Brad Fortier has been studying, teaching, performing, directing, and writing about improvised theatre for over twenty years. He currently works as the training? and? development? coordinator? for? the? Oregon? Health? Authority’s Office of Equity and Inclusion applying interactive and experiential methods from his improv toolkit. Brad is the author of Long-Form Improvisation: Collaboration,? Comedy,? and? Communion? (2010)? and A? Culture? of Play: Essays? on? the? Origins,? Applications,? and Efects? of Improvised? Theatre(2013).
Brad Fortier从事即兴戏剧的研究、教学、表演、导演和写作超过二十年。目前，他在俄勒冈州卫生局的平等和包容办公室担任培训和发展协调员，从他的即兴工具包中应用互动和体验式的方法。布拉德是《长形式即兴创作》的作者：合作，喜剧和共融（2010年）和文化的发挥：即兴戏剧的起源、应用与影响论文集(2013).
In? 2014,? tens? of thousands? of unaccompanied? children? crossed? the? Mexican border into the United States fleeing danger from violence and exploitation by the? military? and? drug? cartels? in? countries? like? Honduras,? El? Salvador,? and Guatemala creating a shelter crisis (Chishti and Hipsman 2014).
Most? of the? shelters? receiving? these? children? have? a? high? churn? rate,? or turnover, in their populations. The average stay in the shelter described here was three? weeks.? That’s? about? how? long? it? takes? to? be? processed? by? the? U.S. Citizenship and Immigration Services (USCIS), and the justice system attached to that. In that time, the children are either deported back to their origin, placed in more long-term housing and school while their trial awaits, or connected to family who are already living in the United States. Roughly half of the time, the children are sent back to their country of origin and back into the danger they had fled.
大多数收容这些儿童的收容所在其人口中有很高的流失率或更替率。在这里描述的庇护所的平均停留时间为三个星期。那是关于需要多长时间要由美国公民及移民服务局（USCIS）处理，以及附属于此的司法系统。在此期间，这些儿童或者被遣返回原籍，或者在等待审判期间被安置在较长期的住房和学校，或者与已经生活在美国的家庭联系。在大约一半的情况下，这些儿童被送回原籍国，回到他们逃离的危险地区。
Currently,? there? are? over? sixty? million? refugees? on? the? planet.? When splintered? and? itinerant people? who? have? no? relation? to? one? another? end up together for a few weeks of time at a camp or facility, the dearth of familiarity and trust has a heavy cost on a person’s ability to be mentally and physically healthy. The uncertainty and anonymity of refugee life can have the effect of creating a competitive atmosphere in situations with limited resources. This can lead to a sense of powerlessness and despair that can be toxic to creating any sense of community or safety.
I met Dr.? T? (see Chapter? 6)? at? the? 2012? Applied? Improvisation Network conference,? held? that? year? in? San? Francisco.? We? became? fast? friends? and collaborators. At the time, she was part of the Field Innovation Team (FIT), a nongovernmental? organization? that? emerged? from? a? project? at? the? Federal Emergency Management Agency. FIT had been invited to design and pilot a multifaceted education and recreation plan for the international school of St. PJ’s children’s home, a best-practices facility in? San Antonio, Texas.1? They were seeking? arts-based? education? solutions? to? help? manage? this? crisis.? FIT? was looking to include drawing, science, design, and theatre in the plan. Because of my background in pedagogy, improv, and anthropology, I offered to draft an Applied? Improvisation? (AI)? curriculum? that? would? meet? FIT’s? theatre requirements and address the circumstances of the children who were sheltered at St. PJ’s. Dr. T told me to go for it.
目前有六千多万难民的星球上。当分散的、流动的、彼此没有任何关系的人最终在一个营地或设施中呆上几个星期时，缺乏熟悉和信任会对一个人的身心健康能力造成沉重的代价。难民生活的不确定性和匿名性会在资源有限的情况下造成一种竞争气氛。这会导致一种无力感和绝望感，这会对创造任何社区感或安全感产生毒害作用。
我遇到了T医生（见第六章）在2012年举行的应用即兴网络会议，在旧金山举行的那一年。我们很快成为朋友和合作者。当时，她是Field Innovation Team（FIT）的一员，这是一个从联邦紧急事务管理局的一个项目中衍生出来的非政府组织。训练基金会应邀为St. PJ儿童之家国际学校设计和试行一项多方面的教育和娱乐计划，这是得克萨斯州圣安东尼奥的一个最佳做法设施。他们正在寻求以艺术为基础的教育解决方案，以帮助管理这一危机。FIT希望在计划中包括绘画、科学、设计和戏剧。由于我在教育学、即兴表演和人类学方面的背景，我提议起草一份应用即兴作品。（大赦国际）课程这将符合FIT的剧院要求，并解决在圣PJ庇护的儿童的情况。T医生让我放手一搏。
I? proposed? a? multiphase? strategy? for? organizing? a? theatre? games-based curriculum that concentrates on rapidly satisfying the four key needs of refugees, as identified in seminal anthropology literature: familiarity, trust, routine, and community? (Peteet? 1995;? Voutira? and? Harrel-Bond? 1995;? Sommers? 2001; Lubkemann 2002). Clarifying those areas of concern helped me identify which activities and games would be most effective, as well as when in the process to deliver? them.? These? needs? tend? to? occur? in? sequence.? One? need? must? be established in order to build on and achieve the next.
