. If the original tagger is swatted before getting back to the seat, they both run back to home base and try again.

This game was a blast! Everyone was involved in it; the runners, and the rest of the audience too. Afterwards, Viola asked us what happened to us. What happened physically and psychologically? The answers came back. “We had fun!”  “We laughed!” “Our hearts raced and we were in a high state of alert.”

“So your body had a physical reaction to it.” Viola asked. “Yes, what else? What were you thinking about?”

“Nothing. Just the game.”

“Would you say the game made you present? Stopped you thinking about your plans for the afternoon, or your past – what you did yesterday?”

“Yes.”

“So a game brings you into the present moment.” She coaxed. “It made your blood circulate, heightened your attention, and so on.”

We all nodded.

“Did you enjoy it just because you were swatted or because you weren’t picked?”

“Both.”

“It’s because you were present to the unfolding of an unknown outcome. That’s part of it. Not knowing what would happen made it fun, right?”

Again we agreed.

“So not knowing caused the excitement and the involvement which caused us to laugh and enjoy it. Would you also say you dropped your judgment about it? In other words you weren’t saying to yourself ‘oh, that person is no good at this.’ Or ‘I’m no good at this.” Or thinking  ‘what a stupid thing to do, to agree to jump up and chase someone just because you were tagged.’ And so on. You all agreed to the rules and once you did, you accepted it instantly WITHOUT JUDGEMENT and started playing.”

We paused to consider that. “Yes” we agreed.

“And” she went on, “You were using your whole self. Plotting who to tag, where to run, how to avoid being tagged, selecting the route to run – what to do to make it back to the chair in split seconds! No pre-planning! All this out of a little game of tag!”

She was showing us what was involved in the having of fun.

• ·         Total involvement
• ·         No judgment
• ·         Heightened alertness
• ·         Rise in energy and focus
• ·         Being in present time
• ·         Using our intuition
• ·         Spontaneously accepting the stated rules without fear or worry.

We all felt able to participate fully in every aspect of the game no matter if we were fast, slow, good or bad at it. (Good or bad never entered into our thinking). Joyously participating in or watching the unfolding of an unknown outcome, cheering and laughing at every attempt successful or unsuccessful. We never for a second thought critically or self-consciously. We were too busy having fun.

We were all filled with a great energy and excitement in the four or five minutes we played.

“Now that we’re talking about it, now that the game is over, what has happened to your heart rate? What is going through your mind? You’re thinking to yourself. ‘Oh, this is interesting. Or maybe it isn’t.’ or ‘When is this class over? I have an appointment, etc.’ Right?”

It was true. In analyzing our experience, we lost the ‘fun’. Our pulses slowed. We went into our head to think critically about our experience. Analyzing our experience was a valuable thing to do too, but it was not as much fun as Swat Tag.

Then she took the swatter up and ran over to someone and swatted them again and began to run. In an instant we were back, laughing and excited again.

“You see how instantly we got it back?” she smiled. “It’s available to you whenever you want!”

This is the essence of fun and games. Playing creates this state. Viola saw this as the most direct way to creativity.

She applied this form to her theater games and not only taught acting and improvisation, but put everyone of us in touch with this area where art is born, inspiration is spawned, where our true nature is allowed to flourish, where we can explore, be curious, adventurous, free of fear and in a state of grace.

This is also where true community exists. Having fun is where we all meet as fellow players on a level playing field. For when we play as a group we are connected to each other as in no other way.

Play was Viola’s platform. From this starting point, she devised games that challenged us to grow as artists. Her teaching techniques were born out of a philosophy of spontaneity and the Tao with a little bit of physics thrown in.

Gary Schwartz

North Bend May 2012

How Viola Spolin Helped Me Overcome Self-Pity

Tales of Viola Spolin:
How Viola Spolin Helped Me Overcome Self-Pity

“Poor me. Nobody loves me.” Underneath my cheerful façade, underneath my very well developed sense of humor, I walked around Hollywood with that deeply embedded in my soul. I was working as a bartender, ministering to and medicating others’ pain with banter and booze while chasing the dream of being an actor in LA along with thousands of others.

My story is typical: I was the product of a childhood filled with family dysfunction - family chaos: Parents who did their best, but were totally unequipped to bring up a child with love and kindness. Instead, they were angry, spiteful and self-involved children themselves, who had created a family before they knew what they were doing. They resented the fact that they were now saddled with children and responsibility. They raised me and my brother and sisters with anger and resentment. How could they not? My childhood sucked. They loved me in their own way I guess, but as a child, I couldn’t see it. Poor me.

