Improvisation Structure and Technique

IMPROVISATION STRUCTURE AND TECHNIQUE 1
CHAPTER I
INTRODUCTION
The Filipino masses today have not demonstrated a strong appreciation for
Philippine Theatre regardless of social class. It is only musical theatre that has a large
audience. Theatre, per se, is not the artistic priority and it seems the focus of the Filipino
people has been diverted to other forms of entertainment. Despite this, especially to
actors, dancers, directors and producers, theatre is pure art. Theatre is their life; Artists
express their artistic freedom and unconditional love for theatre through their willingness
to do everything for its sake. Through the power of workshops in acting, singing and
dancing, actors and dancers improve their skills in voice and onstage movement. There is
a specific type of workshop that can help actors build their confidence, stamina, will,
creativity and imagination especially in acting. This is called improvisation technique and
structure.
Contrary to improvisation “theatre here in the Philippines is very structured,
especially in U.P. Diliman, in the sense that everything should be scripted and should
always rely on what the artistic director should give or direct”, says Terence Guillermo, a
U.P. Theatre Arts Major Alumna and currently a professional actor (Personal interview
with Mr. Guillermo, Nov. 2014). In this kind of situation, engaging in theatre is
sometimes exhausting and sometimes frustrating because the actor is caught in a
repetitive cycle where the same structured theatre techniques are employed for every
play. Since this is a practice in most theatre companies in the Philippines, some actors are
led to quit their theatre career because there is little room for their own creativity. The
researcher’s study about improvisation structure and technique as an avenue for
developing the creative expression and spontaneity for Filipino actors and dancers may
help open new doors for actors, or bring back to theatre those who left rebuilding their
confidence in their craft once again. Moreover, improvisation structure and techniques
helps actors and dancers find a deeper understanding of their bodies, imagination and
creativity.
The improvisation is a branch of Theatre Arts that is rarely practiced in the
Philippine Theatre context except for comedians who use it as a format. However,
improvisation technique with its structure, goes way beyond comedy. It is known for its
artistic expression and communication, and has roots in ritualistic displays (Young and
Curtis, 2008). The researcher wants to show the importance of improvisation structure
and techniques to Filipino actors and dancers who lack experience in this field, since it is
one way of making an actor physically and emotionally stronger in performance whether
in drama or comedy. The researcher also wants to present the positive benefits of
experiencing improvisation structure and techniques not just for performance but for
training processes without the necessity of a recital. Lastly, the researcher wants to
enlighten the readers, actors and dancers with the insight of improvisation techniques and
its structure since there seems to be a lack of appreciation for it as compared with other
forms of theatre techniques here in the Philippines.

Review of Related Literature
History of acting.
The history of theatre and dance came from different restrictive structures that
until now is used to develop a sense of awareness. Strict rules that must be followed by
artistic directors, actors and dancers when they perform. One of the few who is known for
the development of a restrictive technique in theatre called “Stanislavski system” is
Constantin Stanislavski. According to Bio (2015), Constantin started his Stanislavski
system to provide structures for actors to achieve a deeper and meaningful performance
onstage. He believed that actors should have a sense of authentic emotion while onstage.
In a study of Bilgrave and Deluty (2004), the researchers explained how Stanislavski
stressed the actor’s needs to develop a sense of sensitivity and a degree of tension
involved in moving and speaking so that the communication between the audience and
the actor can be successful. Therefore, researchers concluded that because of his system
of acting, the actor seems to be in control through Stanislavski’s system.
Constantin Stanislavski also gave birth to the idea of method acting, realism and
naturalism which were later adapted and followed by Stella Adler, an actress and an
acting coach in the late 1940s. She had likewise mastered and applied the art of
Stanislavski system to her method called the Adler technique (Berger, 2008). In the year
1960’s American actor named Marlon Brando learned Adler’s technique stet also
mastered the Stanislavski method that simply showed that an actor should be himself or
herself when acting on television or onstage (Bray, 2008).

History of Dance.
In the world of dance, one of the most restrictive techniques that can be performed
in theatre is ballet. It is one of the building blocks for each movement of different dances.
Mr. Chris Nocon, a certified dance coach and choreographer of ballet here in the
Philippines, cited three styles that are known around the world which is the English style
of the Royal Academy of Dance in United Kingdom, Vaganova Style of Mariinsky Ballet
in Russia and the Cecchetti Ballet of Ceccheti International Classical Ballet in Italy. The
Royal Academy of Dance is defined by Stephanie Loizou as flawless and refined where
the techniques are executed on time. She stated in an article that the strength, expression
and polished movement are the pillars of the English system that moulds the dancer’s
quality (Loizou, 2007).
The Royal Academy of Dance has a grading system that determines the
performance and improvement of a student in ballet. In the article of Jennings (2012), it
was mentioned that failure to comply with the grading system of the Royal Academy of
Dance, results to asking the students to leave and this has caused student devastation and
trauma. The Mariinsky Ballet in Russia was also called Kirov Ballet. In this ballet school,
the Vaganova method gave importance not just to the techniques in ballet but also to the
ballerina’s body. In Perron (2012) where one of the ballet instructors of Vaganova
method, was interviewed, it mentioned that all body parts have equal importance and
different functions to build a perfect and refined sculpture of a dancer’s body. Said
research showed the struggles of a Vaganova practitioner where it was explained that the
first year of a trainee is tough and miserable. The Cecchetti method originally came from
an Italian dancer named Enrico Ceccheti (Brillarelli, Tenniswood-Powell, Darby &
Flyod, 2015). Carpenter (2014) said in her article that the Ceccheti method is unique in
that the syllabus not only focuses on the dance training but also on the education of the
dance as well. The said syllabus is developed depending on the age and advancement of
the. Warnecke (2011) shared her experience as a trainee under the Ceccheti method.
Relating that, the experience of being a trainee is quite humiliating since the Ceccheti’s
nature of teaching ballet is strict. However, it was also mentioned that as a trainee, one
has to learn to put aside all the under-the-breathe-criticisms and intimidations from the
teachers, so that a dancer can perform better and will have a deeper appreciation towards
Ceccheti Method.
Improvisation.
Improvisation is better known and practiced in the United States, Canada,
Australia, England and the Scandanavian countries. It is an exploratory art form. Where
actors are more willing to enter into a give and take with each other onstage, using their
imagination and bodies to create a sense of improvisational flow. Furthermore, in
theatrical performance it can occur on many levels; from displaying emotions, gestures
and postures, to the real-time determination of dialogue and narrative progression.
Due to its nature, improvisation is also a remarkable example of creative group
performance, where no explicit coordination between the actors is pre-arranged and the
creation of narrative context occurs organically. In some cases of completely unscripted

improvisation, the constraints of a single performance are set via general game rules,
where audience interaction can occur or suggestions from the audience on how the
improvisational game will continue are entertained (Magerko & Riedl, 2008). Through
movements of the body, improvisation actors can add layers of experience and self-
knowledge for themselves through their own body’s physicality. Improvisation allows
intuitive perception and intellectual analysis to work together (Douglas & Coessens,
2011). Improvisation can also be linked to sociological perspectives wherein social
concerns can also be involved within the performance. According to Chung (2012),
improvisation can be used in theatre to express any concerns that need to be brought to
the attention of society. Actors involved in an improvisation exercise learn to focus on a
topic, where the expression of their art is revealed from one moment to the next without
any previous planning, making their statements more weighting (Vera & Crossan, 2005).
Spontaneity is critical in improvisation. It is one of the keys to creativity and
exploration and usually opens the mind and body of an actor. In acting spontaneously,
the connection of the imagination and the body is the starting point for immediate action.
It exists in many forms such as: improvisation dance, wherein dancers connect their
imagination and emotion through dance; contact improvisation, where the bodies of the
actors are in physical contact during the process of improvisation dance or in an activity;
free improvisation, where actors can make or compose music impromtu; and acting
improvisation, where actors can use spontaneous acting to entertain or express an
emotion or thought.
However, an authentic sense of spontaneity may be difficult to achieve
considering that sometimes an improviser is tempted to rely on previously stored
memories resulting to lapses where the performer/s decide what to do next during the
exercise (Magerko et al., 2009). Also, a permission must be asked by the subconscious
and spontaneity itself to access the comfort zone of a performer (Reiner, 2010). On the
other hand, spontaneity is intuitive and is based on past experiences because the stage
itself is crucial in encouraging it. The actors need to be comfortable on stage, no matter
what type of stage so that they are ready and confident to move freely and utilize the
entire space. It should be noted that some types of improvisation, especially contact
improvisation, is not practiced in certain cultures because contact improvisation requires
free physical body contact between actors. This is societally or legally restricted in some
cultures.
The history of improvisation began with the Greeks as early as the first
presentations of The Iliad and The Odyssey that were performed in Athens (Curtis, 2008).
In the 20th Century, Viola Spolin came to be known as the “High Priestess of Improv”
due to her discovery of improvisation and its framework as stated in the article of
Leopold (2013). The article said that in the 1950’s, Viola Spolin set the guidelines for
improvisational theater and assisted her son, Paul Sills and David Shepherd who in turn,
founded the Compass Theatre that served as the first improvisation or “improv” theatre.
After Spolin’s success in improv theatre, her son Paul Sills, co-founded a theatre group
called The Second City in the year 1959 as a spinoff from Compass Players and Compass
Theater.
This became the most influential and prolific comedy and improvisation group,
which still inspires other theatre groups in the world today. Globally, improvisation
appears in different types of performances by actors, dancers and musicians. Through
improvisation, an actor learns to trust the other people he is working with and the stage
becomes a safe haven where an actor can try anything spontaneous without any
judgement from other actors and audiences.
Types of improvisation.
Improvisation dance involves using an actor’s body for expression through
spontaneous movement and the execution of dance techniques. Improvisation dance is
especially suited for actors who are willing to open their sensibilities and bodies to
perform freely without thinking too much of their movements. Strauss (2008) mentioned
that choreographers who use improvisation dance help their students foster a sense of
creativity, independence and courage with their bodies and it is an act of finding and
articulating a dance form through the dancer’s spontaneous movements (Buckwater,
2010). However, Smith-Autard (2010) remarked that, to be able to call a dance an
improvisation, the dancers need to experiment with movements that suit their emotions
and the flow of their imaginations while onstage without prior planning. After the whole
explorational experience with the body is completed, that is the only time where a dance
can be called an improvisation dance.