I created a structure for the forty-minute lesson that was simple and flexible, with? specific? games? chosen? depending? on? the? age/demographics? of? the participants and whether, or not, they were participating for the first time or over repeated sessions. The following is the basic structure for a lesson plan:
我提出了一个多阶段的战略，组织一个戏剧游戏为基础的课程，集中在迅速满足难民的四个关键需求，在人类学文献中确定：熟悉，信任，常规和社区（Peteet，1995年；Voutira和Harrel-Bond 1995年；Sommers 2001年；Lubkemann 2002年）。澄清这些关注的领域帮助我确定哪些活动和游戏将是最有效的，以及何时在这个过程中提供它们。这些需求往往是依次发生的。必须确定一种需要，以便在此基础上建立和实现下一种需要。
我为这四十分钟的课程设计了一个简单而灵活的结构，有特定的游戏根据参与者的年龄/人口统计数据进行选择，以及他们是否是第一次参与或多次参与。以下是教案的基本结构：
1.? ? Begin with a name game.
2.? ? Move? to? a? game? that? would? encourage? the? sharing? of? sociometric information (personal likes and similarities mainly).
3.? ? Play a fun energetic game that would let participants practice a key skill.
4.? ? End? with? a? slightly? more? complex? game? that? draws? on? elements? of previous games.
1.从一个名字游戏开始。
2.? ? 移动到一个游戏，将鼓励共享社会信息（个人喜好和相似性为主）。
3.玩一个有趣的充满活力的游戏，让参与者练习一项关键技能。
4.? ? 以一个稍微复杂一点的游戏结束，这个游戏借鉴了以前游戏的元素。
The reasons? for this? lesson? structure? center? on the? assumptions? of refugees’ challenges:? ( 1)? They? are? strangers to? one? another? for the most part,? and,? as mentioned earlier, there is a great deal of turnover in the population, meaning people arriving and departing the shelter regularly. Hence, doing a name game regularly is fun and removes any awkwardness associated with learning new names.? (2)? Learning? about? people’s? preferences? begins? to? create? a? sense? of mutuality and familiarity (more of an “us” than a “you-and-me”). This has the potential for heading off tension and assumptions, ideally creating connection among the participants who share interests. One and two have also allowed the group to sample success working together. (3) Play and laughter move cognition away from an amygdala-centered place (fight or flight) to the neocortex, where higher? social functions are processed (Mithen? 1996). They? also? create? subtle social grouping due to the shared artifacts of humor that are discovered during play? (Fine? and DeSoucey? 2005).? If we want people to be? creative? and? in? a solutions-focused? mind-set,? these? are? essential? ingredients? for? making? that happen.
这种课程结构的原因是基于对难民所面临挑战的假设:（1）在大多数情况下，他们彼此都是陌生人，而且，如前所述，收容所的人口流动性很大，这意味着人们经常进出收容所。因此，定期做一个名字游戏是有趣的，并消除了与学习新名字有关的任何尴尬。（2）了解人们的喜好开始产生一种相互性和熟悉感（更多的是“我们”而不是“你和我”）。这有可能阻止紧张和假设，理想的情况下，在有共同利益的参与者之间建立联系。第一个和第二个也让该集团的样本成功的合作。（3）玩耍和欢笑将认知从以杏仁核为中心的地方（战斗或逃跑）转移到新皮层，在那里处理更高级的社会功能（米森，1996年）。他们还创造了微妙的社会群体，因为他们在玩耍中发现了共同的幽默（Fine和DeSoucey，2005年）。如果我们希望人们有创造力，有专注于解决问题的思维模式，这些都是实现这一目标的基本要素。
On August 18, 2014, I arrived in San Antonio with the other FIT members to pilot our drawing, science, design, and theatre programs. My goal was twofold, first to? see how well the curriculum worked to? address the challenges listed above, and second to enable the recreation staff of St. PJ’s to lead the program themselves. During our thirteen days in San Antonio, we interacted mainly with St. PJ’s recreation staff and, occasionally, the teaching staff of the shelter.
2014年8月18日，我和其他FIT成员一起来到圣安东尼奥，试办我们的绘画、科学、设计和戏剧项目。我的目标是双重的，第一，看看如何以及课程工作，以解决上面列出的挑战，第二，使圣PJ的娱乐工作人员领导自己的程序。在圣安东尼奥的十三天里，我们主要与圣普的娱乐工作人员互动，偶尔也与收容所的教学人员互动。
We were informed prior to our arrival that the children would be expected to attend all four programs in rotation and that they would be divided up by gender and? age? group.? After? twenty-two? years? of? instruction? experience,? my expectations were as follows:
?? Having worked in schools and businesses with non-self-selectors (those who are required to attend versus those who choose to enroll in an improv program), I know that non-self-selectors fall somewhere between 50–50? ? ? percent and 70–30 percent in terms of interest and willingness to participate, with 70 percent in the later proportion being “interested and participating.”
?? Girls tend to be socialized to be more supportive and collaborative.
?? Boys tend to be socialized to be more bold and independent.
?? Girls 5– 12 would be shy and warm up quickly once they became competent in the first activity (60 percent participate fully, 40 percent participate reluctantly).
在我们到达之前，我们被告知，孩子们将轮流参加所有四个项目，他们将按照性别和年龄分组。经过22年的教学经验，我的期望如下：
·曾在学校和企业工作，与非自我选择者（那些被要求参加的人与那些选择参加即兴表演的人）一起工作我知道非自我选择者的兴趣和参与意愿在50-50%到70-30%之间，70%的人是“感兴趣和参与”的。
·女孩倾向于社会化，以获得更多的支持和合作。
·男孩倾向于社会化，更大胆，更独立。
·5- 12岁的女孩会很害羞，一旦他们能够胜任第一个活动，很快就会热起来。（60%的人充分参与，40%的人不情愿参与）。
?? Boys 5– 12 would be the boldest and take more time for instruction because? ? they may get tangential with elements of the games (70–80 percent participate fully, 20–30 percent participate reluctantly or not at all).