As I grew up, I wanted to be an actor. I wanted to get out of my own life and into another, more interesting life. I wanted to be someone else and be rewarded for it with fame and love. That was my goal. A misguided motive for the theater, but there you have it.

When I arrived in Hollywood, I took acting classes and improv workshops - the usual regimen beginners do when starting out. I was a terrible actor. I was amateur and awkward and had no clue what the art of acting was really all about. Still, I was determined to make myself an Actor – capital “A”.

Things changed when I found myself in Viola Spolin’s ongoing Wednesday afternoon theater games workshop. (See the article: How I met Viola Spolin)

We went through many hours of different kinds of games and exercises in that first year. I did my best, but felt frustrated by much of it. I looked at the others in the workshop who seemed to do good work and envied their talent. They are really good actors, I thought. I am not.

“You’re trying to act,” Viola said to me. “You’re acting your head off! Don’t you see that? – It’s not about acting out or imitating. It’s about YOU being there! YOU! Not some idea of how you should be. That’s in your head!”

Intellectually, I knew what she was talking about, but had no clue how to avoid it. I reflexively had to ‘act’. I was in my head. I was not about to analyze my underlying problems (of which I was hardly aware anyway). Nor was Viola. She would often say, “This is not psycho-drama. I’m not interested in your personal emotions. I want to see the emotions and actions of the scene. Don’t work out your personal problems on my stage.”

No, my personal problems were my own cross to bear. I was busy covering up my feelings of inadequacy with humor and charm. (I’m sure I was not alone in this. If this rings a bell with you, dear reader, read on.) I thought, “That’s what you do in improv – use wit, humor and charm. Try to act like those others you see and admire.” Fake it, in other words.

We met once a week at the Cast Theater on El Centro Street near Melrose. It was a small 99-seat theater a few blocks away from Paramount studios. Ah, Paramount - it seemed to me a monolithic ivory tower of success that I would never penetrate, acting-wise. Maybe I could get a job there in the cafeteria or something. Poor me.

Week after week Viola witnessed my struggle to do good work in her class. Sometimes she would yell at me “What am I going to do with you?” I was tempted to ask ‘what should I do, then?’ But I knew better. You never asked “how to” in Viola Spolin’s workshop. Viola was all about you figuring it out.

If you asked ‘how do you want me to do it?’ she would blow up at you.

“I DON’T KNOW! I’m not the answer book!” she would shout.

No, with Viola, it was all about getting out of your head and into the body, into the space and making these discoveries on your own. All she would do is point out when you weren’t doing it and when you were in your head. I did scene after scene, exercise after exercise but could not understand what was in my way. If Viola knew, she wasn’t telling me.

I’d leave class some days so frustrated. I can’t act. Who am I kidding?

Over the year, Viola and I had become friends. (See “How I met Viola Spolin”) and I usually sat next to her while she coached. She could get such incredible scenes out of so many of us. My work was still pedestrian – nothing special, nothing to write home about, but I was there, man. –

We did an exercise called Intensify Emotion, a game where the sidecoach, in this case Viola, watches a scene between two players and calls on them to heighten and intensify the emotions that emerge for each player out of the playing. If one actor is feeling happy and the other is doubtful, she would coach each respectively to heighten that feeling. Viola would call out to the players, “More Happy!” “More! Even more happiness!” “ Feel happy in your chest!” – (to the other actor) “More doubt!” “More!” “Put the doubt in your face! In your fingers!” “More! - Heighten it!”

What began to happen to the players onstage was amazing, funny, exciting and wonderful. Happy turned to joy. Heightening joy became hysteria, hysteria morphed into giddiness and so on. Doubt turned to concern, to worry, to panic, to fear, to terror, etc. Intensifying Emotions created transformation. It was absolutely astounding to see such emotional energy move the players in such surprising ways. Great theater.

Now it was my turn. I was paired with a very attractive, sweet woman named Susan. We chose a scene (who, what and where) that had a good emotional starting point. A scene we knew had built-in emotional potential for both of us. We were in a prison meeting room, separated by a glass window, with phones on either side. I was the prisoner and Susan was my wife coming to break the news that she had fallen in love with someone else. Oh, this was juicy.

The scene began:

Me: Hi honey. (with love) Gee, I missed you.

Susan: (tentative) Hi Gary.

Viola: (to me) Heighten glad to see her!

Me: (sensing something wrong) What is it, darling?