Improvisation dance can also be a form of freedom dance. According to Goldman (2010),
expressing freedom is a persistent fixture in the discussion of improvisation.
There are a few instances however, when a movement has turned into a pattern.
An example of this is when a dancer uses too much of his/ hands, that she has forgot to
use different body parts in improvisation. Nancy Stark-Smith, a practitioner of
improvisation dance in Canada shared her thoughts on how she breaks the cycle of
pattern repetition and how a dancer can have a good performance improvisation onstage.
She stated that to be able to break the cycle, the dancer must strengthen his or her
awareness to repeated steps and open up to another possibility for a new combination of
movement that can be formed. To be able to deliver a good performance improvisation,
the dancer should be present with their bodies and movement. Also, she stressed that it is
important for the performer to give a good equal foundation of internal focus and
communication to the audience (Horrigan, 2006).
To be able to maintain their state of awareness, a dancer may undergo on an
Improvisation Jam wherein this class focuses on improving a dancer’s improvisation
skills by dancing together with a community and discovering the natural move of their
body (Stahl, 2012). In Southeast Asia specifically the country Malaysia, Improvisation
Dance is being recognized by the group Asia Pacific Impro wherein workshops are being
offered and dance delegates from different countries are invited to experience and share
their learning experiences on Improvisation Dance. The goal of the company is to open
the idea of Improvisation Dance as a serious art form which serves as a meeting point for
artists to greater heights of creativity and to bring newfound knowledge through the
growth of communities of Improvisation Dance artists (Manjalip, 2013).
Another form of improvisation, acting improvisation, is known for its artistic
crafting onstage and is highly recognized. Scholte (2010) noted in his research journal
that the power of improvisation acting lies in its ability to create a deeper connection
between the actor and the given text to be acted out. Scholte also stated that acting
improvisation is not present during the time of rehearsing a fully scripted play however it
can be used in the interpretation of the script.
Acting improvisation also helps loosing up the tension of an actor with the
training idea of playfulness (Warzecha, 2012). There are benefits if the actor is trained in
acting improvisation because first, for the actors who are trained under the basic acting
classes, it will help to free the mind of a person who struggles to connect with its raw
emotions by being creative. And second, in auditions, acting improvisation will help an
actor to get more auditions because it has a different set of skill that must be done in a
good amount of training which is basically an advantage (Barry, 2015). In acting
improvisation, it is also important that a person builds a communication or a relationship
towards its audience. Maurer (2007) used this tool to overcome his stage fright by being
more connected with and understanding of the audience. It also helps if an actor shifts his
or her focus from nervousness.
However in some different kinds of auditions, acting improvisation is not allowed.
For example, in a commercial audition, if an actor comes up with a brilliant line that is
not included in the script, the producer of the said commercial may hire another actor. In
the end, turning point of acting improvisation is that it is also about the listening, the
willingness of an actor to alter anything that the director gives (Crowe & Carpenter,
2006).
Surprisingly, acting improvisation can also be used in the corporate settings,
where it is used as a form of training. In a case study conducted for service employees in
an European airline, corporate training was applied through acting improvisation. After
the case study was concluded, the results of the improvisation training helped the service
employees gain more confidence, service effectiveness, had higher ability to adapt,
acquired a sense spontaneity and comfort in handling unique situations. The results of the
improvisational training to the crew of that European airline is encouraging, as it proved
the merits of improvisation in helping the crew prepare for possible situations and gave
them confidence to face their customers, no matter the circumstances. The case study is
remarkable due to its wholly positive outcomes. First, the trainees who participated in the
hands-on, theatre-based improvisation training found the experience rewarding and
relevant. Second, the improvisation training prepared the crew to deal with unanticipated
situations and their resulting self-assurance emerged in customer service (Daly, Dorsch,
Fisk & Grove, 2009). Thilmany (2007) attempted to use acting improvisation as training
for employees to cultivate team building, customer service and brainstorming.
Most of the trainees learned the basic warm-up exercises from improvisation until
the employees learned how to trust their instincts and be unafraid. In the end, the
employees imbibed the lessons from the improvisation workshops everyday and even
applied it to their daily work by creative and confident during brainstorm sessions or
meetings.
Acting improvisation was also used by a head librarian in Washington DC to train
her staff to improve their instructional skill set and services. Belben (2010) said that
acting improvisation is not only applicable on stage but also as a form of training in
businesses, schools and communities where results can be phenomenal. The training
consisted of fast-paced, low-risk, high-energy activities, to make the staff feel more
comfortable with each other. In the end, that with the help of improvisation acting, a
strong sense of camaraderie was developed among the staff giving them renewed
enthusiasm, purpose and possibility in their work.
An article published in 2011 said that, a leader can be labelled an actor if he or
she uses improvisation to lead a team. As a leader/improviser, the leader must learn how
to build basic acting blocks to which the rest of the team will contribute. Just like in
improvisation theatre, the leader must be willing to contribute creative ideas to the team
first. More importantly, the leader in the role of improviser, needs to know his team well
(Hough, 2011). One researcher used acting improvisation theatre to enhance creativity
and cohesion in diverse groups. In the research, acting improvisation was applied through
interaction with the team leaders from diverse groups and small groups (Crooks, 2007).
The improvisation exercise was conducted in a non-theatre setting, and involved group
trainings that included games which needed focus and energy, and creative and mutual
support. All of these were developed for the sake of improving small group cohesion. The
role of improvisation workshops in that research was to provide a powerful

communication tool to achieve their objective. On the other hand, the work of
improvisation for an ensemble is important in developing teamwork. Britton (2013),
stated that an ensemble should reach its goal from improvisation through preparations
and workshops that include rehearsals and performances. To achieve this, the ensemble
must care for each other by building relationships as a whole whether it has a growing
pain or fracture. From that point, it can be determined whether an ensemble is healthy and
has a strength to achieve a certain goal (Bonczek and Storck, 2012).
Structures of improvisation.
In acting improvisation, there are structured rules that should still be followed by
an improviser to know how it will work well not only with the actor, but also with the
ensemble. To be able to execute this, Goodman (2010) listed the structure of acting
improvisation whether in performance or training classes. First, the body and mind must
be present and be prepared to listen carefully to the instructions. Listening is one of the
important elements in improvisation since it requires fully interacting with others in a
very fast pace throughout an activity. Second, negation is prohibited. Negation is a form
of rejecting an actor’s idea or creativity. If an actor is negated in an improvisation
activity, he or she might not do it again. Third, an actor can affirm and add. The acting
group should accept any suggestions and creative ideas by an actor and add more ideas to
it. Lastly, an actor should be willing to surrender or be ready to give up his or her plans.
If the plan for the improvisation is not working, the actor must surrender it. Surrendering
does not mean giving up the imagination and creativity that the actor has. It only means
that the actor allows himself or herself to accept new and better ideas and opportunities
for the improv.
There are also other forms of improvisation structures that can be described as a
principle by Adams (2007). He mentioned three principles that must be considered in
improvisation. First, being spontaneous is acting upon a suggested offer and trusting it.
Second, making the partner look good means that the actor or ensemble wants to discover
what the partner needs and to be successful at it. Lastly, saying yes means a welcoming
embrace of each ensemble or partner of an idea that is built upon through improvisation.
Jump in and save is also used for training actors to save the scene and their
partner. Salinsky and Frances-White (2013) used this as an exercise in rehearsals or
performance. In order for a scene to work, the improvisers should know how to save and
leave the scene. In that way, the scene will build up and end the scene well.
Meanwhile in improvisation soliloquy, both shares the same structure as acting
improvisation. Pike (2015) made a few rules about the improvisation soliloquy that can
also be a part of training. First, Trust plays a huge role because a comedian can also
depend on the people whom he or she with and it also stand as a support to the comedian.
Second, be in the moment means in a comedian can unfold an idea on the spot to work
with his or her idea. Third, mastering improvisation comedy is to simply focus on best
processes on delivering the content and keeping it fresh for the participants.
Techniques of improvisation.
Certain activities are involved in acting improvisation to engage the actors to be
more open to ideas that can serve as pathways in communicating and connecting with the
whole ensemble onstage. Acting improvisation has grown into a legitimate theatrical
genre that its pioneers such as Viola Spolin had envisioned to see and to experience.
There is another form for acting improvisation called longform improvisation. It has been
known for teaching self-expression and creating a gateway to a more truthful reality
(Love, 2013). In another article of Love (2014), he stated that the use of longform
improvisation is to let the whole ensemble and technical team feel a sense of togetherness
and authenticity both onstage and offstage. In auditions, actors are also required to have a
sense of knowledge and training in acting improvisation since some directors find these
actors fearless, more willing to take the risk and adaptable to directions and criticisms.
As part of acting improvisation, a director also uses improvisation games. It is
practiced apart from the performance to remind an actor and the ensemble to be alert,
ready and sharp onstage. Harrison (2010) wrote the three concepts of improvisation
games where the author gave value to what should be observed and followed. The first
concept is explained as accepting what another actor can offer, where the whole ensemble
should entertain and build upon the idea that is being suggested. The second concept is to
let the whole ensemble feel at ease with each other to encourage better collaboration and
bonds within the group. Lastly, it is to think creatively in the sense that all ideas should
fuse and be experimented with during the process of improvisation games.

The use of improvisation games was to provide time for the groups to share their
creativity, positivity, and enjoyment from the workshop. Each member naturally formed a
sense of group identity, creating the social cohesion needed in order to reach their
creative potential as a whole. The improvisation training consisted of challenging factors
such as time pressure, performance apprehension and communication challenges. The
training allows the group to experience laughter, support, bonding and success. As a
result, concrete changes with how the members viewed teamwork will be achieved
(Crooks, 2007).
Performing a comedy is a balancing act that uses similar techniques to drama
improvisation, however it aims to bring a story or message to an audience by way of
laughter. In Hubbard street in Chicago, a dance company named Hubbard Street Dance
Chicago, in collaboration with a comedy giant named The Second City, hosted a comedy
improvisation show. The challenge there lay in the dancers’ abilities to perform an
improvisation sketch comedy. The two companies began by having the dancers interpret
the comedy improvisation skits written by the writers of The Second City via dance.
Afterwards, the Hubbard Street Dance Chicago company was given a free comedy
improvisation workshop. Both of the companies had an exchange of learning, where
improvisational dancers learned to perform in comedic contexts and the comedy
improvisation writers had a better understanding of physical comedy. Most important, for
The Second City company, whether writer or dancer, everyone was funny in their own
way (Molzhan, 2014).

