collection of useful theatre activities and games - nussdorfer

7/25/2019 Collection of Useful Theatre Activities and Games - Nussdorfer

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palms towards the person between them. The receiver then sends the energy toa new person in the circle, following the aforementioned pattern. %hen donecorrectly there will be a steady rhythm of the '12+ '12+ '12+ for each send,receive, and chop. )f someone brea*s the rhythm or mis-performs an action theyare out and become a 'stump+ by *neeling in their place. /layers should ta*e

special note of who is now directly to their left and right in order to be prepared to'chop.+ The last person standing wins.Purpose: energizing, focus, brea*ing the ice, using the voiceSource: 4ommon theatre games

Commona!""es/layers are divided into groups of three and go to different places in the room.Give the simple direction to find any three things they have in common, but directthem to avoid anything obvious or observable "'%e are all wearing snea*ers+$.

2s* each trio to appoint a spo*esperson who will introduce the group and thecommonalities. 2fter all groups present, as* if anyone heard from another group

something they also have in common.&ariation: 2s*, '%hat three strengths do you share5+&ariation: 2s*, '%hat three things ma*e you angry5+Purpose: group communication, discovery of commonalitiesSource: !+eatre for (onflict .esolutionby /atricia 0ternberg

Speco#ram/layers position themselves along a line according to how they feel about astatement made. 6or e#ample, as*, '1ow many people li*e chocolate icecream5+ /articipants go to the area of the line that best describes how they feel7one end is designated as 'li*es most+ and the other is designated as 'li*es

least.+ )ntersperse more meaningful questions in to the game, such as 'howmany people thin* others respect your opinions5+ or 'how many people thin*they are good at resolving conflicts5+ 8iscuss personal discoveries.Purpose: group introductions, self-*nowledgeSource: !+eatre for (onflict .esolutionby /atricia 0ternberg

Ho$ Are %ou Fee!"n#One person does a nonverbal e#pression of how they are feeling, and everyonethen does it several times. Others try to guess what the feeling is. 9epeat nowthat everybody understands the feeling, then move on.Purpose: connect non-verbal actions and feelings, physicality, empathySource: 2dapted by !mily Nussdorfer

Pass he Sound&O'(ec/layers stand in a circle. The director whispers an obect to ; person "sand, ice,puppies, etc$. This person then hands the obect to someone else, shows it, doessomething with it, etc.Purpose: focus, group visualizationSource: 2dapted by !mily Nussdorfer

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)u##!"n#The group tries to uggle < balls7not individually, as a whole group. =egin withone ball. One player passes the ball to anyone in the circle, saying their name asshe passes, then raising her hand. This player then passes to someone not

beside her and without their hand up>until the last person gets the ball, and thenit goes bac* to the starting position. )ntroduce a second ball for round ?, and thenintroduce the


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Oppos"es:/layers are in two lines. The lines wal* towards each other, acting out theirspecific word. %hen they get to the middle, they switch to the opposite and *eepwal*ing. 4ontinuous movement. Opposites can be emotions "angrypeaceful$,types of people "richpoor, babyold$, elements of nature "firewater$, types of

animals "turtlecheetah$, careers, etc.Purpose: representation, abstract thin*ingSource: 2dapted by !mily Nussdorfer

Mach"nes0tart in a circle or line. The group chooses a machine theme or the director givesthe prompt "cheese-ma*ing machine, playwriting machine, or more abstract7a'love machine,+ a 'greed machine,+ etc.$. One at a time, players go into theplaying space and perform a repetitive physical gesture and vocal gesture basedon the theme. Other players then add in, one at a time, with a new sound andgesture, until everyone is part of the machine.

&ariation: %hoever began the machine can initiate changes in tempo andeveryone must follow7the machine can get faster and louder, then slower andquieter until it brea*s down and dies.Purpose: physicalization, vocal warm-up, group cohesion, energizingSource: 2dapted by !mily Nussdorfer, common theatre game

S,!"-ed Ta#One player is 'it.+ 0he begins a movement and sound. !veryone repeats thesound and movement, moving away "but not running3$ from the 'it+ player, whotries to tag someone. %hen someone is tagged, she quic*ly initiates a newmovement and sound, which are imitated by the rest of the group. There should

be no pause between change in movement.Purpose: brea*ing the ice, physicalizationSource: )et2s Improvise: 3ecoming (reative E5pressive 6 &pontaneous!+roug+ Drama by ilton !. /ols*y