?? Girls 13– 17 would be cautious and temper their enjoyment based on how an alpha or beta of the group responded (60 percent participate fully, 40 percent participate reluctantly or not at all).
?? Boys 13– 17 would be skeptical but curious because “men” do not do things? related to the theatre or looking foolish and would also likely look to an alpha or beta for approval (50 percent participate fully, 50 percent participate reluctantly or not at all).
·5- 12岁的男孩是最大胆的，需要更多的时间接受指导，因为他们可能会偏离游戏的元素。（70-80%的人充分参与，20-30%的人不情愿或根本不参与）。
·13- 17岁的女孩会很谨慎，会根据小组中的阿尔法或贝塔成员的反应来调节他们的乐趣（60%的人完全参与，40%的人不情愿地参与或根本不参与）。
·? 13- 17岁的男孩会持怀疑态度，但也会感到好奇，因为“男人”不会做与戏剧或看起来愚蠢有关的事情，他们也会寻求阿尔法或贝塔的认可（50%的人完全参与，50%的人不情愿或根本不参与）。
The Kids
Over the course of two weeks, we did a total of twelve, forty-minute sessions, with sixteen kids in each session, using a variety of lesson plans. In addition to the improv games, occasional coaching notes were thrown in to help “tune up” the? interaction? (make? or? maintain? eye-contact,? listen,? be? helpful,? make? your partner look good, etc.). Side-coaching is a key component in improv and can be used to lessen an individual’s social inhibitions by requesting a change to more connective and supportive behaviors. It is also a strategy for reducing anxiety because? it? not? only? focuses? an? individual’s? attention? on? the? immediate environment but shows the facilitator working supportively alongside players as they? solve? problems? together.2? For? the? theatre? curriculum,? coaching? and explanation had to be minimal and concise because the recreation staff translated our? instructions? and? side-coaching? from? English? into? Spanish,? the? common language spoken by 90 percent of the children coming through the shelter.
孩子们
在两个星期的课程中，我们总共做了12个40分钟的课程，每个课程有16个孩子，使用各种各样的教学计划。除了即兴游戏，偶尔的指导笔记也被扔进来帮助“调整”互动。（保持眼神交流，倾听，乐于助人，让你的伴侣看起来不错，等等）。侧面指导是即兴表演的一个关键组成部分，可以通过要求一个人改变更多的连接和支持的行为来减少他的社交抑制。这也是一种减少焦虑的策略，因为它不仅将个人的注意力集中在眼前的环境上，而且显示出引导者在玩家解决问题时与他们一起支持工作。在一起对于戏剧课程，指导和解释必须是最小的和简洁的，因为娱乐工作人员将我们的指示和辅助指导从英语翻译成西班牙语，这是90%通过庇护所的孩子说的共同语言。
My? assumptions? and? expectations? regarding? the? character? composition? of each group were largely validated. This was not necessarily a good thing. The recreation director, who everyone called Miss Jewel, was not a fan of kids not wanting to participate in activities or of my practice of letting those who felt nervous? simply observe for a while. The reason I allow non-self-selectors to observe is because they rarely stay out of the activity for long. When they begin to see other participants having fun and after they gain a deeper understanding of how? to play,? they? tend? to become? curious.? Everyone? wants? to be? a part? of something fun. Learning new things is always fraught with some level of stress or discomfort, but once a few people are joyfully engaging in an activity, reticent observers will likely want to participate in the action. These participants also tend to be learners who are more comfortable seeing something done first before taking the risk.
我的假设和期望关于各组的人物构成都得到了很大程度的验证。这未必是一件好事。娱乐主管，大家都叫她朱厄尔小姐，她不喜欢孩子们不想参加活动，也不喜欢我让那些感到紧张的孩子只是观察一会儿的做法。我之所以允许非自我选择者观察，是因为他们很少长时间不参与活动。当他们开始看到其他参与者玩得很开心，并且对如何玩有了更深的理解之后，他们往往会变得好奇。每个人都想成为有趣的事情的一部分。学习新事物总是充满了某种程度的压力或不适，但一旦有几个人快乐地投入到一项活动中，沉默寡言的观察者也很可能会想参与进来。这些参与者也往往是学习者，他们更愿意在冒险之前看到事情先完成。
This pattern of reticence and observation before participation may also relate to the psychological concept of emotional contagion, meaning that people can absorb the mood of the company they are with. A person sees joy in another person, and they may begin to feel that vicariously, as a result. This did happen to some degree in the teen boy group, which was the most resistant and uncertain that day. One of the older boys, Julio,4? was unwilling to? look? foolish while playing I Am a Tree (Workbook 7.2), a game that requires one to take fanciful poses. He took to the sidelines along with a couple of others. Within two rounds of? watching? others? playing,? Julio’s? interest? grew,? and? he? began? making suggestions. I have seen this time and again from folks who feel vulnerable and uncomfortable because of how exposed an activity initially makes them feel. His comments and suggestions from the periphery prompted one of his cohort to challenge him to get in the game if he was so interested. By the final two rounds, Julio came into the circle to play as intently as the others. To me, that was a great sign that the tools were working as planned.