The Meisner Technique is a system of structured improvisations for developing
concentration and imagination. In Meisner’s point of view, great acting comes from the
actor’s impulsive response to what is happening within his surroundings (De Sotelle,
2014).
In the study of Halba (2012), the Meisner technique is a form of training where
pairs of actors repeat certain phrases. An example of a phrase would be “You’re wearing
a yellow top” ; “I’m wearing a yellow top” ; “You’re wearing a yellow top” ; “I’m
wearing a yellow top.” The Meisner technique is a popular form of external acting
entrenchment, which deviates from the affective memory-based techniques that are
usually related to method acting. The Meisner technique is a useful training method for
actors in terms of acting instinctively. Although it is bound by the constraints of
psychological realism and the matrix of text-based theatre, Halba stated that it is a
harness which reteaches actors the principles of reinterpreting a simple text in diverse
ways. Through repetition, the Meisner technique helps actors, especially students, react
and read behaviour organically (Baron & Brown, 2007).
Gibberish is another technique in improvisation acting where the actor uses any
language with the intention of acting. The power of gibberish is to get behind the
meaning of what is being portrayed by the actor where the only possible cues are the
physical signs. (Westbrook, 2012). For the Gibberish to work Hackbert (2010) explained
that this technique requires careful listening and focus wherein the gibberish words are
being invented and it reveals a sense of unexpected abilities from the actors. Gibberish is
not just used for acting since some researchers use it for technological advancements.
Yilmazyildiz, Verhelst and Sahli (2014) used the gibberish technique to generate
significant emotion expressions of robotic agents which can be further utilized in human-
robot interaction. However, the researchers also broaded their research that resulted in
discovering the acoustic cues of human voice to express emotions that can address
message subject to individual interpretation.
Character improvisation on the other hand, is the development of a character
through thorough internalization and physicality of an actor. To be able to build up a
character, Carrane (2015) mentioned three steps on how an actor can improve himself in
creating a character. It starts with a strong emotion where the actor must start something
by thinking of any emotions needed quickly for the scene. It is followed by mirroring
with a partner where the actor should follows what his or her partner is doing whether it
is silly or serious. The energy and character must be imbibed and consistently built.
Lastly, using physicality. As an actor or a performer, he or she must learn how to explore
with their bodies and organically, something will grow from that certain movement which
will develop into an ongoing scene or movement.
Improvisation soliloquy or stand-up comedy is one of the more popular
improvisation. However, it is usually viewed only in comedy bars or major concerts and
is demanding and temporal in its requirements. Stand-up comedy is a self-aware art that
usually relies on the bond between the performer and the audience (Hudson, 2012). Due
to the fact that it is a self-aware art, a stand-up comedian must prepare a scenario in their
lives which they can expound, using improvisation, creativity and imagination to generate
comedy while onstage. Two of the most famous people known for improvisation
soliloquy are Robin Williams and Whoopi Goldberg. Robin Williams who has passed
away, had performed stand-up comedies for entertainment that made him popular and
known throughout the world. Whoopi Goldberg is also known for her stand-up comedy
usually with a social statement using this as her stepping stone before being launched into
television and movies. Stand-up comedy may be viewed as purely entertainment, but
some people do use this craft as a self-expressive form of social protest. For example, it
can be a legal and acceptable way to voice opinions and attack a government.
Whoopi Goldberg and Lily Tomlin were exceptional at using improvised comedy
to make a social point. In South Africa, stand-up comedy is being used to show the
people’s strong distaste of the social, political and economic conditions they are living
under. However, the South African stand-up comedians claim that there is still a limit to
the content of the jokes they share and the level of honesty with which they voice their
opinions about the government (Seirlis, 2011).
In the area of dance, a choreographer can tap different varieties of dance
improvisation. The Contact improvisation a technique that uses full bodily contact
between two or more dancers during the entire sequence and also incorporates some of
the principles of Martial Arts wherein the dancers should be aware of the energy, effort
and space that surrounds them. One of the benefits of contact improvisation is that a
dancer must learn how to trust another person with their body weight during moments of
any disorientation because it will help the dancer sharpen his perception and adaptability
on another dancer’s body (Rivers, 2015). Chris Aiken, a dance program director at the
Ursinus College in Pennsylvania quote, “Contact is the best way to combining a sense of
love and athleticism through improvisation.” In the beginning, a dancer may be
overwhelmed with the experience but what contact improvisation provides is a
psychological openness in discovering what a dancer can do with his or her body
limitlessly (Zimmer, 2004).
Brandstetter (2013) said that touch or contact is an important element in dance
due to its physical nature and expression. Moreover, the beauty of contact improvisation
is revealed through the exploration of limits, liberties, options and taboos of body contact.
For dancers involved in contact improvisation, it may be a “safe way to explore the
language of touch and intimacy” (Zimmer, 2004, p. 40). Also, a part of it would be
allowing the body to be intelligent. Kaltenbrunner (2004) explained how a body can be
intelligent, sensitive and aware to its surroundings by making the body react
independently, to allow the instinctive reflexes to trust its ability to have a large role
especially when falling. Lastly, it will become a form of response by the performer’s
body to naturally response on its space.
There are choreographers who used contact improvisation to teach dancers with
disabilities to have a different physical experience. Alito Alessi and Karen Nelson
founded a school using improvisation for disabled individuals. For Davies (2008), contact
improvisation is a dance form where the impetus for motion is generated entirely from
moment to moment of improvisational immediacy. However, through time and
experience, dancers learn a set of physically safe movements with which to respond to
their impulses while engaged in contact improvisation. Dancers also learn to ride the flow
of their partner’s movements, without the initiating and responsive exchange, the contact
improvisation exercise will fail. The choreographer also revealed two crucial things that
contact improvisation improved for disabled dancers: first, it widened the definition of
the kind of bodies acceptable to perform dance and second, it paralleled the experience of
a disabled person.
Contact improvisation is also used as a therapy for children who had different
motor disabilities. Bjorbakmo and Engelsrud (2011) investigated further on the possible
therapeutic effects of contact improvisation which the researchers called “My Own Way
of Moving”. The nature of the therapy is to give and receive movements week by week. It
was a struggle at first because the children showed insecurities that made the therapy
difficult to bear. However in the end, the leader must be patient in order for the child to
get used to the space and the energy. Eventually, the children learned to discover the
different ways on how the body can move despite their disabilities, discovering a sense of
security, trust and freedom in the process.
Apart from contact improvisation, Viewpoints are also used as techniques that are
being followed by dancers for dance improvisation. Nikolais and Louis (2005) described
it as tool for dancers to use motion, time, space and shape, dynamics, energy, the body
and emotional ranges. The viewpoints also constitute a composition which practice the
selection and arrangement of separate components of theatrical language into a work of
art provided that a theatre artist or dancer has an important new tool of creating and
understanding their art form (Bogart, 2004). Meanwhile during this exercise, parameters
of improvisation must be observed as well. Pugh-McCutchen (2006) infused that the

importance of building a parameter is to focus more on the training allowing room for
more creativity.
Contemporary Improvisation or Modern Dance is another type of improvisation
dance that is usually used in choreography and performance onstage. In a study of
Ribeiro (2010), she used the idea of the cognition theory and how it was used in the
motivity in contemporary improvisation. Ribeiro mentioned that this theory enables a
person to understand the intentions and emotions of another person, leading to a
suggestion that the idea of an empathic choreography can make dancers understand each
other’s intentions and emotions. Here, the dancers share a specific decision making in
building an ephemeral movement that characterizes contemporary improvisation.
On the other hand, Nakano and Okada (2012) investigated the processes in
building a contemporary improvisation dance which resulted to the conclusion that with
the help of improvisation, the dancer shows his or her creative artistic expression. The
researchers also discovered that dancers use their own expressive techniques to form an
improvisational dance. It is also important for contemporary improvisation to let the
dancer respond to the senses and the movements of their partner in an ensemble that also
can be moved to different places of the space (Giguere, 2014).

Creative expression of actors and dancers.
The creative expression also has a huge role on actors and dancers because it has
an impact on how the expression will be executed. In the article of Hutchinson (2014), he
described the creative expression as an insight wherein a person needs to give time to
grow so that after the process, the person will be more confident in his or her creative
expression. Michels (2014) created a commentary regarding to Hutchinson’s article. He
stated that Hutchinson’s insights are part of a creative cycle where as individual acquires
one’s perception of the world. He also commented that to be able to discover the artistic
creative expression of a person, it must be something seen from the outside that should
serve as an inspiration to the individual who is going to execute the creative expression.
Usually, the creative expression is dominant to the people who are gifted in the
area of arts such as artists, actors and dancers. Sturges (2010) gave an example of how
comedy needs the element of humour in performing it in front of the audience that can be
turned into art by mime artists, dramatists, television writers, music hall singers, stand-up
comedians and many more. Sturges also wrote in his article that the idea of humour and
comical technique work together as one depending on how the comedian blends the two
techniques together. In the world of the film industry, the creative expression is present
depending on how an actor acts. However, the presence of the creative expression will be
out of context if another actor is copying the authentic of another in films (Naremore,
2012). In other cases, a performer uses improvisation because it is a key to creativity and
one of the most important ways of bringing in new movements, situations and
atmospheres into play by experimenting in theatre and dance (Martin, 2004).

The creative expression also gave importance to poetic sign languages that are
used by pantomime actors. Sutton-Spence and Boyes-Braem (2013) focused on how
pantomime actors used improvisation, sign language, grammar and vocabulary to show
their creative expression. When it comes to pure body movement and creative expression,
dance can give a lot of energy. Porter-Brown (2011) opened the idea that dance is a
creative expression in a sense that it can be a part of any other’s culture and is a key that
gives a human connectivity towards each other. In his article, he also interviewed an
artistic director from Harvard’s Office of the arts quoting: “Dance is a way to explore
what of ourselves gets expressed, and our relationship to others on the dance floor. “We
worry about how we are perceived by others.” The artistic director also added to the
interview: “We were born with the capacity to dance.” The article shows that dance is
natural not only limited to dancers but for everybody to have a creative expression.
Improvisation in the Philippines.
Ana Valdes-Lim an alumni of the Julliard School in New York City USA, is one
of the theatre actors in the Philippines who used improvisation to train actors in their
classes and rehearsals to improve and to broaden the mind palace of imagination and
creative skills. When it comes to playing certain scene, She also allows the actors to just
dance and move with the music without any hesitations. In one of her books, she
mentioned a few structured rules of improvisation that must be followed throughout the
entire class or rehearsal (Valdes-Lim, 2009) one is that the discovery of an organic
expression or reaction should arise in improvisation. She also advised to always apply the
rule of offering and accepting an idea as a whole. Further, she mentioned that to start
improvisation, actors must be prepared to initiate the action and must avoid any blocking
of an idea.
Conceptual Framework
Improvisation of Filipino Actors

and Dancers
Structure Technique
- Accepting and - Longform

Building/Accepting improvisation
the offer - Improvisation
- Jump in and Save Games
- Forms of images - Character

Improvisation
- Parameters of
Improvisation
- Viewpoints
Creative Expression
- Making beautiful authentic scenes with
the ensemble and yourself.
- Given exploration allows the actor,

dancer and ensemble to be open on a
creative environment.
- Allowing the body to be intelligent
- Shows the creativeness of a performer
Figure 1. Conceptual Framework of Using Structure and Techniques of Improvisation to
Develop Creative Expression Among Filipino Actors and Dancers

The diagram above shows that in researching on improvisation, the researcher
will focus on several aspects such as attitudes or experiences towards ensemble work in
terms of cooperation and discipline to the fluidity of the piece and lastly the techniques
being used. These three facets are assumed to contribute to the foundation of the creative
expression of Filipino actors and dancers.
Statement of the Problem
The study intends to examine improvisation structure and techniques that help the
Filipino Actors & Dancers develop their creative expression. Specifically, it will answer
the following questions:
1. What are the improvisation structure used as perceived by the actors and dancers?
2. What are the improvisation techniques used as perceived by the actors and
dancers?
3. Based on the improvisation structure and technique identified by the actors and
dancers, what creative expression was developed?