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D"recor2s Cha"r&Sho$ Me ./layers stand in line. One person directs the ne#t player about to go on stageand calls out different characters, situations, or emotions to see, saying thingssuch as 'show me a zombie, show me a preacher or show me a cheer leader.&ariation "6amily$:2 group of players are on stage. 8irector calls out show me a

happy family, a confused family, an irritated family, etc.Purpose: improvisation, playing out real-life circumstancesSource: 2dapted by !mily Nussdorfer

O'(ec Sor, Te!!"n#6ill small paper bags with obects you would find around the house "paperclips,spoon, battery, etc.$. !ach person ta*es a bag and goes around the circle andtells a story about whats in the bag.Purpose: improvisation, group listeningSource: elanie 1effner

L"nes /rom Poc1es:The audience writes lines for actors to say, which are randomly *ept in actorspoc*ets. 8uring a scene they interect these lines.Purpose: improvisational s*ills, spontaneitySource: 2dapted from /ig )ron Theatre 4ompany e#ercises

Characers /rom a Ha/layers pic* character traits out of a hat and a movement quality out of a hat.4ombine them, perform them.&ariation: /ull a character with traits listed beneath and perform with gesturesand voice and movement through space. 4hoose a name and introduce yourself

as you pass others, stri*e up conversations.Purpose: improvisation, /hysical e#plorationSource: 2dapted by !mily Nussdorfer

Par,The director whispers to party guests who they are, or for older groups let themcome up with their own ideas. "!#: 0omeone who grunts li*e a pig when theyhear 'hello,+ a cowboy, a gorilla, a preacher who wants to save everyones soul,an opera singer, someone who coughs whenever a question is as*ed, etc.$. ;student hosts the party. 4hoose the stage setup "where is the sofa, snac* area,etc$. 1ost greets everyone and once everyone is being served tries to guess whothey are "!#: 4an ) get you some more food5 1ow are you5 2h, so you are an

(((((>$Purpose: improvisational s*ills, representation, group interactionSource: 2dapted from0cting for .eal by 9enee !munah

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Guess 0ho2s Gu"!,The group is divided in half. !ach subgroup sits in a row facing the othersubgroup. One group is given the role of police detectives who must observe theother group members. The setting is a waiting area of a police station and thedetectives are told that one of the people is guilty of a crime and the others are

innocent. The other subgroup is first observed through a one-way mirror. Thedetectives are given a limited time to observe nonverbal language and faciale#pressions before ma*ing their guesses. The tas* of those being observed is tofully concentrate on the situation they are assigned "for e#ample, someonedetained because of smuggling drugs on a bus on which they were allpassengers$. The guilty person has been determined by pic*ing a slip of papermar*ed with an #. There is no need to try to behave in a certain way, ust toimagine themselves in a particular role. 2fter a given time, the detectives begintheir accusations. 2fter all detectives report their guesses, the guilty personslowly stands up to turn herself in. Tension may be prolonged by differentsuspects shifting or fa*e-rising. 9everse roles.

&ariation: )nclude a period for questioningverbal improvisation.Purpose: imagination, awareness, non-verbal communicationSource:0cting for .eal by 9enee !munah

A!pha'e Game:2ctors act out a scene, but they must start each sentence with the letter of thealphabet. )f an actor get a letter wrong, audience yells '0leep3+ and remainingactors continue.Purpose: improvisational s*illsSource: 2dapted from /ig )ron Theatre 4ompany e#ercises

Ma1e me Lau#h:One person sits in the chair, and tries to *eep a stern or peaceful e#pression thatdoes not change. ? people are on either side of the person in the chair and theirrole is to try to get the person in the chair to laugh. They are not allowed to touchthe person in the chair. They have


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Creae a mono!o#ue 'ased o// o/ a poem:Purpose: improvisational s*ills, preparation for dialogueSource: 2dapted by !mily Nussdorfer

Trans/orma"on o/ Re!a"on

Two players begin with a relationship, such as a doctor e#amining a patient, andwhile playing, allow the %ho to transform into new relationships, one after theother. /layers do not 'initiate+ change but rather allo it to happen. /layers maybecome animals, plants, obects, machines, and enter any space and time.Purpose: movement, constant interaction, character relationshipsSource: Improvisation for t+e !+eater by &iola 0polin

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Group Dynamics

Pass he 4a!!!veryone stands in a circle. /layers pass a mimed ball to others, one ball at atime. The balls weight can change "e#tremely heavy or e#tremely light$, and the

balls size can change "big or small$, in any combination of weight and size.2ctors must show the balls characteristics in the way they pass it.Purpose: visualization, group interactionSource: 2dapted from /ig )ron Theatre 4ompany e#ercises

5nos!veryone stands in a circle. !veryone puts their hands in the center and oinshands with another person. The rules are that you cannot connect hands with theperson beside you and you cannot connect both hands with the same person.Then the group untangles the *not %)T1O@T disconnecting the hands. Theymay need to go over, under, around others.