Susan: (eyes downcast) I… I…

Viola: (to Susan) Heighten that feeling! Put it in your shoulders!

Susan: (Crying)

Me: What’s wrong?

Viola: Concern! Heighten concern!

Me: What is it, honey? What’s happened? (deeply concerned)

Susan: I’m in love (still crying) with someone else. I don’t love you any more.

Me: What?? (I have a look on my face of bewilderment and shock. I get a sinking feeling in my stomach.)

Susan: I’m so sorry, honey. I’m so, so sorry. It just happened. I’ve been seeing him for months now… We fell in love.

Me: (crestfallen) Oh.

Viola: (to me) Heighten that feeling! Put it in your stomach, throat, face!

Me: I see… (Completely numb, shocked, sad)

Now I almost stop hearing Susan and what she is saying. All I begin to hear is Viola’s coaching to me.

Viola: (to me) Intensify it! Put it in your chest!

My shoulders slump. I look down at my feet. I bow my head. I think to myself, ‘No one loves me. Poor me.’

Me: Of course, this is what I get, what I deserve. Shit, why does it always have to be me?’

Viola: More! MORE!

I begin to feel sick to my stomach. “Poor me” is coursing through my whole body. I can’t even look at Susan who, I imagine, Viola must be coaching too, but I am too involved now with my own pity to notice.

Viola: More! EVEN MORE! Put it in your nose! Your eyes, your legs!
INTENSIFY IT!

I am covered in self-pity.

Viola: Heighten the self-pity! Poor me! Say it in your feet! Put it in your spine! C’mon, even more! Heighten it!

I am revulsed by self-loathing. I begin to feel exposed. Naked. The whole class is watching this. Seeing me – the real me. I am no longer playing a prisoner in a cell talking to his wife. I’m me and I’m the only one who feels sorry for myself in the whole wide world. I am so sorry for myself I could puke – literally.

I feel so ashamed. Everyone is seeing me like this. My true self - Oh, god, I am so ashamed. I can’t stay here. What am I doing here? I can’t act. Now everyone knows it. I slowly get up. I don’t look up; my eyes are glued to the floor.

The cell window is gone. The phone is gone. The scene has dissolved. I am not in the scene anymore. Susan, I think, is still in the scene playing my wife, I don’t know. Maybe she’s just gawking at me like everyone else.

I have to get out of here. I begin to walk across the stage floor, slowly, deliberately. If I run I am a coward, but if I walk I might be able take the last shred of dignity I possess with me. “Don’t work out your personal problems out on my stage!” Viola’s words echo in my head. I make it to the door. I walk out.

Viola: COME BACK! Come back!

I open the door into the bright, sunny afternoon. It is such a contrast to the dark little theater space, but it is a dull, lifeless bright. The sun cannot penetrate my despair. I get in my car and drive home. I have no thought; I just drive like a zombie. I get home. I lie on my bed. I am a husk; dried up, empty. I have no feeling anymore - maybe a little residual of shame, but it’s hardly worth mentioning.

Time passes, I couldn’t say how long, but it was the same day.

The phone rings. It is Viola.

Me: Hello.

Viola: Gary! What were doing!?

Me: Viola, I had to leave. I couldn’t stay.

Viola: Oh, honey. If you had only stayed…if you had only stayed—I’d have cleaned you out of it!

Me: (listless) Yeah.

I hang up. I lie back on my bed. Soon, I begin to feel unexpectedly better. I put my hands behind my head, look up at the ceiling. I am pensive.

Lying there on the bed, I feel my body, my feet, my legs, stomach and hands. They feel good. They feel new.

I have the distinct image that if I were being filmed, the camera would be above me on a crane, slowly pulling back ever further to see me; me on the bed; me on the bed in the room; me on the bed in the room in the apartment; in the apartment in the building; in the city – in the world.

I feel good. I inspect my emotional self, still lying there on the bed. I feel pretty good. No self-pity; No shame; No embarrassment, even.

Hey! I feel pretty damn good! In fact, I feel terrific. What is going on?

I’m hungry. I get up and go out.

I am going out to get something to eat. I’m alive and I am hungry. I am an actor in Hollywood going out to get something to eat, because I’m famished. I’ve got a career to go after. Hey, life is good!

Epilogue

Ever since that day I have never ever felt sorry for myself. Viola’s coaching and the game itself banished that unproductive emotion from my psyche forever.

Self-pity, many acting teachers will tell you, is the poorest choice you can make for a character. It is an unpleasant emotion to witness, an excuse for the self to stay hidden, a paralyzing emotion. Self-pity keeps you from having any contact with the outside world and useless in real drama. Useless in life.