Significance of the Study
This study will be a basis for how improvisation can help actors and dancers to be
totally open with their body and movement in trainings and rehearsal processes. The
thesis study will be beneficial to the following:
Professional theatre actors and dancers – The results can help the actors and dancers
broaden their idea of improvisation technique because of its natural connection,
exploration of the movements and expression. The actors can also learn how to have a
deeper connection with the entire ensemble by understanding improvisation techniques.
Artistic Directors – The directors are encouraged to apply improvisation techniques in
acting, blocking and choreography of the ensemble. Also, the director can establish a
culture of improvisation where actors bond and to know their power as an ensemble.
Theatre professors and dancing coaches – To feel more confident to use improvisation
techniques with their students, this research will benefit the professors and coaches that
will learn to teach the proper/correct structure & technique in improvisation to help their
students develop the creative expression. Also, it will help them explore more with their
students rather than merely dictate blocking and over-directing the acting.
Performing art and dance students – The students will be more open to the exploration
of their craft in improvisation techniques and it will broaden their ideas and creativity,
which can be applied not only to performances on stage, but to role playing in their acting
classes.
CHAPTER 2
METHOD
Research Design
The researcher used the qualitative research design in gathering the data delved on
how improvisation worked and helped to form the creative expression within Filipino
actors and dancers that led to communication and interaction with dancers and actors.
Participants and Sampling Technique
The qualitative study was accomplished by the researcher through the use of non-
probability sampling method. Under the non-probability method, the researcher used the
purposive sampling method. The said sampling technique focused on judging and
analyzing the four participants on how they used improvisation techniques in training,
classes and preliminary rehearsals. The researcher decided to interview one representative
from SPIT Manila, Philippine Playhouse Theatre, Daloy Dance Company and Steps
Dance Studio.
Demographic Profile Sheet of Filipino actors and dancers
1 2 3 4
Age 30 42 30 42
Gender Male Male Female Male
Marital Status Single Single Single Married
Nationality Filipino Filipino Filipino Filipino
Theater
Acting Contemporary Dance
Profession Actor/Artistic
Professor Dancer/Choreographer Teacher/Choreographer
Director
Field in Performing Stand-up Theater

Dance Dance
Arts Comedy Arts
Years training began 2003 2000 2011 1998
Tenure on the use of

Improvisation 12 years 11 years 9 years 10 years
Technique
N=4
Research Instruments
A demographic profile sheet was given to the four participants to identify their
background and years of expertise on the improvisation structure and technique. The
guide questions for the four participants were validated by a test constructor,
psychometrician and an improvisation practitioner. After the process of validation, the
researcher proceeded in gathering the data from the chosen participants.
Demographic Profile Sheet. The researcher provided a demographic profile
sheet which contained the age, nationality, profession and tenure on the use of
Improvisation Technique.
Interview Guide Questionnaire. The researcher also made interview questions
to serve as a guide. It is based on the statement of the problems to find out improvisation
structure and technique being used and how creative expression was made from those two
factors.
Data Gathering Procedure
The researcher conducted an interview among the chosen actors and dancers from
Silly People’s Improv’s Theatre/SPIT, Daloy Dance Company, Steps Dance Studio, and
Philippine Playhouse who are practitioners of improvisation in acting and dance. Certain
rules to conduct the interview were observed (Gutierrez & Lastrilla, 2013). The first step
consisted of a composed letter which was was submitted to the four participants through
email as a form of formal permission and a proof of legitimacy of the thesis study. After
which, the researcher contacted the participants through phone call or face-to face
encounter to schedule the date of the interview. Overview and the purpose of the study
was also stated in the letter. A videographer was asked to document the whole interview.
The interview was recorded with a recording equipment. During the interview, the
researcher introduced herself to the participant to formally start the interview. A copy of
the interview questionnaire was given to the participant as a guide throughout the
process. The researcher and the participants started the one-on-one interview and only
focused on the researcher’s topic. The interview flowed smoothly since this is a
phenomenological method of qualitative study. Despite the recorded interview, the
researcher took notes on the key points of the participants about their experiences and
lessons learned in improvisation structure and techniques. After the interview, the
researcher immediately proceeded to the data analysis. Using the thematic analysis,
themes were identified on the answers of the respondents.
Method of Data Analysis
The interview responses were analysed through the use of thematic analysis of
data. The thematic analysis of data through consensual qualitative research (CQR) helped
the researcher to identify and report the patterns of improvisation structure and
techniques by organizing it in rich detail. It also helped the researcher to report the
experiences, meanings and reality of the participants (Braun & Clarke, 2006). The
frequency, percentage and interpretations were also made by the researcher is a tabular
form.
CHAPTER 3
RESULTS
After gathering the data, the researcher arranged the themes and encoded them
through the use of thematic analysis of data. The researcher conducted the study on each
theatre and dance companies, namely The Philippine Playhouse, Silly People Improv’s
Theatre/SPIT, Daloy Dance Company and Steps Dance Studio. A consensual analysis on
each theme was made to determine the comparison of responses between the participants.
The improvisation structures, technique and creative expression were analyzed
through the use of Thematic Analysis. Based on the observation by the researcher, the
themes have the same idea, but use a different term or vocabulary. Thus, the themes are
based on the conceptual framework of the study.
The researcher interpreted the percentage results of improvisation structures,
techniques and creative expression responded by Filipino actors and dancers:
General: applied to 100%
Typical: applied to 75%
Variant: applied to 50%
Unique: applied to 25%

Table 1
Thematic analysis of improvisation structures of selected Filipino actors and dancers
Themes f % Interpretation
Accepting and Building/Accepting the offer 2 50 Variant
2 50 Variant
Jump in and Save
2 50 Variant
Forms of images
Note. Filipino Actors and Dancers N=4.
The thematic results indicate that each of the actors and dancers has the same
structure of improvisation that is being followed during the process of performance or
rehearsals for a certain performance or training which includes “accepting /building of
the offer when improvisers interact with each other on the stage”, “Jump in and save
your fellow performers so there is no hesitation or delay ” and “Forms of images will
serve as your guide to make some movements that is very unique, artistic and creative.”.
Table 2
Thematic analysis of improvisation technique of selected Filipino actors and dancers
Themes F % Interpretation
Longform improvisation 1 25 Unique
Improvisation Games 2 50 Variant
Character Improvisation 1 25 Unique
Parameters of Improvisation 1 25 Unique
Viewpoints 4 100 General

Table 2 indicates that the actors and dancers from different companies have
different responses towards techniques of improvisation. One actor mentioned “Longform
Improvisation allows you to build on relationships instead of focusing on big laughs.”.
On the other hand, both actors from different companies had the same response in using
“Improvisation Games where we take on different movements.” as part of their technique.
“Character Improvisation you invent answers. You are encouraged to invent but what is
the exercise is really to come out with a life quickly to establish who, what, where quickly
and to create a certain consistency overtime.” as mentioned by another actor is one of
their improvisation techniques that is being practiced in their rehearsals or performance.
For the dancers, one responded “Parameters of Improvisation like you can easily make up
any parameter anytime.” as part of their routine. Lastly, both the Filipino actors and
dancers landed on the same idea of using “Viewpoints that’s the space for example, When
I look at someone, there is contact, there is communication. So I decided that what I use
to most of my choreography, I will give it as a gift to the dancers which means you have
to be in yourself and be focused so that it is beautiful to look on stage even if the dancer
is just standing still and not moving the body but there is focus in the eyes.” as part of
their technique.
Table 3
Thematic analysis of creative expression of selected Filipino actors and dancers
Themes f % Interpretation
Making beautiful authentic scenes with the ensemble and yourself 4 100 General
Given exploration allows the actor, dancer and ensemble to be open on a
4 100 General
creative environment
Allowing the body to be intelligent 3 75 Typical
Shows the creativeness of a performer 4 100 General

Table 3 shows the analysis of Filipino actors and dancers in the creative
expression of Improvisation Structure and Techniques. The results indicated that almost
all respondents have the same experience towards the creative expression. Only one of
the participants said, “It just allows the body to be this whole brain instead of just being
stuck in what part of body which is the brain but instead allows the entire body to be
intelligent and to create every second while also planning it every second so it’s really a
magical thing to improvise.”.

CHAPTER 4
DISCUSSION
This final chapter contains the results interpreted by the researcher that is placed
on context based on the interview that was conducted. It also includes the implications,
limitations, significance and recommendations of the study based on the analyzed data by
the researcher.
Summary of Findings
This study investigated the attitudes, beliefs, values and reactions of the four
respondents towards the impact of improvisation structure and techniques whether in
their performances or rehearsals. First, the actors and dancers gave their different ideas
towards improvisation structure. Second, when it comes to improvisation technique, the
actors and dancers have their own vocabulary or were used was said during the interview.
Lastly, a creative expression was developed based on the interview responses of actors
and dancers. The research is conducted via thematic analysis of data to compare and
contrast the respondent’s answer and to find the themes within the response.
Regarding the analysis of two Filipino actors towards improvisation structure, it
was demonstrated that each actor gave different kinds of structure based on their
experiences and training. The actor from SPIT Manila mentioned accepting and building
an offer as one of the structures of improvisation while the jump in and save is mentioned
by the actor from Philippine Playhouse Theatre. In the study of Goodman (2010), an
actor can add or affirm a given situation when it comes to improvisation. Moreover, the
actor or performer should learn how to accept and build better ideas from improvisation.
Meanwhile, the value of the improv exercise to “jump in and save”, will work if a
performer knows how to save and leave a certain scene to give way to a new idea or to
rescue someone and keep the ball rolling. In this way, the scene will build up and be
successful (Salinsky and Frances-White, 2013). In the world of dance, performers from
Daloy Dance Company and Steps Dance Studio gave their own response towards
improvisation structure used in the area of expertise. The dancer from Daloy Dance
Company responded that no structures was being followed while the other dancer
mentioned that forms of images and having no rules are a part of improvisation structure.
As a result, the two actors have different structures of improvisation that each party
follows during their rehearsal or performance and the two actors in general had no rules
or even structures that must be followed in improvisation although one did use images.
The next analysis that conducted was the improvisation techniques of Filipino
Actors and Dancers. The actors from SPIT Manila and Philippine Playhouse Theatre had
different responses towards improvisation techniques. First, the actor from SPIT Manila
identified improvisation techniques by noting their own term which is the “okay scene”.
The actor also mentioned that improvisation techniques evolve with the use of longform
improvisation and short form games based on improvisation. On the other hand, the actor
from Philippine Playhouse used a specific improvisation game which is the “ohh-ahh!”
movement/dance improvisation, improvisation games and character improvisation.