Purpose: cooperation, focus, problem solvingSource: @n*nown source, adapted

Ins"de Ou@se a large rope tied in a circle or other type of material in the shape of a circle.The group begins inside the circle with bac*s towards the center. They elevatethe rope with only their feet, then as a group they reposition themselves so theyare outside of the circle. 9ules: the rope may never touch the ground7the onlything that can touch the ground is the participants feet, and participants muststay in contact with the rope throughout the activity.&ariation: 9everse7begin outside and end inside

&ariation: No tal*ing&ariation: 1alf the participants are blindfolded.Purpose: teamwor*, group problem-solvingSource: 2dapted from Group Doop 2ctivity Guide by Tom 1ec*

Group Sop:!veryone quietly mills about the room. One person can ma*e the choice toune#pectedly freeze. 2s soon as someone notices that a person has frozen, theyfreeze as well. The effect should be that eventually everyone freezes. Onceeveryone is frozen, the group mills about again.&ariation: %al*ing around the space, one random person shouts, 'falling,+ and

the rest of the group gathers to catch the person. Once the group gets good atthis, the person who shouts 'falling+ should actually begin to fall, raising thesta*es for the rest of the group.Purpose: group cohesion, synergy, focus, awareness, trustSource: 2dapted from /ig )ron Theatre 4ompany e#ercises

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Group Deec"*eOne person or a group of people leave the room. The group remaining pic*s aleader. ovement of any sort can ensue. 2s the movement goes on, the groupoutside comes in and tries to guess who the leader is. Once they identify, as*them to describe their strategy.

Purpose: handling group energy, focus, group cohesionSource: 2dapted from various theatre games

0ho am I:2 note card is put on each members bac*. On the card is written a type ofcharacter7an animal or a person "for e#ample: /rincess, 6ire 6ighter, onster,on*ey, etc$. The students with cards on their bac*s go around to the others andturn around to show them the card. %ithout saying the word, the others act outwith sounds, phrases, and gestures, to describe the character. The studentguesses at the end what their card says based on the others clues.Purpose: group interaction, physical communication

Source: 2dapted by !mily Nussdorfer

Group Mo"on/layers are divided in to groups of E or ;B. They lin* arms in a circle and followdirections without tal*ing to one another. %ith arms lin*ed, they are as*ed toestablish a common sound and movement with both feet on floor. %henaccomplished, establish another sound and movement with one foot off the floor.Then repeat the e#ercise but moving forward and bac*ward. 8iscuss afterwardsthe group process: 8id one person start the motion or did it occur spontaneouslyin the group5 %as everyone comfortable with the sound and motion5 8id theywant to do something else5 1ow did it feel to cooperate with the whole group5Purpose

: synergy, group cohesionSource: !+eatre for (onflict .esolutionby /atricia 0ternberg

Group MoodOne person leaves the room. The group then decides on a certain mood,emotion, attitude, or behavior to enact. The chosen player then re-enters andobserves the group until she can identify the mood they are portraying.&ariation: The guesser can call out commands such as, 'wal*+ or 'pretend to eat+and observe how the players accomplish the tas*s.Purpose: cooperation, embodying a mood, self-observationSource:0cting for .eal by 9enee !munah

Num'ers 6or 78 Coun9/layers stand in a circle7anywhere from F people to the whole group. /layerstry to count to ?; consecutively, each saying a number but not in any order or byreceiving direction from any group member. /layers call out numbers when theychoose. )f any ? players call out the same number simultaneously, they start overfrom ;.&ariation: Go past ?; and see how high the group can go3

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Purpose: awareness, deep listening, group focusSource: !+eatre for (onflict .esolutionby /atricia 0ternberg

G"*e and Ta1e/layers get in to teams of four and subdivide into teams of ?. !ach team of ? is at

their own table and pursues a separate conversation. %hile continuing theconversation, both sub-teams must hear the other team so as to *now when togive or ta*e./art ;: 8irector calls 'Table ;+ and 'Table ?+ until how to play becomes clear toboth teams. The sub-teams begin by conversing at the same time. %hen Table ;is called, team ? fades out and gives focus to Team ;. 6ading out does not meanfreeze, but rather to hold the action and converse silently and to be prepared tocontinue when it is time to ta*e focus./art ?: %hen mutual giving of focus to opposite sub-team is understood, playersgive focus bac* and forth without being side-coached./art


