Improvisation for the Theater: A Handbook of Teaching and Directing TechniquesHere 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. Also available: Spolin's Theater Game File |
From inside the book
Results 1-5 of 14
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... REHEARSAL SECTION 330 SUGGESTIONS FOR THE SECOND REHEARSAL SECTION 331 SUGGESTIONS FOR THE THIRD REHEARSAL SECTION 332 Spot Rehearsals 333 The Director's Re - Evaluation 333 Seeing the Show 334 Stage Fright in the Director 334 Makeup ...
... REHEARSAL SECTION 330 SUGGESTIONS FOR THE SECOND REHEARSAL SECTION 331 SUGGESTIONS FOR THE THIRD REHEARSAL SECTION 332 Spot Rehearsals 333 The Director's Re - Evaluation 333 Seeing the Show 334 Stage Fright in the Director 334 Makeup ...
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... REHEARSALS 341 Time Chart for First Rehearsal Section 341 Time Chart for Second Rehearsal Section 344 Time Chart for Third Rehearsal Section 345 DIRECTING THE CHILD ACTOR 346 REMOVING AMATEUR QUALITIES 348 The Amateur Actor 348 Causes ...
... REHEARSALS 341 Time Chart for First Rehearsal Section 341 Time Chart for Second Rehearsal Section 344 Time Chart for Third Rehearsal Section 345 DIRECTING THE CHILD ACTOR 346 REMOVING AMATEUR QUALITIES 348 The Amateur Actor 348 Causes ...
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Contents
IX | 3 |
X | 4 |
XI | 6 |
XII | 9 |
XIII | 13 |
XIV | 14 |
XV | 15 |
XVI | 16 |
CCXXIII | 202 |
CCXXIV | 203 |
CCXXV | 206 |
CCXXVII | 207 |
CCXXVIII | 208 |
CCXXXI | 209 |
CCXXXIII | 210 |
CCXXXV | 211 |
XVII | 18 |
XVIII | 20 |
XIX | 21 |
XX | 26 |
XXI | 28 |
XXII | 30 |
XXIV | 31 |
XXV | 32 |
XXVI | 33 |
XXVII | 34 |
XXVIII | 35 |
XXIX | 36 |
XXX | 49 |
XXXI | 51 |
XXXII | 52 |
XXXIII | 53 |
XXXIV | 55 |
XXXV | 56 |
XXXVII | 57 |
XL | 58 |
XLII | 59 |
XLV | 60 |
XLVI | 61 |
XLVIII | 62 |
L | 63 |
LI | 64 |
LIV | 65 |
LVI | 66 |
LVII | 67 |
LIX | 68 |
LX | 69 |
LXI | 70 |
LXII | 71 |
LXIII | 72 |
LXV | 73 |
LXVII | 74 |
LXVIII | 75 |
LXIX | 76 |
LXXI | 77 |
LXXIII | 78 |
LXXVI | 79 |
LXXVII | 80 |
LXXIX | 81 |
LXXX | 82 |
LXXXII | 83 |
LXXXIII | 84 |
LXXXIV | 85 |
LXXXVI | 87 |
LXXXVII | 88 |
LXXXVIII | 90 |
LXXXIX | 91 |
XC | 92 |
XCI | 98 |
XCII | 99 |
XCIV | 100 |
XCVI | 101 |
XCVIII | 102 |
XCIX | 103 |
C | 104 |
CIII | 105 |
CV | 106 |
CVII | 107 |
CVIII | 108 |
CXI | 109 |
CXII | 110 |
CXIII | 111 |
CXIV | 112 |
CXV | 114 |
CXVIII | 115 |
CXIX | 116 |
CXXII | 117 |
CXXIV | 118 |
CXXVI | 121 |
CXXVIII | 122 |
CXXX | 125 |
CXXXI | 127 |
CXXXII | 128 |
CXXXV | 129 |
CXXXVII | 130 |
CXXXVIII | 131 |
CXXXIX | 132 |
CXLI | 133 |
CXLIII | 134 |
CXLIV | 135 |
CXLV | 137 |
CXLVI | 138 |
CXLVII | 140 |
CXLVIII | 141 |
CXLIX | 142 |
CL | 143 |
CLI | 145 |
CLII | 146 |
CLIII | 147 |
CLIV | 148 |
CLV | 149 |
CLVI | 152 |
CLVIII | 153 |
CLIX | 154 |
CLX | 155 |
CLXI | 156 |
CLXIII | 157 |
CLXIV | 158 |
CLXVI | 160 |
CLXIX | 161 |
CLXX | 162 |
CLXXI | 163 |
CLXXIV | 164 |
CLXXVI | 165 |
CLXXVIII | 166 |
CLXXXI | 167 |
CLXXXIII | 169 |
CLXXXIV | 170 |
CLXXXVI | 171 |
CLXXXVII | 174 |
CLXXXVIII | 175 |
CXC | 176 |
CXCII | 177 |
CXCIII | 178 |
CXCVI | 179 |
CXCVII | 180 |
CXCVIII | 181 |
CXCIX | 183 |
CCIII | 184 |
CCV | 185 |
CCVI | 186 |
CCVII | 187 |
CCIX | 189 |
CCX | 191 |
CCXI | 194 |
CCXIV | 195 |
CCXVI | 196 |
CCXVII | 197 |