Longform improvisation is used for ensemble work to create a sense of togetherness and
authenticity on stage (Love, 2014). Furthermore, movement/dance improvisation is
involved in an actor’s improvisation training technique based on its form that opens an
actor’s body and sensibility to perform freely and to have a sense of independence and
courage in their body (Strauss, 2008). On another note, the character improvisation has
been used to help an actor discover something about a given character through
internalization and using the physicality of an actor (Carrane, 2015). In the comparison of
improvisation techniques between two dancers from different dance companies, there are
differences and similarities. Both parties answered “playing with movements” as one of
the key points of improvisation techniques. The responses differ in perspective. First, the
dancer from Daloy Dance Company mentioned “starting with an idea”, “visual
experience”, “ideas from music, painting and parameters”. And second, the dancer from
Steps Dance Studio said “usage of Images, viewpoints and contact improvisation” as an
improvisation technique that is important in rehearsals and performance.
In fact, the parameters of improvisation help performers to be more aware and
grounded to their creativity by playing with it (Pugh-McCutchen, 2006). The parameters
will not be successful if the Viewpoints are not observed and used. Nikolais and Louis
(2005) mentioned in their study the importance of visualizing the space, time, motion,
shape, dynamics and energy to provide an important tool to understand their art form as a
performer. Contact Improvisation is also a technique tool which it provides psychological
openness in discovering what the body can do (Zimmer, 2004). Also explained by
Zimmer (2004, p. 40), it allows the performer to be safe exploring the language of touch
and intimacy. Analyzing the results, one actor from Philippine Playhouse also uses
movement/dance improvisation the same as the dancers from Daloy Dance Company.
After which, however, all parties have different vocabularies and techniques of
improvisation used. For example, the actor from SPIT Manila used a different term for
their training and starting out different from the dancer from Daloy Dance Company.
Meanwhile in the conflict of improvisation among Filipino Actors, the actor from
SPIT Manila mentioned two things. First, by not “accepting the offer of an ensemble” and
“The actor can be rebellious” because one according to the literature of Valdes-Lim
(2009), it is always a rule for an ensemble or actor to accept an offer at all times as
needed so that an organic expression will arise and blocking an offer is not an option. On
the other hand, the actor from Philippine Playhouse Theater mentioned that there has
been “no conflicts” during the process of improvisation. In the comparison of conflicts of
improvisation between two dancers from Daloy Dance Company and Steps Dance studio,
both parties responded “no conflicts” arise during the process of improvisation. The
researcher concludes that the conflict in improvisation mainly depends on how it affects
the performer.
In the developed attitudes of improvisation towards Filipino actors, the two actors
responded differently regarding the attitudes that are developed during the whole process
of improvisation. Thus, the actor from SPIT Manila responded “surrendering control,
making your partner look good, being average and patient” while the actor from
Philippine Playhouse Theater mentioned “openness, courage and sensitivity.” Some of
the responses were interconnected. In the study of Adams (2007), it was defined that
being able to observe the sensitivity of a performer to make his or her partner look good
means a new discovery must be unfolded on what his or her partner needed for the
exercise to be successful. In the meantime, this study connects to the response of the actor
from Philippine Playhouse Theater. He described sensitivity being open and courageous
as being a connection to the ensemble.
The dancers from Daloy Dance Company and Steps Dance Studio have
contradicting responses towards the attitudes developed in improvisation. Being
“instinctive, intuitive, energetic and body sensitive” are the responses from the dancer of
Daloy Dance Company while “professionalism” and “maturity” for the dancer from
Steps Dance Studio. Kaltenbrunner (2004) said that being instinctive makes a performer’s
body intelligent by being intuitive and bodily sensitive to naturally react in the space. The
conclusion is that each attitude that is developed by the actors and dancers can be applied
in their performances and togetherness with the ensemble that is needed for a better
foundation.
Creative expression is developed from improvisation and the two actors gave their
comments about it. First, the actor from SPIT Manila highlighted “serves as a tool of
practice for creativity, an empowering exercise especially for those who came from a
traditional theatre and it creates a beautiful authentic scene with the ensemble”. While
the actor from Philippine Playhouse Theater stated the experiences by “finding something
meaningful to improvisation, by exploration that allows the actors to be open, make an
ensemble free to a creative environment, helps to overcome shyness and to be able to
entertain spontaneously.” Being authentic according to Bio (2015), an actor must have a
sense of authentic acting on stage. In this case, the actor from SPIT Manila used
authenticity with the ensemble as a form of creative expression. Meanwhile, creative
expression from improvisation by the actor from Philippine Playhouse Theater is more on
the exploration and being spontaneous. By being spontaneous, it creates a creative
expression that usually opens the mind and body of a performer on stage and rehearsal.
Meanwhile, the creative expression was developed by the two dancers being more
elaborate. First, the dancer from Daloy Dance Company mentioned “being organic,
allowing the body to be intelligent, having room for authenticity, to feel new and fresh,
opening the awareness of the body and highlighting the feeling of attention will help the
performer to find their creative expression” as a big factor of developed creative
expression. On the other hand, “being able to freely move the body, showing the
creativeness of a performer through exploration of movements, giving life to the
performance, showing your own ingredients in movement, and by having a creative
movement personality through free movement and being unique, artistic and creative”
was mentioned by the dancer from Steps Dance Studio during the interview. This shows
that the dancers are more into movement and body awareness within their space and
ensemble work in the creation of their form of creative expression.
Teamwork is another important tool in improvisation. It gives a sense of
togetherness as a group especially in rehearsal where there is time to try different
approaches to a scene, for example. The two actors from different theatre companies
shared their response. First, the actor from SPIT Manila gave emphasis to “building
relationships with the ensemble and pointed out discussions” as an important aspect of
teamwork on improvisation. The actor from Philippine Playhouse said it this way,
“reconnect with the ensemble and finding a way in it” In other words, when the actor
touches back, getting into sinc with the ensemble, the teamwork of the ensemble together
discovers its form to express itself creatively in a scene. Bonczek and Storck (2012)
explained the importance of building a relationship with the ensemble. In their study, by
maintaining a good relationship with the group, it will result into a balanced and more
prepared ensemble when it comes to role playing, rehearsals or even in performance
(Britton, 2013).
The reconnection of the actor with the ensemble builds relationships. For
example, during rehearsal, through improvised blocking movements and mode of
delivery of lines of the scene, the actor and the ensemble together find a path to express
the message or theme of the scene. In training sessions or workshops, when the actor and
the ensemble are in sync, both can find a way through on-the-spot improvisation of
blocking movements or delivery of the lines to allow the message of a scene to come
across clearly.
The dancers have basically the same response as the actors with regard to
teamwork. However, for the dancers, it is more focused on the kinesthetic movement of
teamwork with the ensemble. First, the dancer from Daloy Dance Company highlights on
“good practice, pointed out discussions, collaboration, synching of energy and decision
making as a great contributor by Improvisation for ensemble teamwork.” Belben (2010)
discussed how important it is for a dancer to know how to collaborate and synch into the
energy of a performer and the space that surrounds the whole ensemble. The dancer
pointed out that when problems arise within the ensemble, teamwork improve can fix it in
a short period of time. The dancer from Steps Dance Studio wrapped up the interview by
saying that, if there is teamwork then will be no conflicts in the first place, “no conflicts
towards teamwork”/or no conflicts were involved towards teamwork in improvisation.
Implications
The acceptance of offer and building improvisation technique can improve the
actor and dancer’s performance with the ensemble due to its nature of openness with
everyone involved onstage. On the other hand, through jumping in and saving one actor
or dancer can help lessen the hesitation and delay of accepting an offer from the whole
ensemble. With that, the actor and dancer can play and agree to any kind of idea that is
being thrown out within the space. Through the forms of images, a dancer or actor can
create and widen their choices of movement without any strict form of technique.
Various techniques such as Long Form Improvisation and Improvisation games helped an
actor to build a relationship and connectivity of energy amongst each other within the
space. Additionally, using Character Improvisation, heightened a sense of awareness of
an actor that can be helpful in quickly establishing a character or persona.
Building a Parameter in Improvisation improves the creativity of a dancer by
making room for it. Using Viewpoints in rehearsals or performance improves the
charisma of a dancer and actor within the space. Also, it provides a sense of
communication and contact by just simply giving a sense of creating an art.

By making a beautiful scene on stage, an actor and dancer can be authentic by
trusting and accepting the offer of the ensemble. From that, a creative expression is
formed. Given a chance to explore, an actor and dancer or the ensemble can be open to a
creative environment. Data also shows that it allows the performer to be body intelligent.
Allowing the performer to show his or her creativeness within improvisation.
This research can contribute to the future artist’s way of discovering new forms of
improvisation structure, technique and creative expression by using Viewpoints.
Throughout the research, it was discovered that the Viewpoints is also used not only by a
dance artist but also the actors due to their awareness of the space and how visualization
is being used which is a key factor that can be found in Viewpoints. There are also
overlapping responses from the four participants that can be found in different questions
asked by the researcher. In conclusion, it is seen in different interpretations of the
respondents and in the varying vocabularies how improvisation structure and technique
affect the respondent’s creativity and how it has helped the respondents in various ways.
Limitations
There has been a difficulty regarding the research of academic journals that will
help to support a few of the responses from the participants. In this case, the research will
be limited by the parameters of what the researcher found available. Also, the study will
be limited to the performing arts students, professional theatre actors and dancers who
want to discover their inner creative expression through the use of Improvisation
structure and technique that is provided by the results of this research.
Recommendations
First, the researcher would recommend studies that go more deeply into the
psychological perspective of Improvisation structure and technique not only as a result of
creative expression but also as a form of understanding to discover whether there are
other sets of mind conditioning involved toward preparing the performer’s body and
mind through improvisation. Second, the researcher would also recommend the
observance and analysis of the exercises of improvisation being executed in rehearsals or
performance of actors and dancers to see if there are immediate or gradual changes
regarding their physicality and energy on the space. For future researchers, one should
consider experiments with the exercises of improvisation both in acting or dancing to
know the accuracy of how the creative expression works inside an artist’s mind and how
it can be converted to better acting or dance movements.
However, the future researchers may encounter some struggle in the search for new
academic journals and research regarding improvisation structure, technique and creative
expression because it is not well known in this country. For this very reason, it is
important that researchers should take on the challenge and create new studies in the field
of Improvisation and creative expression in theater and in dance. Meanwhile, the future
researchers must know that the nature of this particular study is a qualitative design.
Which means the analysis of each response must be based on one on one interview to
find a deeper context that will benefit to the research. Lastly, the future researchers may
also formulate a theory that will represent Improvisation into a well-defined concept as an
academic research.
CHAPTER 5
SHORT PLAY PROPOSAL PRODUCTION
The use of improvisation structure and technique is to help a performance artist to
find his or her creative expression specifically used in rehearsal or even for a production.
In this case, the researcher based her research on Improvisation Structure and Technique
in promoting creative expression among Filipino Actors and Dancers.
Production Portfolio
Premise
Improvisation techniques and its structure in acting and dance is only known by
few here in this country. It forms a bridge to connect the gap helping a performance artist
to become more connected with his or her creativity deep inside and releasing it through
their acting or bodily movement.
Objective
The researcher’s objective is to be informative on the benefits of improvisation
structure and techniques as a source of creative expression that can help a performer to be
more active and open to the space. Thus, this short play proposal’s target audience would
not only focus on the performance artists but rather, the first year students of the
Performing Arts course to help open their awareness and understanding of the basic
functions on how improvisation works. Also, since Filipino women are more reserved, it
may be difficult for these students to try a brave exploration with their imagination and
authenticity. That is why the researcher chose the exercises “Yes, And” and the “Contact
Improvisation” to serve as a knowledge to the specific audience.
Synopsis
The proposed production is based on the process by which an actor prepares for a
scene with the help of Acting and Dance Improvisation. The researcher demonstrated
how these techniques work and how it affects the performance on an actor especially in
an intimate scene. For the scene the researcher chose an excerpt scene from All’s Well
That Ends Well by William Shakespeare with a modern twist added by the researcher.
The excerpt is based on Act 4, Scene 2 which is about the seduction of Bertram towards a
maiden named Diana Capilet. The actors who played these characters are from the
Performing Arts class of Ms. Ana Valdes-Lim batch 2016.
Costumes
For the costumes, the researcher decided to go with a generic shirt color that is
usually worn by the production team which is the plain black shirt, black leggings or
jeans and black closed shoes.