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Trust and Partner Work

Trus 0a!1s/artners ta*e turns leading each other around the room. The person being led*eeps their eyes closed and body rela#ed. Try different speeds of wal*ing and

variations in floor patterns.Purpose: trust, awarenessSource: common theatre e#ercise

Sand p&4a!anc"n#/layers wor* in partners and sit bac*-to-bac*, *nees bent, arms lin*ed at theelbow. They try to stand up, *eeping arms lin*ed and bac*s together. eep thee#ercise nonverbal. 4hange partners./art ?: /layers stand face-to-face, arms length apart "one partners handstouches the shoulders of the other$. /layers hold hands and then bring feetforward so they stand toe-to-toe. Then they straighten arms and lean bac* while

maintaining the point of balance. The bodies should be rela#ed. Once achieved,players can move up and down and side to side, maintaining balance.Purpose: cooperation, trustSource: 2dapted from0cting for .eal by 9enee !munah amongst many othersources

Hand GesuresOne person sits and places his arms behind his chair. 1e will be the spea*er inan improvisational scene. 2nother person crouches behind the chair and uts hisarms out between the spea*ers arms and ribs and will act as the hands of thespea*er. The spea*er is then interviewed by the group or another actor as the

person behind the chair gesticulates.Purpose: empathy, synergy, improvisationSource:0cting for .eal by 9enee !munah

P"!o o To$er or M"ne F"e!dTwo players stand at either end of the room. One player is the tower who givesdirections and must stay in one place. The /ilot is blindfolded and spun around $.&ariation: Once one person shows the sound and movement and rhythm of theirsculpture, everyone mirrors. 2s* where sound comes from in body7feel where itvibrates. !#plore the force, time, levels, body parts, boundfree-flowing aspectsof the moving sculpture.Purpose: representation, abstract thin*ing, e#ploring physicalitySource: 2dapted by !mily Nussdorfer from many common theatre e#ercises

4ahu'/layers push their 'bathtub+ into the center of the space and paint it with differentparts of their body. Then they get in and splash around. They step out of the tubbut this time move with only ; part of the body, any part they choose. Then theyget in and out of the tub to switch body parts. 8iscuss what was discoveredabout different parts of the body.Purpose: awareness of physicalitySource: 2dapted by !mily Nussdorfer

Mo*emen Sor,8ivide the group into smaller groups of two or three. /articipants choose a

familiar theme such as a story, fairy tale, historic event, etc. The groups decidehow to convey the themestory in three separate sculptures created by using allparticipants. Give ;A minutes to create the movement story. !ach group performsits story while others watch and guess the theme. The group may need toperform several times for the audience. )f time permits, switch groups andchange themes.Purpose: non-verbal communication, physicalizing a story, teamwor*Source: @n*nown source, adapted

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Paper 4a!anc"n#!ach person receives a small piece of paper or inde# card. /articipants try tobalance the paper on any part of their body. %hen music begins, participantsmove any way they want as long as they continue to balance the paper. )f thepaper falls off, the player freezes until someone else pic*s up the paper and

gives it to this player. The player can then balance the paper on a different bodypart and move again. !ncourage e#perimentation for different ways to move.9emind them to assist frozen members. No tal*ing during the activity.&ariation: 8ivide into teams, and create a finish line for teams to get to, ma*ingsure they have their papers as they cross the finish line.Purpose: physical e#ploration, teamwor*Source: @n*nown source, adapted

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Preparing %or Scene Work

0ha2s 4e,ond&0hereOne player moves through the space ma*ing an entrance and an e#it, showingwhat room the player has left and what room the player is going to. No action

ta*es place e#cept that which communicates what is beyond. 6or e#ample, aplayer enters, yawning and stretching, and while wal*ing across the space, sheslowly unbuttons and eases out of a loose-fitting garment, rubs tongue overteeth, e#its.Purpose: communicating entrances and e#its, environmentSource: Improvisation for t+e !+eater by &iola 0polin

0eaher E+erc"se/layers are in two teams. One team at a time agrees upon a type of weather andshows it. /layers individually focus on showing the weather.&ariation ;: 0how the weather without using the hands

&ariation ?: 2dd a where, who, and what to the scenePurpose: clarifying setting, visualizationSource: Improvisation for t+e !+eater by &iola 0polin

Sa#e P"cure/layers move in and out and around each other. %hen you call out '0tage/icture3+ players must instantly hold. )f some part of each and every individual isnot visible to the audience, continue to side-coach, saying '0tage /icture3+/layers must ma*e themselves visible "by getting down on *nees, raising arms,etc.$.&ariation: 8o the e#ercise with continuous movement and continuous awareness

of stage picture.Purpose: awareness of playing space and audienceSource: Improvisation for t+e !+eater by &iola 0polin

