A new teacher's handbook of over 140 theatre games to stimulate creativity in performers of all ages. The essentials of creative acting skills with games and exercises in twelve units: Unit 1: Group Orientation; Unit 2: Trust; Unit 3: Warming Up; Unit 4: Developing the Senses; Unit 5: Co-ordination and Interaction; Unit 6: Co-operation; Unit 7: Reality; Unit 8: Sensitivity and Communication; Unit 9: Transformation, Discovery and Spontaneity; Unit 10: Characters and Stories; Unit 11: Drawing to Music and Unit 12: Creative Quotations.

A curriculum guide using improv games to teach basic drama skills. If used with 'Improv Ideas' by the same authors, there are enough games and ideas to provide for over a year's work. Select from over 134 games. It's adaptable to all age groups -- from beginners to experts. The lessons are structured sequentially with emphasis on group building. It is deigned to teach holistically. Students are unaware they are being taught many new skills with every lesson. This curriculum is the culmination of many years of evolution and testing.

Theater Games for Rehearsal: A Director’s Handbook, first published in 1985, is a practical application of Viola Spolin’s famous method that guides directors and their companies step-by-step through all phases of the rehearsal period. Spolin shows in easy-to-follow detail how her techniques can be used for a variety of theater situations, ranging from selecting plays or material to be performed, casting, and building a harmonious company to warming up actors, creating stage space, and overcoming opening night jitters. The edition reflects Spolin’s wished-for updates: five important exercises have been added, and instructions presenting her improvisational approach have been clarified throughout. Her wealth of useful notes remain undiminished. Sidecoaching instructions and game evaluations are boxed and highlighted for on-the-spot reading by the director, in rehearsal. Viola Spolin has been called "the high priestess of improvisational theater," and the method that she created andpresented in her books not only remains the pedagogical standard but has found an even wider audience beyond theater. Featuring a new foreword by renowned film director Rob Reiner, the updated edition is a necessary addition to any theater bookshelf.

Too often in our classrooms, students believe that confrontation is the only solution to conflict. Patricia Sternberg offers a promising alternative. In Theatre for Conflict Resolution, she outlines a variety of playmaking activities and theatre games designed to teach students that communication is the key.

Body movement, gesture, voice and interaction are all essential parts of this large selection of games and exercises. Within its twelve chapters are games for getting acquainted, over forty games on how to warm up the actor's tools, and over one hundred games and exercises for improvisation and public speaking. Also included are over seventy monologues and poems for dramatic presentation together with over ten plays and scenes. This total drama book tells about how to assess dramatic performances and covers all drama terms and the essentials about a career in theatre. Each unit can stand alone. Enough resource material for several semesters of study. A must resource book for every drama library.

A student actor or professional performer will use this book again and again for self-discovery exercises designed to enhance acting skills. It is a "doing" book which challenges the actor with every exercise. A superb text that is both functional and inspirational.

(Applause Books). The creator of Story Theater , the original director of Second City , and one of the greatest popularizers of improvisational theater, Paul Sills has assembled some of his favorite adaptations from world literature. Includes: The Blue Light and Other Stories, A Christmas Carol (Dickens), Stories of God, Rumi .

This book pertains to several aspects of drama such as understanding, inspiration, activities, poetry, plays, stories, etc.

Taking as its point of departure the complex question about whether Surrealist theatre exists, this book re-examines the much misunderstood artistic medium of theatre within Surrealism, especially when compared to poetry and painting. This study reconsiders Surrealist theatre specifically from the perspective of ludics-a poetics of play and games-an ideal approach to the Surrealists, whose games blur the boundaries between the 'playful' and the 'serious.' Vassiliki Rapti's aims are threefold: first, to demystify André Breton's controversial attitude toward theatre; second, to do justice to Surrealist theatre, by highlighting the unique character that derives from its inherent element of play; and finally, to trace the impact of Surrealist theatre in areas far beyond its generally acknowledged influence on the Theatre of the Absurd-an impact being felt even on the contemporary world stage. Beginning with the Surrealists' 'one-into-another' game and its illustration of Breton's ludic dramatic theory, Rapti then examines the traces of this kind of game in the works of a wide variety of Surrealist and Post-Surrealist playwrights and stage directors, from several different countries, and from the 1920s to the present: Roger Vitrac, Antonin Artaud, Günter Berghaus, Nanos Valaoritis, Robert Wilson, and Megan Terry.

This book is perfect "€" jam-packed with games and lists, it's also the most user-friendly book we've ever seen! Who knows what you'll love more? Maybe it will be the clean layout that specifies space prep minutes, player prep minutes, performance minutes, and number of players for every single game. Or maybe it will be the appendices, where each of the 71 games is cross-referenced by not only these details just mentioned, but also dramatic skills and National Theatre Standards by grade! Perhaps you'll best love the CD-Rom which includes printable PDF files of every list in the book. You can even print these lists directly onto labels or pages for student use. Besides directions and examples, every single game also has tips on side coaching and evaluation and critique. It just doesn't get better than this! This mother lode of rich activities will be mined by drama teachers in search of memory jogs and new inspirations for years to come!