Figure 2. [Plain Black T-shirt for Men].
Retrieved February 29,2016 from
http://hdblackwallpaper.com/wallpaper/2015/04/
plain-black-t-shirt-6-cool-wallpaper.jpg
Figure 3. [Plain Black T-shirt for Women]. Retrieved
February 29,2016 from http://myronshirt.com/wp-
content/uploads/2015/10/plain-black-shirts-for-women-
zifxx2pd.jpg
Figure 4. [Black leggings for women]. Retrieved
February 29,2016 from http://ecx.images-
amazon.com/images/I/81a3kihtO3L._UY500_.jpg
Figure 5. [Black pants for men].
Retrieved from February 29,2016
http://www.zappos.com/images/z/2/4/1/8/4/6/2418
468-p-4x.jpg
Figure 6. [Black ballet flats]. Retrieved February 29,2016
from http://thumbs4.ebaystatic.com/d/l225/m
/mnjMKkc8btEvlULg6UvUMNQ.jpg
Figure 7. [Black rubber shoes]. Retrieved
February 29,2016 from
http://www.bigeyeslittlesoles.com/wp-
content/uploads/2013/05/5985434821_7b4d13dd1
a.jpg
Stage Set and Light Design
The vision of the researcher is to keep the stage simple for the actual
demonstration of Acting and Dance Improvisation. The lightning source should come
from PAR lamps to add a nice warm effect on stage. For the excerpt, same set and lights
are used however, two black mono-block chairs are added for the volunteers to sit on
since it is a part of the scene.
Figure 8. [PAR Bulb]. Retrieved February
29,2016 from http://image.made-in-
china.com/2f0j00rCMtleFsAWoR/PAR64-
EXE-CP62-Stage-Bulb.jpg
Figure 9. [PAR Cans]. Retrieved February 29,2016
from http://adapemont.fr/wp-
content/uploads/projecteurs-64-lampes-halogenes-
52723-2253821.jpg
Figure 10. [Blackbox Stage with
PAR Lights on]. Retrieved
February 29,2016 from
http://www.eiu.edu/doudna/images
/spaces/spaces_blackbox1.jpg
Figure 11. [Black Mono-block chair].
Retrieved February 29,2016 from
http://cdn.shopify.com/s/files/1/0222/5562/pro
ducts/Barrel-StackingChair-PP-Black-
F45_1024x1024.jpg?v=1381725549
Sound Design
For the actual demonstration of Acting and Dance Improvisation, only one music
scoring preferably for Dance Improvisation will be used to help the volunteers to have a
sense of connection to their imagination and to set their mood. Meanwhile, for the
excerpt, a song from an artist named Lily Allen, is used as an intro and exit song of the
scene.
Figure 12. kaalvin95. (2009, Jan 17). Window - The Album Leaf [Video file].
Retrieved from https://www.youtube.com/watch?v=KqXPrylWkBE&list=RDKqXPrylWkBE
Figure 13. Allen, L. [lilyallen]. (2008, Jan 08). Lily Allen – Littlest Dreams [Video file].
Retrieved from https://www.youtube.com/watch?v=gw9wE1nutc4

Stage Props
As for the props, the one’s that will be used were the props in the excerpt of All’s
Well That Ends Well which includes the following:
- A ring
- Bagpack
- Pastel colored scarf
Set Dressing
For the demonstration, no set dressing needed since the researcher is standing in
as a speaker and the open space of the stage is for the volunteers who did the
improvisation. Meanwhile, for the excerpt, two mono-blocks facing an opposite direction
while on a diagonal form helped the audience see the two volunteers do their scene better.
As for the microphones, a lapel mic was provided for the researcher and the volunteers
however, if this is not available, hanging mics are the next option.
Script
I. Pre-show introduction by the researcher:
Performing is what I live for as a student here in Assumption College and for the
past four years, I have learned different ways to improve my talent as an actor that I can
even use after my life here in this school. Improvisation techniques is one of the exercises
that opened my creative expression even more. It gave me enough knowledge to feel and
sense the energy that surround me. It also gave me access to my deeper self to connect
with my body and even to the ensemble. Lastly, it gave me wider choices on how I will
convert this discovered energy into something that I can perform with whether in acting
or movement. As part of my thesis production, I will demonstrate two Improvisation
techniques that helped not only me, but my classmates from the Performing Arts batch
2016 in achieving a sense of connection and trust in our excerpt scene from William
Shakespeare’s All’s Well That Ends Well.
First, I’ll demonstrate the Acting Improvisation. This kind of technique helps an
actor to build a sense of discovery of their inner emotions and it can form a skill wherein
an actor can give and take spontaneously as long as there is an ensemble connection. One
of the exercises that I will share with you is the “Yes And” exercise:
Let me introduce two classmates from the Performing Arts batch 2016. Now for
the exercise, the “Yes And” is just simply following the structure of Improvisation which
is to accept and keep on building the offer. For example, an actor gave an action word
such as this: (Demonstration Starts)
Actor 1: It is quite hot here on the beach.
Actor 2: Yes and I will just swim since the cold water will make my body cool!
Actor 1: Yup and I will swim with you too!
Actor 2: Yes! And we’ll enjoy and splash each other with water!
(Demonstration Ends)
Figure 14. Milo, M. [matthewrmilo]. (2008, Apr 23). Improvisational Warm Ups: Playing the
“Yes, And?” Improv Game [Video file]. Retrieved from
https://www.youtube.com/watch?v=Qe2a3ppacUk
As you can see, the purpose of this exercise is to help the ensemble to just keep on
going and accept the offer as much as possible so that in actual performances, if someone
forgets a certain blocking or line, he or she can easily accept it and make something out
of it.
Dance improvisation is not only for dancers who want to connect with their
creative expression but it is also for actors to become more bodily sensitive and active in
their theatrical space. One of the exercises under this category that is my personal
favorite, is Contact improvisation. This exercise helps actors who are struggling to
physically connect with the ensemble.
From the word itself “contact,” that is to say physically touching another actor, it
can be overwhelming for a first timer since it basically means having a direct contact with
another body. If done successfully, this can be liberating to a performer. Although, there
are things that should be considered before doing this. Again, let me call my two
volunteers:
(Demonstration Starts)
Before starting this exercise, he or she must give permission to the other because
to some this may crossing their personal barrier:
*Cue Window Music by The Album Leaf*
Actor 1: *Asks permission to Actor 2*
Actor 2: *He or she gave permission to Actor 1*
Now for this part, someone needs to initiate the contact first. However, keep in
mind that the contact must be a driver of something that will intertwine the energy of
both performers. Additionally, one must be familiar with the following to be able to do
this successfully:
1. By, Through and Around
*Actor 1 and Actor 2 starts*
2. Finding the pressure points of the Body
* Actor 1 and Actor 2 starts*
3. Kinesthetic Response/Viewpoints
*Actor 1 and Actor 2 Starts

*End of Window Song by The Album Leaf*
(Demonstration Ends)
Figure 15. Silva, R. [rogeriosilva]. (2015, Apr 28). Edifice: Contact Improvisation [Video file].
Retrieved from https://www.youtube.com/watch?v=S28-
OgVDAek&list=PLQxUNeybGZtS4WRSR7KU8rO7NJOb1i-Qq
As the training progresses by the use of this exercise it helps not only the actor but
the whole ensemble to know each other beyond the ever day normal mode of
understanding. In fact, it can help an actor to be more open and free to explore their own
actions and inner emotional energy but also it helps the actor to work with more
physically with the ensemble. Later it becomes part of the actor’s presence in actual
performances.
To wrap-up my demonstration, I have prepared an excerpt from All’s Well That
Ends Well which helped my volunteers to be closer and open to each other in accepting
an offer and opening their bodily senses since this scene is intimate in nature. I hope that
the information that I have shared can help not only the Performing Arts students but also
the professional performance artists here in the Philippines who wanted to go deeper in
the exercises of Improvisation Technique for them to have a better connection with their
creative expression. Thank you very much and enjoy the show!
Title: All’s Well That Ends Well Excerpt (Acting 4, Scene 2)
Characters: Bertram, The Count Rousillion and Diana Capilet
*Cue music Littlest Things by Lily Allen*
*Lights fading in*
*Enter Bertram and Diana*
Bertram
They told me that your name was Fontibell.
Diana
No my good lord, Diana.
Bertram
Titled goddess, you are no maiden, but a monument.
When you are dead, you should be such a one
As you are now; for you are cold and stern,
And now you should be as your mother was
When your sweet self was got.

Diana
She then was honest.
Bertram
So should you be.
Diana
No, my mother did but duty such my Lord,
as you owe to your wife.
Bertram
No more of that. I prithee do not strive against my vows.
I was compell’d to her, but I love thee
By love’s own sweet constraint, and will forever
Do thee all rights of service.
Diana
‘Tis not the many oaths that makes the truth,
But the plain single vow that is vow’d true.
Bertram
Change it, change it! Be not so holy-cruel. Love is holy,
And my integrity ne’er knew the crafts that you do charge men with.
Stand no more off, but give thyself unto my sick desires,
Who then recovers. Say thou art mine, and ever my love,
As it begins, shall so persever.