Soon afterward I began connecting with my acting; going on auditions and getting callbacks and some acting jobs. I still had a lot of other emotional problems (who doesn’t?) but self-pity was not among them.

Postscript: Viola did not intend her work to be psycho-drama. She used to say “Never use your own tears! Use the character’s tears!”

That her work did help me out psychologically was only a side-benefit of her connecting me with my real talent and the beauty and profundity of her philosophy. Yet her work, at a deep level cannot help but be transformative.

Out of the Head and Into the Space!

Out of the Head and Into the Space

Discovering space as substance and a new reality

Preface

I started my performing career as a mime. Mimes in the mid 1970's and 80's were synonymous with corny uninspired white faced buskers who went around mimicking passers-by and asking for money. I became a mime at the age of thirteen in 1964. In the 60's it was still an art.

I copied other performers I admired including Red Skelton, Dick Van Dyke, Danny Kaye and Jackie Gleason. I also got a chance to see the great Marcel Marceau.

I studied dance and mime for a year in college and developed my skill at the National Mime Theater in Boston. When I headed out to California in late 1975 I was already an excellent mime.

I performed mime on street corners and in cafes and because it was LA and not Schenectady, New York (where I'm from), I met a lot of performers who told me to study with Richmond Shepard, a well known mime teacher in LA at the time. I did. And although he did not teach me anything about mime I didn't already know, he did invite me into his troupe and I began making a living as a mime.

I was making an income from mime, performing on the Queen Mary in Long Beach California when I got hired to teach mime at the American Academy of Dramatic Art in Pasadena, CA.

I had been in Viola's class for about a year. We worked on space substance a good deal of the time. I had very little trouble visualizing the where and handling basic space, and Viola knew it. And although I had difficulty with many areas of her work at the time, SPACE was not one of them - or so I thought.

With mime, it's about having a clever idea and then rehearsing it and executing it to perfection. By the time I was 26 I had had enough of this. I was getting bored by my own mime performances. It was another reason I began taking acting and improv.

I wanted my work in Viola’s class to be good! I wanted to be liked and have her approve of me, and so I felt I had to know what to do in a scene before I got up to do it. I realize now that was not the point – at all! I knew it too, but could not help myself. I feared that my getting it wrong or looking stupid for not understanding what she wanted, would disappoint her. I was caught in what Viola called the Approval/Disapproval Syndrome.

In class, Viola would set up a game, describe the focus and then sit down and ask, “OK who wants to go first?"

I never went first. I wanted to see what the game looked like before I would try it. I had to watch while others did the scene. I watched and tried to understand what the game was and what it did for other players first.

While watching, I began to think "Ok, I could be a doctor and Susan my patient…" or "I could come on and say… and then he might answer…X.' Or "I'll come on with a horse to trade…'. I was trying to write the beginnings of a scene so I wouldn't go up 'empty' and look like an idiot without an idea.

"No playwriting!" Viola would shout from the sidelines. She'd see others playwriting an improv when all I could see was a passable scene.

"There are wonderful writers in their garrets with their typewriters and quills - writing things a lot better than you!"

She would often shout "Show us, don't tell us!"

Some players could not help just talking through the whole scene. They were not able to show the where and many players would not understand the difference – they would talk about where they were or what they were looking at instead of using the where and handling objects. Viola would get cranky.

"What are you DOING!!!?" she would yell.

"You’re just talking and telling us! If you can't show us - don't keep talking!!! Use your where! If you can't see it, look for it!" She then would either launch into a lecture or just stop the scene and try something else.

Sometimes she would just ask the two talkers to sit down and ask for two more. She would holler, “The Where will support you! You cannot just talk about it!”

Some players couldn’t take it. They thought she was telling them they were a failure - that they were no good, even though she never ever used words like good or bad when discussing our work.

“Were you able to achieve the focus? No. Sit down. NEXT!”

Although she yelled, many of us understood it was her frustration at not being able to get the game to work. Some took it personally and would leave the workshop, stung by her anger.

Viola's shouting always showed me her passion and I never took her raised voice personally. Still I was not going to go first and frustrate her. I wanted to do well. I'd be up in the last row, knowing I shouldn't playwright but I would do it anyway.

By now I knew enough about improvisation to realize that it is a good thing to go up without a thought. Just go! Trust that something would happen, but I couldn't. My mind was constantly feeding me with ideas – I couldn’t stop it. I was like a harried and desperate writer pitching ideas to a producer who did not want to listen.