Ver'a!"-"n# he 0hereTeams of two players agree on where, who, and what and are in the playingarea. %ithout leaving their chairs, players go through the scene verbally,describing actions in the given setting and their relation to other players. /layersnarrate for themselves, not other players. %hen dialogue is necessary it isspo*en to the other player. 2ll verbalization is in the present tense.!#ample: /layer ;: ') tie my red and white apron around my waist and reach for

the cloth-covered coo*boo* on the table. ) sit down and open the boo*, loo*ingfor a recipe>+/layer ?: ') open the screen door and run into the *itchen. 8arn it, ) let the doorslam again3 '1ey om, )m hungry. %hats for dinner5+&ariation/art ?: The same team actually gets up and performs the scene theyverbalized. 0pea* only when dialogue is there.8iscuss how the first part of the game helped the second part of the game.

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Purpose: brea* attitudes in wor*, openness, clarifying setting, staying in thepresent moment, bringing a scene to lifeSource: Improvisation for t+e !+eater by &iola 0polin

See"n# he 0ord

One player goes on stage and describes an actual e#perience, such as ta*ing atrip, watching a football game, visiting someone. The player maintains focus onthe event during any side-coaching "the director may be saying, '6ocus on color30ounds3 %eather3 /eople3 0mells3 0ee yourself3+$. 2s greater perception isawa*ened, note when the player begins to leave the word and relate to thescene. The voice will become natural, body rela#ed, words will flow. 2rtificialitydisappears.Purpose: sense perception, improving monologues and dialogue, awarenessSource: Improvisation for t+e !+eater by &iola 0polin

M"rror Penera"on

/layers wor* with partners and decide on a simple relationship and a topic fordiscussionmovement. =egin the conversation facing each other. The directorcalls the name of a player, and the player assumes the partners facial structurewhile continuing discussion. 2ssuming the facial structure is different thanmimic*ing the facial e#pression7it is deeper and more subtle. The director side-coaches by saying things li*e '9ebuild your nose li*e your partners7awbone,forehead. 4hange the line of your chin.+ /layers must continue discussionwithout pausing as the director changes the mirror frequently.Purpose: deep seeing of the other, awareness, inhabiting a different bodySource: Improvisation for t+e !+eater by &iola 0polin

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"lari%ying Scene Work

G"*e and Ta1e/layers get in to teams of four, and then subdivide into teams of ?. !ach team of? is at their own table and pursues a separate conversation. %hile continuing the

conversation, both sub-teams must hear the other team so as to *now when togive or ta*e./art ;: 8irector calls 'Table ;+ and 'Table ?+ until how to play becomes clear toboth teams. The sub-teams begin by conversing at the same time. %hen Table ;is called, team ? fades out and gives focus to Team ;. 6ading out does not meanfreeze, but rather to hold the action and converse silently and to be prepared tocontinue when it is time to ta*e focus./art ?: %hen mutual giving of focus to opposite sub-team is understood playersgive focus bac* and forth without being side-coached./art


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Purpose: following the follower, synergy, improvisational communication,physical communicationSource: Improvisation for t+e !+eater by &iola 0polin

An"ma! Ima#es

)f possible, ta*e players to observe animals in nature, or watch animal videos,etc. !ncourage them to ta*e note of less obvious features such as bone structureas well as obvious characteristics of movement. /layers ta*e on the qualities oftheir chosen animal and move around the space as this animal. 4oach theplayers to ma*e the sounds of the animal once they have the physicalization.Then, coach the players to become human again, but to integrate their animalsqualities into their speech and movement. The e#ercise can even transform intoa scene with these animal-based characters.Purpose: character development, bodily e#ploration and integrationSource: Improvisation for t+e !+eater by &iola 0polin

Shado$"n#Teams subdivide and where, who, and what are agreed upon. Team 2 plays thescene and Team = shadows them. The shadows ma*e continuous comment tothe actors they are shadowing. 0hadows stay close to the actor and squea*quietly so that other actors and shadows do not hear. The shadows can commenton inner action if desired or simply the physical obects in the environment.Purpose: character and story development and awareness, artistic detachmentSource: Improvisation for t+e !+eater by &iola 0polin

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T$erapeutic and "on%lict &esolution