Diana
I see that men make ropes in such a snare
That we’ll forsake ourselves.
Give me that ring.
Bertram
I’ll lend it thee, my dear; but have no power
To give it from me.
Diana
Will you not my Lord?
Bertram
It is an honor ’longing to our house,
Bequeathed down from many ancestors,
Which were the greatest obloquy i’ in the world
In me to lose.
Diana
Mine honour’s such a ring,
My chastity is the jewel of our house.
Bequeath down from many ancestors.
Bertram
Here, take my ring!
My house, mine honor, yea, my life, be thine,

And I’ll be bid by thee.
Diana
When midnight comes, knock at my chamber window.
I’ll order to take my mother shall not hear.
Now will I charge you the bond of truth,
When you have conquered my yet maiden bed,
Remain there but an hour nor speak to me my reasons are most strong.
Then on your finger in the night, I’ll put on another ring.
Maybe the token to the future of our past deeds.
Adieu, till then, then fail not. For you have won the wife of me, there my hope be done!
Bertram
Heaven on earth I have won by wooing thee.
*Bertram exits*
Diana
My mother told me just how he would woo,
As if she sat in his heart!
She says that all men have liked oaths.
* Cue music Littlest Things by Lily Allen*
*Lights slowly fading off*

Production Schedule
Week 1 – Conceptualization of the proposal production and reservation of the Blackbox
Stage or if not available, the Studio Two will be the alternative.
Week 2 - Meeting and orientation with the two volunteers one Performing Arts Batch
2016 to play the female role and one male volunteer regarding the rehearsals of the
improvisation demo and execution of the excerpt from All’s Well That Ends Well.
Week 3 to 4 – Rehearsal of Acting and Dance improvisation
Week 5 to 6 – Rehearsal of the excerpt from All’s Well That Ends Well
Week 7 – Technical Dress Rehearsal with lights on the Improvisation and Excerpt
Week 8 – Presentation of the production proposal

Production Budget
Production Title: Improv for the Performer’s Soul: A Demonstration and Excerpt
Producer: Denise Trixie Awatin-Raymundo
Director: Denise Trixie Awatin-Raymundo
Target Show Date: March 17, 2016

Table 4
Production Proposal Cost of Improv for the Performer’s Soul: A Demonstration and
Excerpt
Production Team Expenses Amount

and Cast Volunteers
Weeks Allotted for from Performing
the Production Arts Batch 2016
Director/Producer Reservation of the P6,000 per three

Blackbox Theatre weeks including
Week 1 for weeks 3- 8 lights, sounds
equipment, props
and set
Week 3-4 Director/Producer Food and Drinks P840
and Cast Volunteers provided by the
Director/Producer
Director/Producer
Director/Producer
Total Cost: P38,520

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Why Cecchetti? [Web log post]. Retrieved from
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actors/acting-teachers/marc-warzecha-recommends-improv-for-actors/
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Zimmer, E. (2004). Points of contact. Dance Magazine, 78, p.40.

Appendix A
Formal Letter of Request
November 30, 2015
Artistic Director, Silly People’s Improv Theater
Quezon City, Philippines
Good Day!. I am Denise Raymundo a 4th year Performing Arts student from Assumption
College, San Lorenzo. I just want to ask your permission if I can interview you for my
thesis topic entitled: "Using Structure and Techniques of Improvisation to Develop
Creative Expression among Filipino Actors and Dancers" since your company is a great
example for my topic. I'm hoping for your quick response. Thank you very much and
God bless.
Sincerely,
Denise Trixie A. Raymundo
09178469549/denise.trixie@gmail.com
Appendix B
Demographic Profile Sheet
1. Name:________________________________
2. Age:___
3. Sex: Female  Male 

4. Marital Status: Single  Married  Separated  Widowed 
5. Nationality: ________________
6. Profession:_________________
7. What field of Performing Arts are you in?:________________________
8. What year did you start training the Improvisation
Technique?___________________________________________________________
9. How long have you’ve been using Improvisation Techniques as a

Professional?:_________________________________________________________
Appendix C
Interview Guide Questionnaire
Structure:
1. What are the parameters/rules of improvisation as you see it?
2. In what ways has the use of improvisation experience and following its rules enhanced
or
improved your performance with the ensemble?
3. In what ways has the improvisation experience and its rules been detrimental to your
output in your performance with the ensemble?
4. What are the obstacles that you or the ensemble face when you disconnect or move out
of
the parameters or rules of improvisation?
Probe: How do you solve it?
Exercises/Techniques:
5. What are the exercises/techniques of improvisation you usually use during rehearsal
for a
performance?
Probe: How do you inject your own style in using the technique in improvisation?
6. How long have you been using improvisation exercises/techniques during rehearsals?
7. Which particular improvisation have you used?
8. How do you decide on which improvisation exercise/technique to use? What will be
the basis for your decision?
Probe: Reasons for you using a particular exercise/technique?
9. Was there an instance that using improvisation exercise/technique lead to a conflict
with your own performance whether in rehearsal or during the performance?
Creative Expression:
10. Do you think improvisation helps you express your ideas and widen your self-
expression
with the ensemble?
11. Do you think improvisation also helps you express your ideas and widened your own
personal originality in the performance of your roles?
12. What personal attitudes were developed during the whole process and exercises of
improvisation, i.e. in rehearsal or in performance?
Probe: How did you see or feel the change in your attitude?
Appendix D
Qualitative Research Interview Responses from the Participants
Name:
Age:
Sex: Female  Male X
Marital Status: Single X Married  Separated  Widowed 
Nationality: Filipino__________
Profession: Theater Actor/Artistic Director_____
What field of Performing Arts are you in?: Stand-up Comedy_____
What year did you start training the Improvisation Technique?: _2003
How long have you’ve been using Improvisation Techniques as a Professional?: For
almost 12 years.
Structure:
Q1. What are the parameters/rules of improvisation as you see it?
P: The first and most common rule that improvisers use is. . . I would call the yes and
uhmm. . .I rather express it in an another way it’s called “Accepting and Building” when
improvisers interact with each other on the stage. There is an implicit agreement that I
would accept your offer. Everything you do onstage is called an “Offer” you must make
strong offers whether that means a strong statement, a fact, intention, a strong emotional
offer it is taken by the co-actor as a gift and then it is important that the actors build on it
and it is the dynamic of accepting and building, accepting and building that you’re able to
make scenes on the spot and it’s expressed in many ways one of the basic ways to
understanding it is if an actor comes on stage and says and calls out: “nanay, nanay
nasusunog ang bahay naten!” It is important that the co-actor off stage will come in as
the nanay kasi ayun ang tinawag and then will not just say yes anak nasusunog ang
bahay natin. Kailangan dagdagan niya: “Yes anak at nandun sa loob yung tatay mo”.
That’s on the basic level of accepting the moment but it’s also. . . sometimes you have
scenes actually more and more nagiging vogue na ‘to in modern forms of. . .
improvisation sometimes an actor can come in and just say to the other actor “Hello” and
dati, that was frown upon kasi that’s not a strong offer yung mag-hello ka but there’s a
new thinking right now that even bland and emotionless hello should be seen as a gift at
yung ang obligation ng co-actor. . . to respond with something as slow and as thoughtful
as “Is anything bothering you to do it?” May mga ganun. So accepting and building. The
other thing that I want to highlight also is. . . Just two is we. . . our group, our company
really adheres to the principle of making your partner look good. . . A lot of comedy these
days which is sometimes automatically equated to improv is about having fun or having a
laugh of the expense of others and it’s only when you truly take care of each other and
not just take care of each other but make each other look good that you can really fly as
an improviser.
Q2. In what ways has the use of improvisation experience and following its rules
enhanced or
improved your performance with the ensemble?
P: When you surrender. . . Improvisation is about surrendering control. You can only
only truly succeed in improvisation when you let go and let the scene unveil in front of
you. Through you and not because of you so it really really helps with your ensemble
kasi walang set kung sino ang bida, kontrabida, story-driver, nanay, tatay those rules are
all out the window and should not be determined beforehand. So for me, I come in with
an attitude of “what does this scene need?” Ano ang kulang at anung madadagdag ko na
maganda and for me that’s the I guess pinnacle of ensemble thinking and ensemble of the
perfect ensemble and ensemble when you’re concern about what does this scene need to
be a beautiful scene. I like to emphasize that because sometimes we have improvisers
who just think anung nakakatawa? Anung nakakatawa? We try to push it further ano ang
beautiful? Ano ang maganda? Which can also be nakakatawa.
Q3. In what ways has the improvisation experience and its rules been detrimental to your
output in your performance with the ensemble?
P: Sometimes, when you have an ensemble motivated by making your partner look good
and motivated by accepting and building of each other, sometimes it can get in the way of
initiative kasi yung all about. . . The way we like to. . . We like to train it is what part of
the group we’ll find kung anong kailangan etc. So sometimes kapag marami kayo
particularly na cast of let’s say 7+ improvisers initiative is not. . . Because it’s not as
rewarded or not as valued mas mahina minsan yung strong initiative kasi ayaw nga
naming yung pabida.
Q4. What are the obstacles that you or the ensemble face when you disconnect or move
out of
the parameters or rules of improvisation?
Probe: How do you solve it?
P: When people move out of the parameters of improvisation onstage, we see it. . . We
know it’s happening because one, we tend to see what we call pabida behavior. They’re
really trying to get the limelight and trying to be the star. . . The turning point or the main
agitator on the scene. We see it that way. We also see it when an actor wants applause or
a point of applause or a point of laughter na talagang. . . Yun ang reason niya to enter a
scene or do something. It’s. . . When that happens, one of our favorite side-coaching
quotes is just to say to our co-actors “Hey, be average. Be average in your choices. Be
average in your emotional responses” kasi if you look at people around us naman if
something happens to you, you don’t react in a telenovela way all the time. 90% of the
time, normal, maliliit ang reactions mo. So keep it average and trust that if you accept and
build on average reactions, average choices hindi out of this world, we can make a
beautiful authentic scene together. So wag magpabida, be authentic, be average, all our
averages can combine to create genius.