Every time I caught myself thinking up an opening or a good line or a situation I could use, I would slap my face just a little, to remind myself to ‘stop it! Stop thinking ahead!’ I slapped myself a lot in the early days.

I wanted to improvise, but I also wanted to be good at it - right now. I had no idea that my all my clever ideas where things Viola had seen countless times before - I never realized it until I began to teach the work.

I tried to be original, funny and clever. And sometimes, in spite of myself, my trite scene premise worked only because Viola would call out some coach that would let me out of my fear and connect me some way to the scene, the other player or the where and I would get out of my head and something new would happen. With her sidecoaching, you often couldn’t help but do wonderful work.

I would get up time after time and try to erase all my pre-planning, often to no avail.

My first epiphany

One day we did an exercise called "Begin and End".

It was a solo exercise - my favorite kind. We were to handle an object, then break it down into 'beginning and ending' sub-movements calling out loud "Begin!" and "End!" then re-do the handling of the object to see if it made more of an 'appearance' in space. To me this was mime - my meat!

Viola developed this kind of an exercise to help people really see space physically and have it be a reality for you rather than pretending.

“Out of your head and into the space!” she kept reminding us.

Being in your head in this exercise, means that an object is referenced rather than actually handling it as a space object. This leads to telling and not showing: Using a pointed finger for a gun, or index and middle finger opening and closing for a pair of scissors or a thumb and pinky being spread apart and held to the ear to represent a phone.

Begin and End would break your movements down into 'beats' to allow time to see the various parts of the action. Once broken down and then reassembled, an object would appear in the space and be seen by the audience. So many players would use space badly and when they did use an object, we often would have no clue as to what it was. Space is tricky.

The undisputed master of this kind of space work was Richard Schaal, a member of Paul Sills' company and an original Second City cast member. He had the ability as Viola would say ‘to make the invisible, visible’. (More on him later).

“We’re going to do an exercise called Begin / End.” She announced.

Again I did not go first, hoping to see what she was after, knowing I could do this, but wanting to make sure. Sure enough, a student came onstage and quickly and clumsily unwrapped a stick of gum. We had no idea what he was doing until he put something in his mouth and started chewing. He then broke it down into Begin – End and then re-did it a third time. The third time we could see clearly the pack of gum, the wrapper and the single stick of gum he popped into his mouth.

"I get it" I thought to myself, feeling very cocky. I decided on pantomiming a cigarette pack and getting one out of the pack and lighting up.

I did it just as I had many times before in mime scenes. I then broke it down using Begin/End and then did it normally the third time.

In my evaluation, after the third time, Viola asked the class “Did you notice any difference from the first to the last time he did it?”

"No." said the class. "It was just as clear as the first time."

I beamed, feeling very pleased with myself. Little did I realize that Viola was not after a mime performance. She got up and came over to the stool I sat on onstage.

"Let me ask you a question." she said.

"Were you actually handling that object or were you drawing us a picture?"

My stomach sank.

"I was drawing you a picture." I said.

"And it was a very nice picture. We all saw it. But did you really see it?"

"Yes."

"No. You saw an outline of it." She said. "You made us see what you wanted us to see without seeing it yourself. You were playwriting!"

She caught me.

"I'm going to ask you to do it again. And this time I'm going to ask you to break it down many more times than you think. I'm also going to ask you breathe out fully on the 'End' part. Expel all your breath and shout very loudly on the 'begin'.”

I had no time to think of what to do. I had to pick a new object and start right away. No forethought. That was good, but that was only part of it.

By asking me to break it down even further, she meant to go beyond my outline. Beyond the gestures that would say just enough about an object so the audience would understand what it was. That was what my mime training had taught me. She also had me focus on breath and volume. I had a multiplicity of focuses, to occupy me and keep me from my old well-trained habits - to shut off my head.

I decided to peel an orange. I dug my thumbnail in and peeled the rind, piece by piece, putting the pieces on my lap.

"Now do it with BE-ginnnnn!" she loudly emphasized "and ENNNNDDDDDuh -!" she demonstrated emptying her lungs of air.

I began.

I found it was not difficult to break the movements into smaller parts.

I began by seeing an orange on the table. Seeing was a BEGIN!

Deciding to pick it up, an ENNNDDDuh!

“BEGIN!” I placed my hand on the orange.

“ENND!” - expelling all my breath, I let my hand rest on the orange.

“BEGIN!” I raised the orange.

“ENNNDDDuh!” I brought it in front of me.

