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Spolin Exercise 1
In the journal (which we will label “1.1”), ask the students to write three to four sentences that explain what a good actor is. What can a good actor do? How do you discern a good actor from a beginning actor or simply from a bad actor? We are hoping to get all sorts of answers, including that a good actor can cry on cue. We will also get many standard answers, such as that a good actor seems to become the character, that a good actor can make us laugh or cry, etc. I discourage discussing these answers at this point because we will want to discuss them later. Exposure Divide the class in half, setting half on the designated stage and half in the audience. The task of each member of each group is to observe the other group. “You watch us. We’ll watch you.” Those who giggle and discuss are to be reminded of the directions. When each member of the stage group has shown some level of discomfort, give the group a task. Counting the floorboards is recommended. Counting the ceiling tiles or tying their shoes may be another. When every member seems to have regained (or gained) some level of stage comfort, switch the groups. Spolin recommends that when the groups are switched that we simply repeat the exercise, but I want to add something that I got from my Acting 1 class in college, and which I believe is a Stanislavski exercise. Start with this direction: “You watch us. We’ll watch you,” until everyone reaches a level of discomfort. Then, ask them to play an emotion or to be something. For example, two members are directed to be attractive (sexy). Two others are directed to be angry. Others are told to be funny. If this is done one at a time, and time is given for actors to actually try this, they will never want to do this again and the director will never want to tell them to do any of these things again. Both actors and directors have purged great barriers in one day. Go back to each member of the group and give him or her a relevant task. For example, the ones who were supposed to be attractive should pick someone in the audience and gain his or her interest. Those who were
The copyright of the article Viola Spolin, Exercise 1 in Teaching Theatre is owned by Jon Blackstock. Permission to republish Viola Spolin, Exercise 1 in print or online must be granted by the author in writing.
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