这种参与前的沉默和观察模式也可能与情绪感染的心理学概念有关，这意味着人们可以吸收与他们在一起的公司的情绪。一个人在另一个人身上看到了快乐，结果他们可能会开始感同身受。这在某种程度上确实发生在青少年男孩组，这是最抗拒和不确定的一天。4岁的大男孩胡里奥在玩“我是一棵树”游戏时不愿意让自己看起来很傻。工作簿7.2)，这是一种游戏，需要一个人采取幻想的姿势。他和其他几个人一起退到了场边。两个回合的观察，胡里奥的兴趣越来越大，他开始提出建议。我一次又一次地从人们身上看到这种情况，他们感到脆弱和不舒服，因为一项活动最初让他们感到多么暴露。他来自外围的评论和建议促使他的一个同伴向他发出挑战，如果他真的这么感兴趣的话，加入这个游戏。到了最后两个回合，胡里奥来到圈子里，和其他人一样专注地打球。对我来说，这是一个很好的迹象，表明这些工具正在按计划工作。
After we worked with a group of older girls the same day, one staff person, Mr. Elizondo,? confided? in? us? that? he? was? surprised? by? how? the? games? had influenced the power dynamic among the girls in one session. When Juana, the alpha? girl,? began? complaining? and? trying? to? command? attention,? other? girls, including her closest friends, asked her to stop it and join in the fun. She did, and according to later accounts, it widened the circle of friends among the girls.
My? sense? is? that? individuals? who? are? more? comfortable? in? forums? of unranked,? open,? equitable? communication? are? likely? to? be? attracted? to,? or validated by, improvisation games. These are the pioneers of a community who tend to explore new places making them safe for their more reticent community members. The fact that other children gave Julio and Juana the directive to join was? also? very? promising? in? terms? of seeing? group? self-regulation? emerging, indicating? that? community? was? being? built? and? that? this? approach? was succeeding.
当天，在我们和一群年龄较大的女孩一起工作后，一位名叫埃利桑多先生的工作人员向我们透露了一件事他很惊讶by? 在一次会议中，游戏是如何影响女孩之间的权力动态的。当领头女孩胡安娜开始抱怨并试图引起注意时，其他女孩，包括她最亲密的朋友，都要求她停止抱怨，加入到乐趣中来。她照做了，据后来的叙述，这扩大了女孩子们的朋友圈。
我的感觉是，那些在没有排名的、公开的、公平的论坛上比较自在的人沟通很可能被即兴游戏所吸引，或被即兴游戏所验证。这些人是社区的先锋，他们倾向于探索新的地方，使他们的社区成员更安全。事实上，其他孩子给胡里奥和胡安娜加入的指示，也非常有希望看到团体自我调节的出现，表明社区正在建立，这种做法正在取得成功。
The FIT Team
After running the curriculum a few times, Miss Jewel was beginning to see its value but was quite concerned that her recreation staff would not be able to replicate it, because none of them had any improv training. She tasked us with creating three different lessons that other FIT volunteers would then run without any supervision or input. The stakes were high here—if the FIT volunteers could lead the program well, she would let us teach it to her staff. If Miss Jewel was not convinced, the curriculum would most likely get dropped.
I worked with the FIT volunteers? for only two hours before they led the program themselves. Luckily, I had been leading morning improv workouts with them since our arrival (I offered and they gladly accepted), and they had been able to observe some of the earlier sessions with the kids.
Not being allowed to facilitate or interrupt in any way was initially quite uncomfortable, but gave me the freedom to float from space to space to see how the lessons were progressing. As I passed from room to room to patio, the looks on children’s faces changed from confusion to curiosity to enjoyment. Some of the? adult? staff of the? shelter began to join in the games? and laugh with the children.
FIT团队
在运行了几次课程后，朱厄尔小姐开始看到它的价值，但很担心她的娱乐工作人员将无法复制它，因为他们都没有任何即兴训练。她让我们创建三个不同的课程，然后其他FIT志愿者在没有任何监督或输入的情况下运行。这里的风险很大--如果健身志愿者能很好地领导这个项目，她会让我们教她的员工。如果朱厄尔小姐没有被说服，课程很可能会被取消。
我只和FIT志愿者一起工作了两个小时，他们就自己领导了这个项目。幸运的是，自从我们到达后，我就一直在带领他们进行早上的即兴表演（我主动提出，他们也很高兴地接受了），他们也能观察到孩子们之前的一些训练。
不被允许以任何方式促进或打断，最初是相当不舒服的，但给了我自由，从一个空间漂浮到另一个空间，看看课程是如何进展的。当我从一个房间走到另一个房间再走到露台时，孩子们脸上的表情从困惑变成好奇再到愉悦。收容所的一些成年工作人员也开始加入游戏，和孩子们一起欢笑。
There was one instance where one of the younger boys, Armando, asked if a game could be changed a bit to? see what would happen. The FIT volunteer looked my way and said, “He wants to change the game,” and I replied, “Try it!” The change was made, and it immediately led to peals of laughter from the kids and adults. In my own experience, it can be a good thing to allow folks the ability to explore and change things. It creates a sense of agency and ownership of the experience, which heightens the bonding experience in both directions. It was quite moving to see this idea grow beyond myself.
I still had not settled on a name for my curriculum. Then, on one of the van rides from the hotel to the shelter, the other FIT members had a lively discussion about project names and I suggested calling mine “Spontaneous Village.” People liked it, and it stuck.