Exercises/Techniques:
Q5. What are the exercises/techniques of improvisation you usually use during rehearsal
for a performance?
Probe: How do you inject your own style in using the technique in improvisation?
P: Well we use a lot. I’ll just tell you some of my favorites. One of my. . . One of the. . .
As we see it when we take a look at improvisation because it’s so free and anything goes.
Sometimes improvisation can take you to the direction of things like alien invasion,
zombie apocalypse scenes like that which might entertain people on an “nakakaaliw
level” but why stay on “nakakaaliw level” when you can. . . We believe kasi that
improvisation is not a tool, it’s not anything like that. It’s a legitimate performance art in
itself and as a legitimate performance art in itself, the emotional reactions can. . . Yet
from the audience, do not end in laughter but the whole gamut of fear to. . . introspection
to really touching an audience so ang sinasabi namin when we. . . When we get into some
exercise. . . When we get into the right frame of mind for a performance is. . . When you
feel an emotion in a scene, always direct your emotion not so much at the situation but at
your scene partner because it makes far more interesting human connections in scenes.
An example. . . We can have a scene where two people are. . . In a living room. . . Two
brothers tapos yung isa nagagalit dahil tumaas nanaman ang gas prices. We would call
that an okay scene. We push people, our actors to be more: “Okay, nandyan galit mo.
Pero i-direct mo yung galit mo about oil prices towards your scene partner” not at an
abstract “Wag ganyan kasi. . .” Then it becomes more about you go out too much. You
use the cartoon much then it’s a human interest scene so we like exercises that bring out
human interest and human relationships so it’s not an abstract ano about “gas” and
“government”. So for us it’s more important when we have stories in improvisation
coming out of human relationships your emotional reactions to each other so the
exercises. . . The forms that we’re biased towards are the ones like Longform
Improvisation allows you to build on relationships instead of focusing on big laughs.
And that’s we’re happiest right now being able to take time and allow the stillness of the
performers and the audience to get to that point where nagtatagusan tayo tao sa tao.
Q6. How long have you been using improvisation exercises/techniques during rehearsals?
P: We’ve been doing pure improvisation with our group for the past 13 years I have used
it in like traditional theater work from my days as a theater actor siguro mga 20+ years.
Q7. Which particular improvisation have you used?
P: Basically, there are two main schools naman eh there is short form game-based
improvisation. We’ve done that for the past 13 years. But for the past 5 years in
particular, we’ve been doing longform improvisation and that’s really our favorite right
now. We’ve been devising our own formats our own techniques and it’s incredibly
fulfilling.
Q8. How do you decide on which improvisation exercise/technique to use? What will be
the basis for your decision?
Probe: Reasons for you using a particular exercise/technique?
P: Kung kami at kami lang ang masusunod, we’ll always do longform. However
sometimes, we do shortform when it comes to the space. If you are performing in a bar,
in a café, in a restaurant, the attention is divided. And people might come with an
expectation na “medyo mababaw lang” And don’t want heavier issues, we go shortform
but if it is a place that attracts a more thinking audience or yung mga sanay na sa amin,
it’s a proper performance space where people come to watch then it’s long form. But
that’s not to say na. . . you might be tempted to say kasi shortform mababaw, longform
malalim pwde rin malalim ang shortform pero I guess it’s just more gimmicky but
longform is simpler and more honest and the potential to really touch and move an
audience is bigger with longform.
Q9. Was there an instance that using improvisation exercise/technique lead to a conflict
with your own performance whether in rehearsal or during the performance?
P: Yes when people feel that there are broken rules when performers feel na “Uyy,
uhhmm nagpapabida ka ‘dun. Nagpapatawa ka dun.” You’re trying to attract too much
attention na you’re not accepting and building and you’re not seeing my offers. I gave
you a great offer there. You just ignored me you were just too much into your head and
not focus on the other. So I think we’re too old for out and out conflicts but very spirited
and pointed discussions are. . . It’s really brought up if we feel a player has been selfish
and too self-absorbed.
Creative Expression:
Q10. Do you think improvisation helps you express your ideas and widen your self-
expression
with the ensemble?
P: Absolutely. Improvisation as a tool and as a practice yes. But more importantly kasi it
creates the atmosphere for an ensemble to be truly an ensemble. When you really commit
towards improvisation because. . . Ano talaga eh. . . Through improvisation and a true
improvisation. . . Wala kayong hierarchy eh. Pantay-pantay kayo. You can be a prop in
this scene, a walk-on on these scene, you can be passers-by, then you can be the lead in
the next one so it’s lovely to see people adjust to what’s needed and it’s invaluable
because of what it can do for an ensemble and can make an ensemble ensemble.
Q11. Do you think improvisation also helps you express your ideas and widened your
own
personal originality in the performance of your roles?

P: Yes. It’s very empowering kasi if you’re coming from traditional theater where almost
all the artistic. . . At least for many institutions where it’s taught today. . . Theater can be
dictatorship of the artistic director eh. . . “Vision niya ang masusunod” tapos the actor’s
job is to hone his instrument so that he can best express the director’s vision. A true
improviser in a true improvisational theater must make that all up on his or her own na
pati yung artistic vision mo nasa’yo yan and sana during the scene, you’re enough of an
ensemble, your bit of the artistic vision gets in sync or compliments everyone else so
definitely, very empowering as an actor you become a thinking actor if you embrace
improvisation well. It can be trouble though if you’re doing too much. You’re doing
improvisation all the time baka maging medyo rebelde ka pag bumalik ka sa traditional
theater because you’re just expected just to follow
Q12. What personal attitudes were developed during the whole process and exercises of
improvisation, i.e. in rehearsal or in performance?
Probe: How did you see or feel the change in your attitude?
P: For me it’s 2. It’s patience. That really really developed within me because in my
group, we’ve observed that you do not become an improviser that the audience really
falls in love with or really delights you until after about 3 years of doing it every week I
mean you can get the rules you can get the basic stand pero yung magiging ka-loveable
on stage at talagang gusto ka ng audience that takes about 3 years. To be patient with
yourself and with others na. . . it’s a long process. And then it’s also patience when
you’re actually in performance and you don’t panic na “magegets ba neto?” “naintindihan
ba ako?” “na-express ko ba ito ng mabuti?” Trust the audience to understand and follow
you even if you don’t know where you’re going. And then really trust your scene partners
and trust the audience the audience I really hate it to people say “Ay improv pang-
matalino ang yan”. It’s not it’s not. Some of our best audiences were. . . When we
perform in Paco Market that’s a public market in Manila, and they have tremendous
appreciation of work you don’t need smarts to appreciate improv all you need to be is
authentic and appreciate that not everything is a telenovela not everything is a comedy
routine or a show.
Appendix E
Certificate of Validation
November 06, 2015
This is to certify that I validated the research instrument of Denise Trixie A.
Raymundo to be used in the thesis entitled Using Structure and Techniques of
Improvisation to Develop Creative Expression Among Filipino Actors and Dancers.
I evaluated the extent to which the items measure in behavioral construct to be assessed
by the research instrument.
Prof. Ana Valdes-Lim

Artistic Director, Marie Eugenie Theater of the Assumption
Assumption College, San-Lorenzo
November 09, 2015
I examined the psychometric properties of the tool/s to be used.
Prof. Eloise De Lemos

Chairperson, General Education Department
November 10, 2015
I evaluated the sustainability or appropriateness of the items to the target participants.
Prof. Jet Paul Dela Cruz

Faculty, Filipino Area, Marie Eugenie School of Innovative Learning
Appendix F
Thematic Analysis - CQR
March 07, 2016
This is to certify that I validated the contents of the themes of Denise Trixie A.
Raymundo, that was presented in the study entitled Using Structure and Techniques of
I evaluated the suitability or appropriateness of the themes to the results.
Signed:
Christopher Rey Nocon RAD RTS

Faculty, Communication Department
Assumption College, San Lorenzo Makati
March 07, 2016
This is to certify that I validated the themes of Denise Trixie A. Raymundo that
was presented in the study entitled Using Structure and Techniques of Improvisation to
Develop Creative Expression Among Filipino Actors and Dancers. I evaluated the
suitability or appropriateness of the themes to the results.
Signed:
Ms. Loudette Zaragosa-Banson

Performing Artist
Assumption College, Alumnae
Appendix G
Proof Reading Validation
March 11, 2016
This is to certify that I proof read the thesis of Denise Trixie A. Raymundo entitled
Using Structure and Techniques of Improvisation to Develop Creative Expression Among
Filipino Actors and Dancers.
Signed:
Prof. Ann Vera

Professor, Communication Department
Assumption College, San Lorenzo Makati
Signed:
Ms. Loudette Zaragosa-Banson

Performing Artist
Assumption College, Alumnae

Improvisation Structure and Technique

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Improvisation Structure and Technique

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IMPROVISATION STRUCTURE AND TECHNIQUE 1

Contrary to improvisation “theatre here in the Philippines is very structured,

sometimes exhausting and sometimes frustrating because the actor is caught in a

researcher’s study about improvisation structure and technique as an avenue for

The improvisation is a branch of Theatre Arts that is rarely practiced in the

forms of theatre techniques here in the Philippines.

Review of Related Literature

the development of a restrictive technique in theatre called “Stanislavski system” is

Constantin Stanislavski. According to Bio (2015), Constantin started his Stanislavski

of acting, the actor seems to be in control through Stanislavski’s system.

herself when acting on television or onstage (Bray, 2008).

quality (Loizou, 2007).

performance and improvement of a student in ballet. In the article of Jennings (2012), it

an Italian dancer named Enrico Ceccheti (Brillarelli, Tenniswood-Powell, Darby &

Improvisation is better known and practiced in the United States, Canada,

imagination and bodies to create a sense of improvisational flow. Furthermore, in

and postures, to the real-time determination of dialogue and narrative progression.

Due to its nature, improvisation is also a remarkable example of creative group

creation of narrative context occurs organically. In some cases of completely unscripted

2011). Improvisation can also be linked to sociological perspectives wherein social

the attention of society. Actors involved in an improvisation exercise learn to focus on a

Spontaneity is critical in improvisation. It is one of the keys to creativity and

improvisation, where actors can use spontaneous acting to entertain or express an

However, an authentic sense of spontaneity may be difficult to achieve

considering that sometimes an improviser is tempted to rely on previously stored

improvisation, is not practiced in certain cultures because contact improvisation requires

appears in different types of performances by actors, dancers and musicians. Through

judgement from other actors and audiences.

Improvisation dance involves using an actor’s body for expression through

spontaneous movement and the execution of dance techniques. Improvisation dance is

articulating a dance form through the dancer’s spontaneous movements (Buckwater,

2010). However, Smith-Autard (2010) remarked that, to be able to call a dance an

can be called an improvisation dance.

expressing freedom is a persistent fixture in the discussion of improvisation.

use different body parts in improvisation. Nancy Stark-Smith, a practitioner of

movement that can be formed. To be able to deliver a good performance improvisation,

communication to the audience (Horrigan, 2006).

To be able to maintain their state of awareness, a dancer may undergo on an

Improvisation Jam wherein this class focuses on improving a dancer’s improvisation

growth of communities of Improvisation Dance artists (Manjalip, 2013).

Another form of improvisation, acting improvisation, is known for its artistic

can be used in the interpretation of the script.

good amount of training which is basically an advantage (Barry, 2015). In acting

improvisation, it is also important that a person builds a communication or a relationship

or her focus from nervousness.

However in some different kinds of auditions, acting improvisation is not allowed.

Surprisingly, acting improvisation can also be used in the corporate settings,

improvisational training to the crew of that European airline is encouraging, as it proved

hands-on, theatre-based improvisation training found the experience rewarding and

for employees to cultivate team building, customer service and brainstorming.

Acting improvisation was also used by a head librarian in Washington DC to train

enthusiasm, purpose and possibility in their work.

An article published in 2011 said that, a leader can be labelled an actor if he or

role of improvisation workshops in that research was to provide a powerful

improvisation for an ensemble is important in developing teamwork. Britton (2013),

has a strength to achieve a certain goal (Bonczek and Storck, 2012).

important elements in improvisation since it requires fully interacting with others in a

of rejecting an actor’s idea or creativity. If an actor is negated in an improvisation

for the improv.

principle by Adams (2007). He mentioned three principles that must be considered in

partner. Salinsky and Frances-White (2013) used this as an exercise in rehearsals or

Meanwhile in improvisation soliloquy, both shares the same structure as acting

Certain activities are involved in acting improvisation to engage the actors to be