Training to Imagine: Practical Improvisational Theatre Techniques to Enhance Creativity, Teamwork, Leadership, and Learning

257 Pages·2001·0.7 MB·English

by  Kat Koppett

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TRAINING TO
IMAGINE
Practical Improvisational
Theatre Techniques to Enhance
Creativity, Teamwork,
Leadership, and Learning
Kat Koppett
Sivasailam “Thiagi” Thiagarajan
FOREWORD BY
STERLING, VIRGINIA
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Published in 2001 by
Stylus Publishing, LLC
22883 Quicksilver Drive
Sterling, Virginia 20166
Copyright © 2001 by Stylus Publishing, LLC
All rights reserved. No part of this book may be reprinted or
reproduced in any form or by any electronic, mechanical or other
means, now known or hereafter invented, including photocopying,
recording and information storage and retrieval, without permission
in writing from the publishers.
Library of Congress Cataloging-in-Publication Data
Koppett, Kat, 1965–
Training to imagine : practical improvisational theatre techniques
to enhance creativity, teamwork, leadership, and learning/
Kat Koppett ; with a foreword by Sivasailam “Thiagi” Thiagarajan.
p. cm.
Includes bibliographical references and index.
ISBN 1-57922-033-9 (pbk. : alk. paper)
1. Employees—Training of. 2. Training. 3. Improvisation (Acting)
I. Title.
HF5549.5T7 K658 2001
658.3'124—dc21 2001020469
First edition, 2001
ISBN: paperback 1-57922-033-9
Printed in Canada
All first editions printed on acid free paper
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To my parents
for their patient endurance of my improvisational path.
And to the unsung heroes of improv everywhere.
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CONTENTS
ACKNOWLEDGMENTS vii
FOREWORD ix
INTRODUCTION xv
SECTION ONE: PRINCIPLES
1. AN OVERVIEW 3
2. TRUST 13
3. SPONTANEITY 21
4. ACCEPTING OFFERS 33
5. LISTENING AND AWARENESS 51
6. STORYTELLING 65
7. NON-VERBAL COMMUNICATION 79
SECTION TWO: ACTIVITIES
INTRODUCTION 93
50 ACTIVITY BREAKDOWNS
Accept This! 95
Ask a Silly Question 97
Awareness Quiz 99
Ball Ball 101
Ball Toss 103
Blindfold Walk 105
But vs. And 107
Character Creation 109
Circle Mirror 113
Classic Mirror 115
Color/Advance 117
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CONTENTS
Conducted Narrative 121
Conversation Weave 125
Declare Yourself 127
Elimination Lists 129
Emotional Meeting 131
Expert Interviews 133
Gibberish Press Conference 135
Giving Gifts 139
Group Counting 141
Hum Circle 145
I Failed! 147
Idea Circle 149
Invisible Balls 151
Neutral Status Scene 153
One-sided Scene 157
One-Word-at-a-Time Exercises 159
Paired Drawing 161
Picture Math 163
Picture Poetry 167
Safety Zone 169
Slap Pass 171
Speaking in Unison 173
Speech Tag 175
Spontaneous Marketing 177
Stats 179
Status Cards 181
Status Demo 185
Status Pass 187
Story Exchange 189
Story of Your Name 193
Story Seeds 195
Story Visioning 197
The Story Spine Story 199
True or False 201
Vision Weaving 203
Warm-up: Physical and Vocal 207
Word Drill 211
Word Patterns 213
You’re Out 215
APPENDIX
TABLE 1—ACTIVITIES/IMPROV TOPICS 218
TABLE 2—ACTIVITIES/TRAINING USES 221
ENDNOTES 227
BIBLIOGRAPHY 229
INDEX 230
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ACKNOWLEDGMENTS
It is hard even to identify all of the people who have provided me with
the knowledge, support, and inspiration behind this book. In addition
to each of the teachers, students, and colleagues that I have learned so
much from, I owe special debts to the following people:
From the Improv Community
Freestyle Repertory Theatre. Especially Laura Livingston and Kenn
Adams for their extraordinary artistic minds. And Michael Durkin,
Sam Cohen, Michael Rock, Debbie Rabbai, and Adam Felber for the
years of fellowship and inspiration.
Bay Area Theatresports. Especially Rebecca Stockley for opening
doors and arms to me, and for her help as an improv historian. Carol
Hazenfield, Tony Lijphart, Rich Ross, Gary Barth, and Dan Klein for
being my first West Coast teachers. Paul Killam, Rafe Chase, and Kirk
Livingston for their artistic leadership. Susan Snyder for her support in
developing the corporate training wing, and her insight and encour-
agement as a writer. Stephen Kearin, Diane Rachel, Barbara Scott, and
Kirk Livingston for allowing me to quote them, and all the BATS com-
panies and their members for so much joy and learning.
Chicago City Limits. For initiating my life as an improviser. Espe-
cially my teachers, Chris Oyen, Terry Sommer, David Regal, and Linda
Gellman.
And the talented souls of Unexpected Company.
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ACKNOWLEDGMENTS
From the Business Community
Alain Rostain of Creative Advantage, who was a pioneer in recogniz-
ing the value of improv in business setting.
William Halland Richard Dupell of Fratelli Bologna,who continue
to innovate, enlighten and entertain all sorts of communities using
improvisational theatre techniques, and have mentored me in my quest
to do the same.
Andy Kimball of QBInternational, who when he isn’t providing me
with fabulous professional opportunities, nurtures and accommodates
me in my own endeavors to a dumbfounding degree.
Cal Sutliff, Sharyn Weiss, and Andrew Lovett, for their ideas and
support.
Kevin Eikenberry, for convincing me that I could write a book.
Thiagi, our guru, whether he likes it or not.
And John von Knorring, my publisher, who said “yes” to the idea.
And Finally, from the Rest of My Life
My parents, for their writers’ genes and their professional counsel.
My brother, for his quiet wisdom and his ability to out-joke my
improv buddies.
My friends Amy, Cameron, Darlene, Jo, and Kimberly, for keeping
the artistic torches burning.
And Matt Richter, my advisor, research assistant, first line editor,
partner and partner—for being my door Matt, my welcome Matt and
my overall honey.
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FOREWORD
My colleague Kat Koppett has completed a courageous and conscien-
tious job in writing this book. It is a pleasure for me to write a fore-
word to it.
I am an instructional designer and management trainer. My aca-
demic friends take great delight in pointing out that instructional
design and improv games are totally incompatible. Effective instruc-
tion, they tell me, is based on removing variance and prepackaging
activities to make them replicable. The focus is on the “need-to-know”
content that directly contributes to the achievement of pre-specified
and measurable objectives and the avoidance of nice-and-fluffy activi-
ties. I learned a lot about the importance of instructional analysis,
structure, and control in my Ph.D. program. But what I currently use
in my training design and delivery comes from what I learned as a
street-corner magician.
In this book, Kat brings a new perspective to the training and man-
agement scene. She provides practical guidance to trainers and man-
agers who have become aware that the complex chaos in today’s work-
place requires something different from the standard, systematic,
rational approach. Many scholars are now offering conceptual frame-
works that incorporate improvisation into management science and
instructional design. Rather than writing another such academic tome,
Kat provides a practical sourcebook.
I can provide empirical justification for Kat’s approach from my
background in cognitive sciences. But I’d rather tell you a few stories.
Every summer, my wife and I return to Chennai, India (which used
to be called Madras), where I spent the first 30 years of my life.
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