有一次，一个叫阿曼多的小男孩问我，游戏是否可以稍微改变一下，看看会发生什么。FIT志愿者看了看我的方向，说：“他想改变比赛”，我回答：“试试吧！”这一改变立即引起了孩子们和大人们的哄堂大笑。根据我自己的经验，允许人们有能力去探索和改变事物是一件好事。它创造了一种体验的主体感和所有权感，这在两个方向上增强了联结体验。看到这个想法超越了我自己，我很感动。
我还没有为我的课程定好名字。然后，在一次从酒店到收容所的旅行车上，其他FIT成员对项目名称进行了热烈的讨论，我建议叫我的“自发村。”人们喜欢它，它就坚持下来了。
St. PJ’s Staff
We? had? passed? the? second? test.? Miss? Jewel,? now? less? skeptical,? wanted confirmation that her recreation staff could continue with the work and lessons that the FIT team had created in cooperation with St. PJs. One thing that I’ve learned from working in the AI field is that there is always tension between how much time is required for a program to have lasting impact and how much time a client or organization is willing to give. We were allowed only one hour for training her staff. The staff themselves were extremely helpful and vested in doing the best for the kids, but watching the last program day made me doubt if the entire curriculum would be able to continue to this degree.
圣约瑟夫酒家
我们通过了第二次考验。Jewel小姐现在不那么怀疑了，她希望确认她的娱乐工作人员可以继续FIT团队与St. Pjs合作创造的工作和课程。我从人工智能领域的工作中学到的一件事是，一个程序需要多少时间才能产生持久的影响，以及客户或组织愿意付出多少时间之间总是存在紧张关系。我们只被允许用一个小时来培训她的员工。工作人员本身也非常乐于助人，并为孩子们提供最好的帮助，但看了最后一个节目日，我怀疑整个课程是否能够持续到这个程度。
The After-Action
Before we? left? San Antonio, Miss? Jewel met with the FIT team? along with several teachers? and recreation? staff. About the? improv? sessions, Miss Jewel confided:
When? the? types? of improv? exercises? were? demonstrated,? I? was? definitely? skeptical? and outright said I didn’t think this would work with our teens. I became even more skeptical when the first time the improv team met with groups of kids in a rotation schedule, I watched as kids sat out or refused to participate. In my line of work, that is not a good sign. But surprisingly, as the week went on, I began to see the improv games showing up in random places throughout the day. It kind? of became the? inside jokes between the teens? in the everyday chatter. It even helped bridge connections between staff and kids. I could go on and on,? but? I? will? say? for? sure? that? improv? does? bring? and? connect? people? together,? even teenagers! It ended up being the underdog program.
余波
在我们离开圣安东尼奥之前，Jewel老师会见了FIT团队以及几位老师和娱乐工作人员。关于即兴表演，朱厄尔小姐吐露道：
当演示这些类型的即兴练习时，我绝对是怀疑和直截了当的。说我觉得这对我们十几岁的孩子没用。当即兴表演团队第一次与孩子们轮流见面时，我变得更加怀疑，我看到孩子们坐在外面或拒绝参与。干我这行的，这可不是好兆头但令人惊讶的是，随着时间的推移，我开始看到即兴游戏在一天中随机出现。这成了青少年之间日常闲聊中的内部笑话。它甚至帮助建立了员工和孩子之间的联系。我可以一直说下去，但我可以肯定地说，即兴表演确实能把人们联系在一起，青少年也不例外！最终成为了不被看好的程序。
During that same meeting, Rosalba, one of the staff members who oversaw dorm life for the teen girls, shared a story. One evening, as she entered the dorms to get the girls to bed, she noticed a couple of girls snapping their fingers at each other, specifically Spanish-speaking girls snapping at a Quechua-speaking girl. Rosalba, who had not seen them play Snap Pass (Workbook 6.2), interpreted this as antagonism and teasing and intervened saying that snapping like that was not nice.? She? was? surprised? at? what? happened? next.? The? girls? corrected? her? by showing her the game that they had learned that day. They were including the Quechua-speaking? girl? into? their? game? by? snapping? at? her.? The? girls? then continued playing, and Rosalba joined in briefly before getting them to bed. Rosalba said she was touched by the fact that these girls were finding another way? to? connect? that? went? beyond? language.? This? was? an? incredible? sign? of success.Staff? members? also? shared? comments? with? me? about? how? reliable? and effective playing games together was for quickly building rapport with the kids. More effective, in fact, than any approach they had previously tried.? Simply incorporating name games and snapping and clapping games had changed the feeling and tone of their work for the better.
在同一次会议上，Rosalba，其中一个工作人员谁监督宿舍生活的少女，分享了一个故事。一天晚上，当她进入宿舍哄女孩们睡觉时，她注意到几个女孩在互相打响指，特别是说西班牙语的女孩在打一个说克丘亚语的女孩。Rosalba没有看过他们玩“快速传球”（练习册6.2），她认为这是一种敌对和戏弄，并插话说这样的快速传球是不礼貌的。她对接下来发生的事感到惊讶。女孩们已更正给她看他们那天学的游戏。他们把这个说克丘亚语的女孩也算进了他们的游戏里。然后女孩们继续玩，Rosalba在哄她们睡觉前也加入了一会儿。Rosalba说，这些女孩找到了语言之外的另一种沟通方式，这让她很感动。这是一个令人难以置信的成功标志。工作人员会员们也和我分享了评论关于一起玩游戏是多么的可靠和有效，可以迅速与孩子们建立融洽的关系。更有效，事实上，比他们以前尝试过的任何方法。简单地结合名称游戏和捕捉和鼓掌游戏已经改变了他们的工作更好的感觉和基调。
When it came time for some critique, my suspicions were confirmed about the recreation and housing staff feeling too uncertain about running a full lesson of improv in our absence. The name games and sociometric games were likely to stay in circulation, though. They were the simplest to remember and run, and they were something that took about five minutes and could bookend the days or help get focus back. Considering how reticent the recreation staff and Miss Jewel had felt a week prior, this seemed like a significant victory.
