3. -Born in 1906, died in 1994. -Is considered as the American Grand Mother of Improvisation. -Late 1950’s: She influenced the first generation of improvisation at the Second City in Chicago. -She developed new games that focused upon creativity, adapting and focusing the concept of play to unlock the individual`s capacity for creative self-expression.

4. “ Anyone who wishes to can play in the theatre and learn to become ‘stageworthy’. We learn through experience and experiencing, and no one teaches anyone anything.” http://www.youtube.com/watch?v=5V5C61zflu8

5. -Intuition is often thought to be an endowment or a mystical force enjoyed by the gifted alone. -All of us have moments when the right answer “just came” or we did “exactly the right thing without thinking.”

7. 2. Approval/Disapproval - Investigation, questioning, accepting or rejection. -“We must wander daily through the wish to be loved and the fear of rejection before we can be productive” -We are “creatively paralyzed”.

9. 4. Audience -“The role of the audience must become a concrete part of theatre training.” -“Without an audience there is no theatre...they make the performance meaningful.”

10. 5. Theatre Techniques -Theatre techniques as rituals? -Theatre games. -“Methods alter to meet the needs of time and place”.

11. 6. Carrying the Learning Process into Daily Life -No scripts should be brought home. -“experiencing is the only homework...”

12. 7. Physicalization Physicalization : the means by which material is presented to the student on a physical, non-verbal level as opposed to an intellectual or psychological approach.

13. http://www.youtube.com/watch?v=jwMj3PJDxuo

14. Spolin explains that “anyone can learn whatever he or she chooses to learn” and that “’talent’ or ‘lack of talent’ have little to do with it”. Do you believe this is true; can anyone learn to do anything they want? Does this mean we all have the universal skills to complete any task?

22. Entrainment states, that a group of people working silently in a library will work more progressively knowing everyone else around them is working too. Do you work better in a group of people all working, or do you work better alone? Why do you think this might be?

26. 1. Muscular Exercises Actors are aware of their muscles and the various movements they can make 2. Sensory Exercises This exercise is about genuinely experiencing the same sensations ‘from memory’ 3. Memory Exercises Purpose is to develop memory and enhance awareness, so that their powers of attention, concentration, and analysis can further develop 4. Emotion Exercises In order to identify with a character or role, one has to start by destroying the wall of mechanisms (a.k.a. the actor’s ‘mask’)

29. 2. The Counter-will - For an actor to live on stage, he must find the counter-will to each of his wills - “The counter-will must always exist so that he can genuinely live his character, adding depth to it to truly realize it, rather than simply illustrating it” - The internal conflict of will and counter-will creates the dynamic of the performance so that the actor will never be the same from one moment to the next, because he or she will always be in a continual state of change - Without counter-will, the actor will stay the same: static and untheatrical

30. 3. The Dominant Will -“Dominant will emerges from the interior conflict between will and counter-will, it is the manifestation of the will in conflict with other characters” - Actors must always refer back to the dominant will because it structures the conflict of all wills - The wills; ideas they underlie and emotions they give rise to are the actors colours

31. Example: Actor Heath Ledger playing the Joker in the film ‘The Dark Knight” Clip 1: http://www.youtube.com/watch?v=uKa-aDga1fE Clip 2: http://www.youtube.com/watch?v=l2aXcVzoTXo

32. Can you think of other similar examples in the realm of professional cinema in which an actor or actress does an extremely convincing job of portraying a character or role? (be it real or fictional)

33. http://improvencyclopedia.org/references//Viola_Spolin.html “ Creative Experience” Spolin, Viola. “ Playing Together” Nachmanovich, Stephen http://www.freeplay.com/Top/index.m5.html Boal, Augusto. &quot;The Structure of Actor's Work.&quot; CMST 2G03 Performance and Performativity . 161-79. Smith, Mark K. &quot;Augusto Boal.&quot; The Encyclopedia of Informal Education . 1 July 2008. 24 Sept. 2008 <http://www.infed.org/thinkers/et-boal.htm>.