CCXVIII | 198 |
CCXIX | 199 |
CCXX | 200 |
CCXXI | 201 |
CCXXXVI | 212 |
CCXXXVIII | 213 |
CCXXXIX | 214 |
CCXL | 215 |
CCXLII | 216 |
CCXLVI | 217 |
CCL | 219 |
CCLI | 221 |
CCLII | 223 |
CCLIII | 224 |
CCLIV | 225 |
CCLVI | 227 |
CCLVIII | 228 |
CCLIX | 229 |
CCLX | 231 |
CCLXII | 232 |
CCLXIV | 233 |
CCLXV | 234 |
CCLXVI | 236 |
CCLXVII | 237 |
CCLXVIII | 238 |
CCLXX | 239 |
CCLXXII | 240 |
CCLXXIV | 241 |
CCLXXV | 243 |
CCLXXVI | 244 |
CCLXXVII | 245 |
CCLXXIX | 246 |
CCLXXXI | 247 |
CCLXXXII | 248 |
CCLXXXIV | 249 |
CCLXXXVII | 250 |
CCLXXXVIII | 251 |
CCLXXXIX | 253 |
CCXC | 255 |
CCXCI | 257 |
CCXCII | 258 |
CCXCIII | 259 |
CCXCIV | 260 |
CCXCV | 262 |
CCXCVI | 263 |
CCXCVII | 264 |
CCXCVIII | 266 |
CCXCIX | 268 |
CCC | 269 |
CCCI | 270 |
CCCII | 272 |
CCCV | 273 |
CCCVIII | 275 |
CCCIX | 278 |
CCCXI | 279 |
CCCXII | 281 |
CCCXIII | 284 |
CCCXIV | 290 |
CCCXV | 292 |
CCCXVI | 295 |
CCCXVIII | 297 |
CCCXIX | 299 |
CCCXX | 300 |
CCCXXI | 302 |
CCCXXII | 303 |
CCCXXIII | 305 |
CCCXXIV | 307 |
CCCXXV | 308 |
CCCXXVI | 309 |
CCCXXVII | 310 |
CCCXXVIII | 311 |
CCCXXIX | 312 |
CCCXXXI | 313 |
CCCXXXII | 314 |
CCCXXXIII | 315 |
CCCXXXV | 316 |
CCCXXXVI | 318 |
CCCXXXVII | 319 |
CCCXXXVIII | 320 |
CCCXL | 321 |
CCCXLI | 323 |
CCCXLII | 324 |
CCCXLIV | 325 |
CCCXLVI | 326 |
CCCXLIX | 327 |
CCCLI | 328 |
CCCLII | 329 |
CCCLIII | 330 |
CCCLIV | 331 |
CCCLV | 332 |
CCCLVI | 333 |
CCCLVIII | 334 |
CCCLX | 335 |
CCCLXI | 336 |
CCCLXIII | 337 |
CCCLXIV | 338 |
CCCLXV | 339 |
CCCLXVI | 341 |
CCCLXVII | 344 |
CCCLXVIII | 345 |
CCCLXIX | 346 |
CCCLXX | 348 |
CCCLXXII | 349 |
CCCLXXIII | 353 |
CCCLXXIV | 355 |
CCCLXXV | 374 |
CCCLXXVI | 377 |
CCCLXXVII | 379 |
CCCLXXVIII | 380 |
CCCLXXIX | 381 |
CCCLXXX | 382 |
CCCLXXXI | 383 |
CCCLXXXIV | 384 |
CCCLXXXV | 385 |
CCCLXXXVI | 386 |
CCCLXXXVIII | 387 |
CCCXC | 388 |
CCCXCI | 389 |
CCCXCII | 390 |
CCCXCIII | 391 |
CCCXCIV | 392 |
CCCXCVI | 393 |
CCCXCVII | 394 |
CCCXCIX | 395 |
CD | 396 |
CDI | 397 |
CDIII | 399 |
CDIV | 400 |
CDV | 402 |
CDVIII | 403 |
CDX | 404 |
CDXIII | 405 |
CDXV | 406 |
CDXVI | 407 |
CDXIX | 408 |
CDXXII | 409 |
CDXXV | 410 |
CDXXVII | 411 |
CDXXVIII | 412 |
Other editions - View all
Improvisation for the Theater: A Handbook of Teaching and Directing Techniques Viola Spolin No preview available - 1999 |
Common terms and phrases
acting problem activity allow audi audience ball become begin bring called center player character child child actors coach communication concentration costume create develop dialogue director emotion energy enter environment EVALUATION example exer exercise exhibitionism experience feel fellow players floorplan focus Follow the follower formal theater gibberish give and take group agreement hands heighten improvisational theater individual inner action integrated intuitive involvement keep listen mirror move movement Neva Boyd object on-stage Paul Sills performance physical play players agree players show playwriting POINTS OF OBSERVATION props psycho-drama reality rehearsal section relationship release response role scene Share your voice SIDE-COACHING simple Single player sound space substance speech Spolin spontaneity stage picture story student-actors sub-team teacher teacher-director tell theater games tion verbal Viola Viola Spolin walk warm-up watch word WORD GAME workshop young actors