There were also the more personal thank you messages that came directly from? students.? Julio,? the? boy? who? was? resistant? at? the? start,? was? able? to participate several times in Spontaneous Village, either with me or one of the other FIT volunteers. During the last session, he asked to sit out again, politely, after? asking? me? what? colors? I? liked.? I? had? picked? up? enough? Spanish? to understand his question and answer him. He went to the side and was working on weaving something pretty intently. After the last session of the day let out, Julio ran back up to me calling out “Mr. Brad!” He held up a green bracelet with the letters B-R-A-D woven into it in red (Figure 5.1). He clapped me on the back. We shook hands smiling at each other, and he ran off to catch up to his dorm group. I stood there with the bracelet across my palm and a knot in my throat.
到了一些批评的时候，我的怀疑得到了证实，娱乐和住房的工作人员对在我们缺席的情况下运行一个完整的即兴表演课程感到太没有把握。不过，名字游戏和社交游戏很可能会继续流传下去。它们是最简单的记忆和跑步，它们花了大约5分钟的时间，可以预订日子，或者帮助人们重新集中注意力。考虑到娱乐工作人员和Jewel小姐一周前的沉默寡言，这似乎是一个重大的胜利。
还有更多来自学生的个人感谢信。朱利奥，这个在一开始就抗拒的男孩，能够多次参加自发村的活动，或者和我一起参加，或者和其他健康志愿者一起参加。在最后一次会议上，他问我喜欢什么颜色后，礼貌地再次请我坐在外面。我学到了足够多的西班牙语来理解他的问题并回答他。他走到一边，全神贯注地编织一些东西。那天最后一节课结束后，胡里奥跑回来叫我“布拉德先生！”他举着一个绿色的手镯，上面的字母B-R-A-D被编织成红色(图5.1)。他拍了拍我的背。我们互相微笑着握了握手，然后他就跑去找他的宿舍同学了。我站在那里，手链交叉在我的手掌上，喉咙里有一个疙瘩。
People who play together? are? always more? likely to? stay together.? This I believe. This I have seen. This I know.
一起玩的人总是更容易呆在一起。我相信这一点。这个我看过。这我知道。
Conclusion
From informal interviews with staff and teachers, there was a fair amount of anecdotal? evidence? for? community? emerging? much? quicker? as? a? result? of introducing? some? of the? tools? of? improvised? theatre.? These? outcomes? had validated something that I had long considered with applied work. If you want to change someone’s (or an organization’s) perspective or understanding, a singular workshop can be a jolt. If you want to change habits, transform culture, or build community, one needs to embrace a more regular practice (of improvisation, meditation, yoga, or even basketball).
It is unfortunate that the public’s perception of improvised theatre is one of trite theatre games that are best played by professional comedians or the office clown. AI? has? the? capacity? to? improve? many? human-centered processes? and projects that require communication, collaboration, and creativity. Additionally, it has the capacity to enhance the mental and emotional health of individuals and communities. It is an effective approach for generating positive growth in human groups. Improvisation is our natural state as beings, and direct, in-person, social connection makes us more whole. With the challenges we face as a? species, strengthening our collaborative skills is extremely prudent.
结论
从对工作人员和教师的非正式采访中，有相当数量的轶事证据表明，由于引入了一些即兴戏剧的工具，社区出现得更快。这些结果验证了我长期以来在应用工作中考虑过的一些东西。如果你想改变一个人（或一个组织）的观点或理解，一个单独的研讨会可以是一个震动。如果你想改变习惯，转变文化，或建立社区，你需要接受更有规律的练习（即兴创作，冥想，瑜伽，甚至篮球）。
不幸的是，公众对即兴戏剧的看法是一种陈腐的戏剧游戏，最好由专业喜剧演员或办公室小丑扮演。人工智能有能力改善许多需要沟通、协作和创造力的以人为中心的流程和项目。此外，它有能力提高个人和社区的精神和情感健康。这是在人类群体中产生积极成长的有效方法。即兴创作是我们作为存在的自然状态，而直接的、面对面的、社会性的联系使我们更加完整。面对我们作为一个物种所面临的挑战，加强我们的合作技能是极其谨慎的。
Notes
1? Best Practices Facilities are usually identified that way because the level of care they offer goes well beyond the minimum of shelter and food and can include education, recreation,? ? counseling, and spiritual life. These were all part of the St. PJ’s approach while the children awaited trial.
2? See also Spolin’s ( 1963) tips on side-coaching.
3? There were several Mayan languages from Guatemala and Honduras that made up the other 10 percent of languages spoken.
4? All participant names are made up.
5? From private Facebook message to author on January 10, 2016.