Commona!""es/layers are divided into groups of three and go to different places in the room.Give the simple direction to find any three things they have in common, but direct

them to avoid anything obvious or observable "'%e are all wearing snea*ers+$.2s* each trio to appoint a spo*esperson who will introduce the group and thecommonalities. 2fter all groups present, as* if anyone heard from another groupsomething they also have in common.&ariation: 2s*, '%hat three strengths do you share5+&ariation: 2s*, '%hat three things ma*e you angry5+Purpose: group communication, discovery of commonalitiesSource: !+eatre for (onflict .esolutionby /atricia 0ternberg

Sound and Mo*emen/layers stand in a circle. One person goes to another player while performing a

sound a movement. The receiving person then ta*es on the sound andmovement, moves to the center of the circle, and then allows the sound andmovement to change into something new. They then ta*e this sound andmovement to a new person in the circle, and so forth.Purpose: 6reeing the body, *inesthetic empathy, group cohesion, addressresistance Source:2dapted by !mily Nussdorfer

M"rrors2ctors 2 and = are paired up and stand across from each other. 2ctor 2 doessimple movement, 2ctor = mirrors. 0witch. The movements can graduallybecome more e#pansive with the body and can travel around the room.

!ventually 2ctors 2 and = can 'share the lead+ or 'follow the follower,+ in whichthey mirror each other in a free flow.&ariation: %ith a large group, it can be fun to create a line down the center of theroom, have partners stand on either side of the line, and allow for interactionamongst pairs. One person can stand out at a time and view the movingpalindrome created by loo*ing down the center of the line.&ariation: The e#ercise can also be done with music, or a variety of musicselections to show changes of mood.Purpose: trust, mutual empowerment, *inesthetic empathy, synchrony, freeingmovement, concentrationSource: Improvisation for t+e !+eater by &iola 0polin

In*"s"'!e Tu# o/ 0ar/layers wor* in teams. !#actly as in traditionally tug of war, players try to pulleach other over a center line7however, the rope is made of space substanceand you cannot see it3 /layers must wor* together to see the rope and feel thestrength of the other.Purpose: transform competition into mutuality, visualizationSource: Improvisation for t+e !+eater by &iola 0polin

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Group Mo"on/layers are divided in to groups of E or ;B. They lin* arms in a circle and followdirections without tal*ing to one another. %ith arms lin*ed, they are as*ed toestablish a common sound and movement with both feet on floor. %hen

accomplished, establish another sound and movement with one foot off the floor.Then repeat the e#ercise but moving forward and bac*ward. 8iscuss afterwardsthe group process: 8id one person start the motion or did it occur spontaneouslyin the group5 %as everyone comfortable with the sound and motion5 8id theywant to do something else5 1ow did it feel to cooperate with the whole group5Purpose: synergy, group cohesionSource: !+eatre for (onflict .esolutionby /atricia 0ternberg

C"rc!e o/ TrusThe group ma*es five or si# smaller circles, with players standing shoulder toshoulder and with feet close together. 2 player volunteers to start and steps into

the middle of the circle, closes the eyes, and falls bac*ward. The rest of thegroup catches the player and gently places her upright. The player in the centershould rela# every muscle.&ariation: 2fter the person is comfortable falling bac*wards, allow the group totransfer the weight whichever direction they want. The person in the middleshould give all their weight to the group.Purpose: group trust and supportSource: )et2s Improvise: 3ecoming (reative E5pressive 6 &pontaneous!+roug+ Drama by ilton !. /ols*y

Emo"ona! Orchesra

The group clusters in two rows, facing the leader, who assumed the role of anorchestral conductor. !ach person decides on an emotion to convey through aparticular sound or word or short phrase. The conductor begins the orchestra bypointing to one or several people. 2t the conductors discretion, volume andtempo can be played with, solos and duets initiated, and the entire group canemote at once. )f words are being used, the conductor can even instigateemotional dialogues.Purpose: emotional e#pression, discovering the individual in the wholeSource:0cting for .eal by 9enee !munah

Ad*er'sOne group member leaves the room and the remaining members decide on anadverb. %hen the designated member returns, she tries to guess what theadverb is by as*ing individuals to do tas*s in that way "for e#ample, tal* tosomeone in the manner of that adverb$.Purpose: embodiment, dealing with resistanceSource: Dramatic 0ctivities to 8acilitate Dance !+erapy by Kohnson and !icher

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Doors6our or five people form a line and in front of each is an imaginary door.0omeone is chosen to open the doors one by one and behind them find afeeling, problem, obect, or animal being presented by the person behind thedoor. Or, have everyone in a circle behind their own imaginary door and when the

person in the center opens the door, whatever person, emotion, or obect isbehind then comes into the center, switching places with the original door openerPurpose: uncovering hidden emotions and desiresSource: Dramatic 0ctivities to 8acilitate Dance !+erapy by Kohnson and !icher