I got occupied with that glistening rind. I saw it.

A shiny orange with a pebbled skin - a large juicy navel orange. I even noticed the 'navel' part.

“BEGIN!” I dug my nail into the orange. I thought to myself, it’s a real oily, ripe orange, this one.

“ENNNNNDuhhhh!”

I pried open the first part where I could see the orange section like a whitish placenta-like embryo with veins and shreds of pulp.

I lost track of how many times I did it, I do remember my voice was wearing thin with all the volume and my breathing was getting me very energized. I gulped in air for 'begin' and expelled it all on 'end'. It was just me and this particular orange. Not a generic orange, but a unique one. I even remember recalling it had a blue stamp on it like some oranges have when picked and labeled by a grower.

"Now go back and peel it again, without Begin / End." Viola instructed.

This is where I have to say, it really happened folks, because it really did. It might sound like some grandiose recollection, but I promise you this is no overstatement or exaggeration. I peeled the orange again. When I stuck my thumbnail into it, I saw, as clearly as I see this computer screen I'm writing on, the spray of orange oil come out of that very ripe orange. The entire class gasped. They saw it too! I continued to peel that orange and I can still see it vividly to this very day.

"There." Viola said. "You saw it and we saw it." She smiled very broadly. "Whoooo! That was something!"

She then turned to the class. "I don't care how skilled you are - if you see it then we will see it. If you don't see it, you're cheating yourself!" she hollered with emphasis.

She turned back to me. "I'm going to ask you whenever you do this exercise, Gary, to do that - break it down as much as possible and breathe! – This is a breathing exercise. And then, in your case, I'll ask the class not only if they saw it, but what color or texture it was."

Later when we did this exercise again, I tied a tie. When I was done Viola asked the group what color it was and what material. The majority of the class said it was a knit tie, maroon or red.

Bingo! It was a maroon, fuzzy knit tie. That’s what I saw. I saw it- Really saw it. And they did too.

This was my epiphany. I had to get out of my head in order to generate energy and true spontaneity. Breaking it down so many times, combined with the breathing and the loud voice put my focus on the object and not the audience or myself (who was still obsessed with how the audience was seeing me).

I had produced, in space, a real orange and a real tie. It was real to everyone who saw it. Invisible space made visible.

I now saw mime as a tired and boring way of moving your body to describe objects – it was just another way of telling and not showing. I immediately began teaching space object work to my mime class at the American Academy, totally doing away with rote exercises in rotations, inclinations, illusions and the like.

I was fired.

So be it. I was on the path to something much bigger.

A Sense of Urgency

These next posts are stories and observations on my experience in Viola Spolin's workshop early in my training. I hope you can relate to being a novice improviser and see how her sidecoaching transformed me and how it might transform you.

This entry is about using Slow Motion counteract Urgency.

This happened in a workshop with Viola when we were working on “The Where”.

The scene is a spaceship. I’m the navigator. Andy is the captain, and we have two prisoners from another planet on board. I sit placidly at my controls downstage. The captain yells a heading like a pirate.

“Sou.. by SouWest!”

I say, “Sou by sou west, aye!” Thinking to myself that’s what he wanted me to say, but shouldn’t it sound like a numbers and degrees and bearing call? I’m thinking of how to add to that in when one of the prisoners says “There’s no south in space!”

Who do I support? What does Captain Andy say to that? Should I say something? I think if I support the prisoner - the scene could go into a mutiny, which would be funny. Or do I defend my captain and create an opportunity for doing a captured prisoner scene.

Andy says something I miss. The prisoner shouts, “My people are coming for us!”

I say “What should I do Captain?”

Viola yells “No Questions!!” I understand what she means. Questions signal you abdicate responsibility for adding to the scene and asking for someone else to direct the action. It’s a cop out. Yet I think, that’s a good question. My head swims with possibilities and I’m getting a little flustered. I'm in my head and I feel the pressure to make something happen.

Andy and the Aliens are into some kind of dialogue when they begin yelling “We’re under attack!”

I mess with the dials and run around trying to take ‘evasive action’. I am feeling totally disconnected to what the others are doing.

I start talking about the pounding the ship is under and yell “damage to our hull!” We’re all running around. I can’t even understand what the others are saying. I’m panicking. I try to make my character into a panicky person. I’m panicky, not my character. I am lost in the scene, not really that aware of what others are saying or doing. I’m just acting hysterical - thinking this will add to the scene, somehow. It’s active and big.