附注
1? 最佳实践机构通常以这种方式来识别，因为它们提供的护理水平远远超出了最低限度的住所和食物，可以包括教育、娱乐、咨询和精神生活。在孩子们等待审判期间，这些都是圣普少的做法的一部分。
2参见Spolin（1963）关于侧面指导的提示。
3来自危地马拉和洪都拉斯的几种玛雅语言构成了其他10%的语言。
4所有参赛者姓名均为虚构。
5 2016年1月10日由Facebook私信发给作者。
工作簿
5.1名称和动议
这是一个完整的小组练习，通过一个独特的身体动作来帮助记忆名字。
本练习结束时，参与者将有...
·冒险在人群面前以独特的方式移动身体；
·应用“是”的概念，倾听、接受和重复其他参与者的名字和伴随的动作；
·增加他们与圈子里其他人的联系。
运行练习
1.? ? 要求参与者站成一个圆圈。
2.? ? 一次一个，每个参与者说出自己的名字，并加上一个动作（例如把手臂伸展开）。
3.? ? 作为回应，整个小组重复这个名字和动作。这样做，直到每个人都在圈子里有一个独特的议案，以陪伴他们的
名字
4.? ? 快速重复第二和第三步（但使用相同的名称和动作），以帮助记忆。
5.? ? 现在玩游戏在“呼叫和响应”的形式：你做你自己的名字/手势，然后是别人的名字/手势。现在轮到那个人做自己的名字/手势，然后是另一个参与者的，依此类推。继续，直到每个参与者的名字/手势被重复至少两次。
Debrief
?? Which motions were fun to doWhat about this activity challenged you
?? Ask which names need to be practiced more, providing open exchange time for people to make corrections on their own terms.
Suggestions
?? Encourage participants to notice and repeat motions of another body. This helps them become present, free from individual worry, and engaged with others.
?? Be encouraging by affirming participant’s choices (Great! Wow!? Flexible !), especially those who look puzzled or skeptical of their choices at the beginning.
?? As participants gain competence, up the challenge by picking up the pace: “We’re getting good. Let’s speed it up!”
?? For a bigger challenge, shift to using just the motions and omit the names. Connections:? This? exercise? is? adapted? from? various? exercises? that? ask students? to? connect? with? others? through? vocal? (sound)? and? physical expression? (motion).? For? further? ideas,? especially? for? groups? that? need additional work on connecting with and really seeing others, we recommend Spolin’s ( 1963) “Orientation” games, particularly Who Started the Motion and her basic Mirror Exercise.
问询
·哪些动议是有趣的？这次活动对你的挑战是什么？
·询问哪些名字需要更多的练习，为人们提供公开的交换时间，让他们按照自己的方式改正。
建议
·鼓励参与者注意并重复另一机构的动作。这有助于他们成为现实，摆脱了个人的忧虑，并与他人交往。
通过确认参与者的选择来鼓励(太棒了！)哇!)，特别是那些在一开始就对自己的选择感到困惑或怀疑的人。
·当参与者获得竞争力时，通过加快步伐来提高挑战：“我们正在变得越来越好。让我们加快速度！“
·对于一个更大的挑战，改用只用动作，省略名字。联系：这个练习是根据要求学生通过发声(声音)和身体表达(运动)与他人联系的各种练习来进行的。对于更多的想法，特别是对于那些需要更多的工作来联系和真正认识他人的团体，我们推荐斯波林(1963年)的“定向”游戏，特别是谁发起了“运动”和她的基本镜面练习。
5.2? ? Night Watch
This is a full group exercise that requires a response to the actions of a night watchperson.? Everyone? except? for? this? person? is? a? “living? statue”? and together they pose or freeze into tableaux, without getting caught moving by the watchperson. The exercise helps participants to notice that even small gestures can have a big impact on how we connect.
At the end of this exercise, participants will have ...
?? rapidly developed connection with the group;
?? experienced the rhythm between individual movement and group movement;
?? used eye contact and body language rather than spoken word to communicate intention; and
?? utilized collaboration to surmount tension and challenges.
Running the Exercise
1.? ? Explain that participants will pretend to be single-person or group statues in a museum at night.
2.? ? Ask a participant to volunteer as the first watchperson.
3.? ? The watchperson will walk around slowly and pause occasionally like a guard. All others will be statues in the museum, moving quickly to make new scenes whenever the watchperson is not looking.
4.? ? The statues must freeze before the watchperson catches them moving.
5.? ? If the watchperson spots someone moving, they may choose to continue in their job, or ask the person caught moving to be the new watchperson.
5.2守夜人
这是一个完整的小组练习，需要对一个守夜人的行动作出反应。除了这个人以外的每一个人都是“活雕像”他们一起摆姿势或冻结成画面，而不会被监视者发现移动。这个练习帮助参与者注意到，即使是很小的手势也会对我们的联系方式产生很大的影响。
本练习结束时，参与者将有...
·迅速发展与群体的联系；
·体验个体运动与群体运动之间的节奏；
·使用眼神交流和肢体语言，而不是口头语言来传达意图；
·利用合作来克服紧张和挑战。
运行练习
1.? ? 解释参与者将在晚上在博物馆里假装成一个人或一群雕像。
2.? ? 请一位参与者自愿担任第一个守夜人。
3.? ? 看守人会慢慢地走来走去，像卫兵一样偶尔停下来。所有其他的都将成为博物馆里的雕像，在看守人不注意的时候迅速移动，制造新的场景。
4.? ? 雕像必须在看守人发现它们移动之前冻结。
5.? ? 如果守望者发现有人在移动，他们可以选择继续他们的工作，或要求被发现移动的人成为新的守望者。
If the new person accepts the job, the first watchperson now joins the group as statues. And the exercise continues.