Cha"r GameOne member leaves and the rest of the group decides on the name of a famousperson "for e#ample, ing of !ngland$. %hen the designated member returns,the other members treat her as the chosen famous person. The 'famous person+tries to guess who she is.Purpose: e#periencing a new identity, accepting respect, dealing with resistance

Source: Dramatic 0ctivities to 8acilitate Dance !+erapy by Kohnson and !icher

HaGroup members write down ages, occupations, feelings, or names of famouspeople on slips of paper and put them in a hat. One by one they draw pieces ofpaper and nonverbally present what is written there while others guess what ispresented.Purpose: movement imagery, brea*ing down resistanceSource: Dramatic 0ctivities to 8acilitate Dance !+erapy by Kohnson and !icher

Auo'"o#raph"ca! Narra"*e

2s a warm-up, play ') am,+ in which players sit in a circle and complete thestatement ') am>+ as fully as possible without stopping. %hen they pause, thene#t play pic*s it up immediately. 6or e#ample, someone might say, ') am amother, writer, therapist, friend, reader, cleaner, driver, actor, advisor, student,cousin, dancer, collector>+ and then when she pauses the ne#t player spea*s ina similar way. Then move into the option to create a monologue and can focus iton a critical incidentconflict in their lives. Cou can help players along by as*ingquestions such as '%hat is important to you5 Thin* about your past, present, andfuture. %hat are your goals5 1ow is the conflict resolved5 8iscuss afterwardsabout personal discoveries and how the audience felt listening.Purpose: self-awareness, coping with conflicts, empowermentSource: !+eatre for (onflict .esolutionby /atricia 0ternberg

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Pro'!em Cards4reate problem cards using typical problems of young people or consult areference for documented youth issues "e#: pregnancy, anger,miscommunication with parents, drugs, etc.$. @se the cards to createimprovisational scenes. 6or e#ample, for a pregnancy scene, cast the pregnant

girl, a friend or two, a boyfriend, a mother, or a counselor. The characters playout the situation and verbalize and show different sides of the argument. 2s* theaudience for possible solutions once the problem has been clearly defined. Thecurrent cast can play it out or the audience members can ta*e over the role toenact their idea.Purpose: addressing group-specific issues, rehearsing positive solutions,improvisational s*illsSource: !+eatre for (onflict .esolutionby /atricia 0ternberg

Deours

/articipants form two lines facing each other. !ach person repeats the given lineand adds his answer as he crosses over to the other side. 2ll players will crossfrom one side to the other during the course of the e#ercise.;. ) get angry when>"the player crosses over to the other side as she finishesthe statement$?. %hen )m angry, ) usually>F. /arents ma*e me angry when they>A. Teachers ma*e me angry when they>L. One thing that really ma*es me angry is>M. %hen ) get angry, ) feel li*e>

E. The last time ) was angry ) >. ) control my anger by>;B. ) deal with another persons anger by>8iscuss what the participants discovered about themselves and others. %asthere difficulty in finding something that caused anger5Purpose: introduction to anger management, group understandingSource: !+eatre for (onflict .esolutionby /atricia 0ternberg

Sop S"#ns9ole-play a scene where /layer ;s anger escalates, and she wants her way andwants to blame /layer ?. /lay it out to see how /layer ? can deal with the needof /layer ; to control the situation.;: )ts your fault3?: )t is not.;: Oh, yes it is3 Cou started the whole thing.?: 8ont blame me.;: Coure the only one to blame.?: %hat about you5;: Oh, no you dont. )ts your fault. 2dmit it3

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?: (((((((((((/lay the scene several times and see what solutions actors can come up with,discussing feelings afterwards. )f someone succeeded in defusing anger, whatwere the techniques used5 1ow do tone of voice, facial e#pression, and bodylanguage affect anger5

!#emplary lines for /layer ? to use:') *now how you feel, and )m really sorry+') wish ) could change what happened, but ) cant. %hat do you suggest5+'%hy dont we both count to ten and start over again.+')m afraid ) dont *now what youre tal*ing about.+')m going to slow down before ) get hot.+Purpose: anger management, positive conflict resolution, communicationSource: !+eatre for (onflict .esolutionby /atricia 0ternberg

n/"n"shed D"a!o#ues

Two players volunteer to read a scene and decide who is Number ; and Number?. /layers begin reading the scene, and when they run out of lines they continueto improvise. 2fterwards discuss what the scene was about, how they felt, whatthey saw. @se these as e#amples and create your own vague conflict-baseddialogues.8ialogue ;:;: ) dont want to.?: %hy not5;: ) ust dont want to.?: Thats no reason.;: )ts my reason.