I always heard ‘you can use your nervousness to inject energy in a scene.’ I chose panic as a focus or should I say, panic chose me. I was shut off from the others.

I wondered what they wanted. How can I tune in to what they are doing? What could I contribute to the scene? How can I figure out what they were doing and let them know what I was doing?

What was I doing? What should I do? What was going on? "No questions!" I remembered. My breathing got shallow and hurried. My mind raced. No questions! Just react! React to what? Questions again.

“No urgency!” Viola intoned from somewhere 'out there'. The rush of my own urgency was roaring in my head and I barely had time to listen or respond to the other players. I wanted something to happen! I wanted it to be good! I wanted everyone to think I was good at this. I grabbed at any comment or behavior and tried to ‘make something from it.’

Maybe I could say things I thought were funny or interesting and hope the other players would pick up on it. Momentum built as I lost further control and then I heard “SLOOOOOWWWWWWWW - MOTIONNNNNN!” yelled to me from within my vortex. “Everyone! Veeerrrryyyyy Sloowwww Motionnnnn!” Viola coached.

I began to concentrate on slowing the space around me. Slowing my speech. I begin to get that wonderful warm feeling of slow-motion space wrapping around me like a blanket. I begin to notice, the other players jumping on Captain Andy and slowly wrestling him to the ground. I glide over to the door and yank on the wheel to open the hatch. My movements flow and feel natural. I notice that I’m blocking the upstage action with Andy and the Aliens. I need to show the audience what’s going on. I roll in slow-mo toward the door at the side of the stage and a great idea hits me. “We’re going to implode! - Abandon ship!!”

The Aliens let go of Andy and slowly lurch for the door. I open the door and they go for it. I slowly put my foot on the second alien’s behind and nudge all of them out and slam the door.

Since the whole scene took place on a bare stage with two chairs, the aliens could be seen clinging to the outside of the ship in real slow motion, pounding and yelling to be let back in.

The class laughed. I reach for the captain and set him up in his command chair and get back to my console. “Sou -by sou West!” I say over my shoulder, smiling. Thanks for the signal Captain. Andy leans forward and says “Aaaarrrrgh! - now go to warp speed at zero nine four degrees mark three!” aaand blackout.

How many times at auditions or other interviews, you hear “Take your time” and it’s just a bunch of words. You are so nervous you simply nod at the advice but don’t really understand what that means. Everything begins to rush around you and you feel like Keir Dullea, the astronaut in 2001 A Space Odyssey as he travels through the whooshing psychedelic interior of the mysterious black monolith -Speeding up with every passing second.

The world whirls past you in a fever dream and you try your best to not show how scared you are. You are in the grips of panic and fear and all you can do is try to maintain some control. There's no presence of mind. No time to make a connection with others. Very often people feel this out of body sensation. In essence it is a low level panic attack. You can control just enough behavior to not totally loose it, but you are paralyzed creatively. You are in reaction not relation.

Slow Motion is an amazing tool. It gives a focus that allows time for you to take in all you need to, in order to stay in the scene. In many cases it can allow actors to reconnect to each other and the environment while in a scene and take a mundane, trite scene and give it new life.

Many actors 'center' themselves before making an entrance. It is a way of calming and focusing, ridding the mind of 'what to do' thoughts and just being. What can you do once onstage or in a scene? Slow motion is not exaggerated slurring and slowing, but an altered experience of time. It is literally 'taking your time'.

Urgency is a desire to 'make it good', be seen, get a laugh, despite the fact that you have very little awareness of what's really going on. Urgency narrows your field of vision and soon it all becomes about you.

Novice improvisers or poorly trained ones or exhibitionists find ways to use urgency to 'shake it up' or make something happen. What they are really doing is forcing other actors to deal with them. They become the focus of the scene, very much like a drowning person gets everyone on the beach focused on their emergency. Many times the player is unconscious of this behavior. Since it always gets something to happen onstage, it can become a pattern and a habit. Soon other players will find exits when they see this kind of player enter the scene.

Viola recognized urgency as a cry for help. Her first comment was to alert me to the Urgency early in the scene. Sometimes awareness can avert the problem. When urgency overtook me, another focus was needed to counteract the urgency. Since Urgency is about uncontrolled speed, Slow Motion is the perfect antidote.

Playing creates Community

In our ever more complex and technological era, true person to person interaction is lost as we interact with each other via technology instead. (witness this blog) The technological revolution has brought us closer in one respect, but the need to interact in a wholesome way within our local community, person to person, is still vital.