Debrief
?? How did the way you play the game change over time
?? How did you connect with others to make pictures without speaking
?? If you were the watchperson, how did it feel
?? These questions help participants notice their strategies in connecting and communication, as well as allow them to hear others’ strategies.
Suggestions
?? Remind participants to work collaboratively in making the tableaux.
?? Encourage participants to take risks.
?? Encourage the watchperson to occasionally let people continue being? ? ? ? statues even if they have been seen moving. Participants can often turn this into a game of “I got you!” which could be fun for those who feel secure? ? in life but if someone has had trauma, a succession of these could be very? triggering. This also deepens the exercise allowing the group more time to connect.
?? Encourage statues to explore different physical levels (e.g. standing, sitting, kneeling, lying).
如果新的人接受了这份工作，第一个守望者现在作为雕像加入小组。这项工作还在继续。
汇报
·随着时间的推移，你玩游戏的方式发生了怎样的变化？
·你是如何与其他人建立联系，在不说话的情况下制作图片的？
·如果你是守望者，感觉如何？
·这些问题帮助参与者注意到他们在连接和沟通中的策略，也让他们听到其他人的策略。
建议
·提醒参与者合作制作场景。
·鼓励参与者勇于冒险。
·鼓励守望者偶尔允许人们继续做雕像，即使有人看到他们在动。参与者通常会把这变成一个“我抓住你了！”的游戏，这对那些在生活中感到安全的人来说可能很有趣，但如果有人有创伤，一连串的这些可能会非常触发。这也加深了练习，让小组有更多的时间来联系。
·鼓励雕像探索不同的身体层次（如站、坐、跪、卧）。
Connections:? The? author? adapted? this? exercise? from? Chishti? and? Hipsan (2014).? This? seems? to? be? an? adaptation? of? the? traditional? game? Red Light/Green Light (see Spolin 1963).
5.3? ? Sound and Motion
This is a full group activity that encourages participants to pay close attention to one another, accepting and communicating subtle changes.
At the end of this exercise, participants will have ...
?? expanded their observation of others to include the whole body and vocal inflection;
?? moved their body and used their voice in unique ways;
?? discovered excitement and fun through incorporating mistakes; and
?? bonded with other participants.
Running the Exercise
1.? ? Ask participants to stand in a circle.
2.? ? Face the player on your right and make a simple vocal sound, along with a simple body motion.
3.? ? The receiver then faces the person to their right and passes the sound and motion, imitating what they received as closely as possible.
4.? ? All subsequent participants repeat what the person immediately before them does. This includes anything that may arise that is in addition to the original sound and motion (a giggle, an eye-roll, a groan, etc.).
5.? ? Continue? until? energy? falls? or? participants? are? laughing? too? hard? to continue.
联系：作者改编自Chishti和Hipsan(2014年)的这一练习。这似乎是一个改编的传统游戏红灯/绿灯(见斯波林1963年)。
5.3声音和运动
这是一个完整的团体活动，鼓励参与者密切关注对方，接受和交流微妙的变化。
在这次演习结束时，参与者将有..。
扩大对他人的观察，包括全身和声带的变化；
·移动他们的身体，以独特的方式使用他们的声音；
通过合并错误发现兴奋和乐趣；
操练
1.要求参与者围成一圈。
2.面对右边的玩家，发出一个简单的声音，还有一个简单的身体动作。
3.接受者然后对着他们右边的人，通过声音和运动，尽可能地模仿他们所收到的东西。
4.随后的所有参与者都重复他们前面的人所做的事情。这包括任何可能产生的，除了原始的声音和运动(咯咯笑，眼睛滚动，呻吟，等等)。
5.继续下去，直到能量下降或参与者笑得太厉害而无法继续。
Debrief
?? How does noticing and incorporating feel(This lays the groundwork for discussing collaboration as more productive than competition.)
?? What discoveries were made from beginning to end(This helps? participants recognize that innovation happens when we pay close attention and value novel ideas and/or mistakes.)
?? How did “mistakes” (e.g. additional gestures or sounds that were not part of the original sound and motion) change things
?? How does this change the way you think about mistakes
Suggestions
?? Encourage participants to exactly copy the person before them from head to toe.
?? Give praise when participants incorporate subtle nuances.
?? Let each participant start a sound and motion and let it go around once. Encourage a slight raise in energy of sound and motion with each? ? ? ? subsequent player.
Connections: Also known? as? Energy Pass? (Fotis? and? O’Hara? 2016), this imitation game is similar to many exercises that ask participants to increase their awareness of others in the group. For additional awareness exercises, we recommend Boal’s ( 1992) A Round of Rhythm and Movement and “The Space Series” of games.
汇报
·注意和融入的感觉如何？（这为讨论合作比竞争更有成效奠定了基础。）
·从始至终都有什么发现？（这有助于参与者认识到，当我们密切关注和重视新的想法和/或错误时，创新就会发生。）
·“错误”（例如，额外的手势或声音不是原始声音和动作的一部分）是如何改变事情的？
·这如何改变你对错误的看法？
建议
·鼓励参与者从头到脚完全模仿面前的人。
·当参与者融入微妙的细微差别时，给予表扬。
·让每个参与者开始一个声音和动作，让它绕一圈。鼓励每一个随后的演奏者在声音和动作的能量上稍微提高。
连接:也称为能量通行证（Fotis和O'Hara 2016），这种模仿游戏类似于许多练习，要求参与者增加他们对群体中其他人的意识。对于额外的意识练习，我们推荐Boal的（1992）一轮节奏和运动和“空间系列”的游戏。