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Through personal experience, reading and research an insight can be gleaned into how improvisation can play such an important role in aiding the Actor's development of theatrical character.

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Introduction

Through personal experience, reading and research an insight can be gleaned into how improvisation can play such an important role in aiding the Actor's development of theatrical character. To fully comprehend how liberating improvisation can be as a doorway to one's creative self, one has to experience and understand the process. The Actor's tools begin with him or herself. The key to accessing this inspired part of a self is through the process of playing games. It is through games that a person of any age can act, evolve, developing new skills, creating and inventing new ideas, and, through the game's unique process, without even being conscious of it. It is through play, in which children imitate more or less consciously all human activities and sentiments, which is for them a natural path towards artistic expression and for us a living repertoire of reaction of the most authentic kind - it is through play that we wish to construct not a system, but an educational experience. We seek to develop the child, without deforming him or her, through the means which the child provides, towards which he or she senses the greatest inclination, through play, in playing, in games which are imperceptibly disciplined and exalted.1 The skills necessary to create are basic. ...read more.

Middle

I learned never to act on impulse, and that whatever came into my mind first should be rejected in favour of better ideas. I learned that my imagination wasn't "good" enough. I learned that the first idea was unsatisfactory because it was (1) psychotic; (2) obscene; (3) unoriginal.3 Games help strip a person of these fears about performing, being creative and provide a focus so one can forget about approval or disapproval. In games there are no 'good' and 'bad' when people are being encouraged to be themselves. The disciplines of the games played and exercises experienced in a workshop environment are set up to encourage fair play and a non-threatening group atmosphere in which the actor can feel the freedom to create. Possible 'threatening' situations, where one could feel exposed and vulnerable are tackled with an entire group, so no one person should feel susceptible or at risk from being judged. At this point the group was split into two groups, half went and stood on the stage in a line and we were left in the audience. ...read more.

Conclusion

He will be alive, human, interdependent, working with his fellow players. He will be himself-the actor-playing the game of the character he has chosen to communicate.6 In the course of investigating Improvisation and the nature of play it is clear to see that any person can act, be imaginative and build a character. The skills necessary to do so are built in to every individual. Working in a group, a student actor can access his or her imagination, realizing the ability to play, and through play discover the mass of characteristics within themselves. Building confidence and trust in one's self and others in their group. Believing their ability to develop character and ideas through improvisation games the skills they always possessed. 1 Jacques Copeau, Twentieth Century Actor Training, ed. By Alison Hodge, (London, Routledge, 2000), p. 74. 2 Jacques Copeau, Twentieth Century Actor Training, ed. By Alison Hodge, (London, Routledge, 2000), p. 75. 3 Keith Johnstone, Impro. Improvisation and the Theatre, (London, Methuen, 1981), p.82. 4 Mhari Hetherington, Notes from Drama on Stage, 30/9/03: Exposure Exercise, (Unpublished), N.P. 5 Viola Spolin, Improvisation for the Theater, (Chicago, University of Chicago Press, 1963), p. 24. 6 Viola Spolin, Improvisation for the Theater, (Chicago, University of Chicago Press, 1963), p. 256. 1 Matriculation Number: 03005917 ...read more.

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