Viola Spolin called her work Kindergarten for the 21st century. What she meant is that her work represents the fundamental skills needed for both actor and audience to meet and interact in a new and basic way. We meet as fellow players and learn from and depend on each other to create meaningful play. The audience plays too. Nobody is a passive player in Spolin's theater. This essence of play creates true community.

Her work transcends the theater in this regard. Her work is way to become 'part of the whole'. It is a way to shed the ills of the 20th Century; Ills such as authoritarian teaching and rote learning. Spolin called this the Approval/Disapproval Syndrome and classified it as the basic obstacle to a true relation with ourselves, our environment, and each other.

In Spolin Games, students and teachers work together, to discover and solve problems. Discovery learning is everyone's birthright and when one discovers a path to a solution on their own, in their own way, learning is integrated and belongs to the discoverer. The joy that accompanies this type of learning makes the exploration of any subject and the inherent skills acquired in the solving of the problem, meaningful and useful to the player forever. It is with this in mind that Viola Spolin began to formulate her theories.

Spolin chose to teach the disciplines of theater to express this greater goal. As a handbook for theater study, it has no peer. It is direct, practical, and easy (because it is fun). Improvisation for the Theater outlines a course of study that gives each and everyone the opportunity to play, be spontaneous, become self-aware and transform. These skills are necessary for our work in the theater, but are also necessary for the bigger stage of our own lives. Fulfilling the requirements of a game creates a playing field where we all become fellow players. Playing is the great key that opens our individual treasure house of intuitive understanding and our ability to act in authentic and meaningful ways.

The Narrative Trap and the Dogma of "Yes! And…"

Spolin's concept of Give and Take and Follow the Follower is a two way system.    Yes! And… is a one way system. 

Respect is inherent in Give and Take even in conflict or disagreement. Follow the Follower erases 'self' consciousness and puts full attention on your fellow player. Yes! And… imposes unquestioned respect for any offer and forces only agreement. 

Another trap of "Yes and…" is that it often adds too much information. Too many offers leads to muddled scenes, as the actors try to parse the information and fold it into the ongoing scene. 

Give and Take uses reciprocal consciousness which contains the elements of follow the follower to allow for exploration of an ongoing event (scene).

Story should be the by-product of good scene work not the goal

I disagree with the idea of coping with narrative and story as a primary focus in improvisation because it puts most players in their head and disconnects them from true relation with fellow players and obscures the more immediate focus of staying involved with their fellow players, trusting the focus and letting the story (interaction) unfold. 

When narrative becomes the focus, what occurs onstage is a story conference, without the benefit of revision or brainstorming. Crafting a good story is an art in itself. There's a Yes, And…. concept developed to create a story. It is called "The Story Spine"  It works in concert with adding information.

1. Once upon a time there was a _____
2. And every day ______
3.  Until one day ______
4. and because of this ______
5. And because of that- this happened
6. And ever since this happened this was the result.
7. Find the moral of the story.
8. and do not have to be foremost in a players mind.

 It is possible that this formula will result in a story if all players adhere to it and play within the framework. My issue with this concept is only that it is limiting. There are many ways to tell a story and the actors need not be involved with story in as much as they are totally involved with one another. This involvement is the key to improv - not story structure. 

The paradigm Spolin saw, was that any true relationship with fellow player and the environment, creates a story. The games produce a connection with the actor to himself, the actor to the other actors, the actors to the environment: A thread that weaves itself into situations and conflicts. When that connection is broken (being in your head) and one or more of the actors withdraw (for whatever reason) from any of the above mentioned elements - that actor is stranded alone on stage. 

Finding yourself disconnected from your fellow players onstage creates urgency in the actor. Many actors try talking their way back into the scene by telling what they see, feel, or want to do. It is a cry for help and the sidecoach or director may call out "Help your fellow player who isn't playing!" Onstage players may recognize the situation too and try reconnecting with that actor by involving him/her in the where, or simply pausing in no-motion to come back into the playing field. (space) This rescue becomes part of the ongoing unfolding of the event the audience will eventually see as "Story'. 

It is possible to house the elements of narrative inside playing. That takes what Spolin called detachment. Artistic detachment is achieved by having so much focus that the problem no longer occupies the whole self and there is room for seeing the larger picture. This is an advanced state for players and comes easily only to the very gifted, but all players are capable of it after having enough time in the space. Then narrative and things like that occur naturally Also Spolin had games that approached long form too. Games like “Hold it”, “Theme Scene”, “Scene on Scene” and “Word Game” all hold an evenings worth of play in them.