IMPACT OF IMPROVISATION ON INTERPERSONAL …web02.gonzaga.edu/comltheses/proquestftp/Green_gonzaga_0736M_10155.pdfIMPACT OF IMPROVISATION ON COMMUNICATION 3 TABLE OF CONTENTS Abstract

Running head: IMPACT OF IMPROVISATION ON COMMUNICATION 1

IMPACT OF IMPROVISATION ON INTERPERSONAL COMMUNICATION

_________________________________________________

A Thesis

Presented to the Faculty in Communication and Leadership Studies

School of Professional Studies

Gonzaga University

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Under the Mentorship of Dr. David Givens, and John Caputo

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In Partial Fulfillment

Of the Requirements for the Degree

Master of Arts in Communication and Leadership Studies

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By

Brooklin Green

April 2012

IMPACT OF IMPROVISATION ON COMMUNICATION 2


TABLE OF CONTENTS

Abstract 5

CHAPTER 1: INTRODUCTION 6

Importance of the Study 6

Statement of the Problem 7

Definition of Terms Used-Three Basic Rules 8

Organization of Remaining Chapters 10

CHAPTER 2: REVIEW OF LITERATURE 11

Philosophical Assumptions 11

Theoretical Basis 13

Studies of Improvisation’s Effects on Communication 15

Summary-Rationale 22

Research Questions 22

CHAPTER 3: SCOPE AND METHODOLOGY 24

The Scope of the Study 24

Methodologies and Design 25

Sampling 26

Instrumentation and Procedures 26

Ethical Considerations 27

CHAPTER 4: THE STUDIES 28

Introduction 28

SURVEY-Data Analysis 28

Results of the Survey 29

Discussion 30


INTERVIEWS-Data Analysis 31

Results of the Interviews 33

Interview I 33

Interview II 37

Interview III 41

Discussion 46

CHAPTER 5: SUMMARIES AND CONCLUSIONS 48

Limitations of the Study 48

Further Study 48

Conclusions 50

REFERENCES 52

APPENDIX 55

A 55

B 60

C 61

D 62

E 64

F 65


Abstract

Improvisational games have grown outside the scope of performance to become tools to

enhance, creativity, and communication. Recently, people have begun to use these games in a

variety of fields including psychology, public speaking, corporate businesses, medicine, and

education. Improvisational games help people learn through play. It shows that the use of these

games can create an environment that opens communication to achieve learning and innovation.

It is a positive tool in promoting confidence, empathy, listening skills, self-awareness, group

awareness, quick thought and focus in the moment.

While research on the benefit of improvisation does exist, few concentrate on the benefits

improvisational training can bring to communication. Improvisation has been strictly viewed as a

theatrical tool for years. As we continue to experiment and improvise, we find that

improvisational training may benefit many additional fields outside of theatre, especially

communication. Improvisation can be used as a communication tool alongside existing expertise

in organizations. This thesis project will focus on how improvisational games, impacts

interpersonal communication. What are the specific elements of improvisational games that

positively affect interpersonal and small group communication? This thesis sets out to define the

smoke and mirrors that make improvisation happen communicatively.


CHAPTER 1: IMPORTANCE OF STUDY

Often a misconception exists that good improvisational performance just happens

magically based on talent or preconception of some kind. Decent improvisation requires training.

The games have been developed to create structures or rules that help the individual rely on

themselves. This is a gradual process of going from the reliance of rules and direction to being

able to rely and create on your own. These games help free the players to build upon their own

natural instinct, and experience coinciding with Dewey’s Philosophy (Dewey, Alexander, &

Hickman, 1998). This paper seeks to identify specifically the elements of improvisational games

that promote interpersonal communication skills that include confidence, open environment,

group cohesion, and intuition. These elements can help create a positive structure, according to

Adaptive Structurization Theory, that can allow a group to evolve together as well as promote

participation as opposed to fear when dealing with cognitive dissonance. What makes

improvisation work?

The quantitative and qualitative data of this study focus on measuring changes in

interpersonal communication skills after exposure to improvisational training. Specifically,

confidence levels, interpersonal group skills and the effects of learning experientially through the

improvisational games. The uses of basic improvisational rules or principles have been narrowed

down to three specific rules that are commonly used in improvisational theatre.

The improvisational Principles or rules focused on in this study are yes, and…, give and

take, and being in the moment. These rules can apply directly to the communication aspect of

improvisation, and not the typical theatrical development of characterization and empathy. These


rules have been developed to train improvisers in keeping positive communication in order to

forward scenes.

These principles are used to promote positive interpersonal communication skills within

improvisation; they also serve as a distracting element. The use of distraction to keep from self-

editing, and the desire to dominate or control is another key element to how improvisation seems

to work. This paper attempts to find out how these elements help in building interpersonal

communication. The distraction elements focused on in this paper are:

Speed-The elements focused on are the use of speed in games. Quick pacing takes away

time that would otherwise be spent on self-editing and judgment. Speed is major element in

improvisational games and side coaching.

Group goals- Group focus on the goal of the game; all games have a group goal. .

Listening-The ultimate element is intuition how is it created or enhanced. This element is

that “magic” moment that happens when two or more people are connected and in sync with

each other on stage or in a game.