?: Thats stupid.;: ) dont care what you thin*.?: Kust wait until you want something from me.;: ((((((8ialogue ?:;: %hy wont you ever trust me5?: ) dont *now. )ts very hard for me to trust anybody.;: =ut )m not 'anybody.+ )m someone who cares about you.?: )d li*e to believe that.;: %hy cant you5?: ) want to, but>;: Cou what5?: 8o you really want to *now5;: Ces, tell me.?: (((((((((Purpose: conflict resolution, trying positive solutionsSource: !+eatre for (onflict .esolutionby /atricia 0ternberg

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Cour Tr"a!/layers choose roles to play "udge, defense attorney, prosecutor, defendant,witnesses, bailiff, ury members$. )n the enactment of the scene, ma*e sure toencourage nonverbal responses as well as the automatic verbal ones. The crimecommitted may be symbolic rather than realistic. The game uses imagination but

also allows those who have e#perienced the court system to play out traumatice#periences in safety.Purpose: coping with trauma, conflict resolution, improvisation, personaldiscoverySource:0cting for .eal by 9enee !munah

Reun"onTwo players improvise meeting one another at some designated point in thefuture. The setting and time are specific. The actors respond to the encounterspontaneously. 2fter the recognition and greeting, they tal* about how and whatthey are doing and reminisce about the drama group they were once in together.

9emind players to focus on reminiscence. This game is best used at theconclusion of a process and helps give the feeling of totality andac*nowledgement of changes made during the process. )f used earlier the focuscould be on proection in the future rather than reminiscence.Purpose: finding meaning, evaluation, easing closureSource:0cting for .eal by 9enee !munah

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E=RA GAMES > TEAM 4ILDING

R"*er 4an1!veryone stands in a circle. %hen 'river+ is called, everybody has to ump

forward and when 'ban*+ is called, everyone umps bac*wards. The teachermi#es up the order. )f you mess up or lose balance you are out.

5hoThe class is divided into ? groups. Group 2 has enough space between them tospread their arms and the people beside each other face opposite directions.Group = stands in a line on the side. One member of group 2 is standing and isthe first chaser. The runners from Group = run around the line while the chaserschase them. The runners can run in and around Group 2, weaving through thesquatters in an y direction they choose. The chaser cannot change directionaround the circle once she has started moving. The chaser can tap the bac* of a

member of his own team saying '*ho+ and that person can ta*e her place aschaser. The goal of the game is to tag as many of the runners on the oppositeteams as fast as you can. Then the teams switch places. The team thatcompletes the tas* faster wins.

S,ner#,4ount off in As. The group needs to build a spaceship "or bicycle, a ca*e, etc.$.!veryone must come up with a ob that has to happen in order for the thing to bebuild. The ob has a corresponding action and sound. Give < minutes to discuss.Groups begin building the spaceship with everyone doing the obs at once.

Haa0tudents ma*e a big circle and say '12+ becoming progressively louder.0tudents can also form two lines if they wish and compete to see who can say1a louder and faster. The first group to finish ma*ing the sound down the rowand bac* wins.

4ee Process0tudents sit and close their eyes. %ith their inde# finger, they partially close theirears and hum 'mmmmmm+ li*e a bee. 0way the body side to side and bac* andforth for ? minutes and continue to hum. a*e a slow circle from right to left, andleft to right. The teacher claps to signal the end. 0tudents *eep their eyes closedand feel the silence for A-;B minutes.

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An"ma! E+erc"ses 6h"s can 'e done "n Mo*"n# "n he Space Game9The teacher calls out animals and everyone becomes that animal. 0udents wal*,tal*, and loo* li*e the animal. 9ules: ;: Cou can only ma*e the sounds of theanimal being called- no human conversations. ?: Cou must move li*e the animal,

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? and A0tudents sit in pairs. One person thin*s of a famous figure, the other as*squestions that can be answered yes or no. 0ee who can solve the puzzle thefastest. Then students have a conversation in which they do not use the word'no+ or say anything in the negative. 6or e#ample7: '8o you have any

brothers5+ 2: ') have < sisters, what about you+ The first person to catch theother answering the negative wins.

F"re on he Mouna"n!veryone runs around in a circle singing fire in the mountain, run, run, run.The teacher calls out groups of F or M. The students need to quic*ly get in groupsof the designated number and there should naturally be one left out. Those whoare out of the group are out. the game continues. 2s they are running, studentscould also ma*e animal sounds or ma*e hand gestures.

0a!1"n# Par,/articipants wal* around with inde# cards noting the names of

collection of useful theatre activities and games - nussdorfer

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