Statement of Problem

Improvisational training is a art form birthed from people who think outside the box. One

reason improvisation does not automatically translate to a structured society is because these new

forms of creativity are yet to be boxed into any concrete definitions. The definitions of games,

rules and principles vary according to each training center, or instructor. This paper is an attempt

to grasp and define what improvisation’s basic rules are, and it’s natural connection to

interpersonal communication. This paper has incorporated a brief history of improvisation in


order to connect these basic rules through reoccurring core elements that are present within the

literature review and improvisational history. The problem is that not all directors and instructors

of improvisation define or use the same name for games that are the same or similar. The games

and principles can morph and creates new games and principles that are not notably defined

through one institution. In short, improvisation is much like attempting to translate a simple

statement in multiple different languages. This paper attempts to establish the basic roots of

improvisation, by taking all of these elements and putting them into the three categories defined

as Yes, and…, give and take, and being in the moment. Under these categories we can begin to

focus on the grounding basis of what improvisation really is and how this art form directly

connects to the building of inter personnel skills. This thesis project attempts to define basic

principles and bring them to the world of communication, because the natural elements present

in improvisational training are the natural elements required to communicate interpersonally.

Definition of Terms -Three Basic Rules

Here is a list of the top three basic rules that are grounding principles for

improvisation. They are commonly used in improvisational games, and scenes work. Under each

principle are definitions and coinciding references to common phrasing used in side coaching to

accomplish these principles.

Yes, and…,

-“Yes, and…” Accept or empathize with what is given to you communicatively and

heighten that dialogue information and or action.


-Make Action choices- Make a decision or do something that ignites an action, move the

scene forward by making a decision that makes a stand on something. Also referred to as ‘today

is the day’ something happens.

Being in the moment

- Spontaneity- referred to in improvisation as don’t think, be in the moment, do not self-

edit, trust your instincts, be honest.

-Make bold choices- assumptions, statements, and avoid questions.

-Assume you know someone for at least six months- when you know someone for more

than six months you are able to start in the middle of a situation, or scene.

Give and Take

-Listen, Intuition, or Give and take – the ability to read others, knows when to needed,

and when to back off or stop a scene or communication.

Other Terms

Short Form Improvisation- A style of improvisational performance or games. That

consists of usually short and unrelated scenes. They are generally based on short games or

handles, and less based on solid narrative and characters.

Long Form-A style of improvisation that based off suggestion or nothing at all, turns in to

a long performance piece or play. These performance range from 20-45mins generally. It is also

known as the Harold.


Organization of Chapters

This paper is organized into five chapters. Chapter two is the philosophical and

theoretical basis that sets the groundings for this study. The review of literature on this topic

leads to the formation of the research questions embedded in this thesis. Chapter three

establishes the scope of the study and the methodology used for collecting data. Chapter four is

the results of the study conducted. This chapter shows live current results that coincides with

previous research, and explores the findings in relationship to the research questions presented in

chapter two. Chapter five summarizes the study in conjunction to the entirety of the paper.

Specifically, this chapter covers the limitations of the study, and suggests further research.


CHAPTER 2: REVIEW OF THE LITERATURE

This review seeks to highlight specific theory related to communication and

improvisation. The review will also identify the reoccurring interpersonal communication skills

in a group that improvisational games seem to promote. According to Adaptive Structuration

Theory, elements can help create a positive structure that can allow members of a group to

evolve together as well as promote participation as opposed to fear when dealing with cognitive

dissonance.

Philosophical Assumptions

Experiential Learning is the theory used to develop the environment in which this study

will take place. Improvisation theatre uses games to create an experience in communication.

“The foundational Second City concept of yes, and…, is the cornerstone for creating a

democratic environment” (Scruggs & McKnight, 2008, p. 13). John Dewey’s philosophy of

teaching led to the idea of the democratic classroom that uses experiences to teach. Dewey states,

“I believe that education, therefore, is a process of living and not a preparation for future living”

(Simpson, 2010, p.26). This relates directly to improvisation’s spontaneity of being in the

moment; the games create their own experiences. “The teacher is not in the school to impose

certain ideas or to form certain habits in the child, but is there as a member of the community to

select the influences which shall affect the child and to assist him in properly responding to these

influences (Dewey, Alexander, & Hickman, 1998, p. 231).” This is essentially how the element

of “side coaching” in improvisational games works. The games are a kind of alternative to

language. Most teaching or directing gives feedback or comments on the person’s behavior to

change action. In Improvisation, games are morphed or developed to create an experience that


allows the student to overcome communicative obstacles. This allows for students to learn

experientially.

Much of Dewey’s philosophy of learning is supported by Spolin’s book, Improvisation

for the Theatre (Spolin, 1963). This book, while highly concentrated on improvisation as a tool

for theatre, establishes basic communication skills. She specifically lists games that help with

listening, empathy, and creating an open environment that reduces anxiety within a group to help

members participate. Viola explains how the use of games in itself provides involvement and

personal freedom needed for experiencing the exercise. The use of games provides an

opportunity to play. When people are excited and enjoy what they are doing, an open

environment exists that naturally allows them to learn through the experience of the game.

Establishing an open environment where group members feel free to express themselves leads to

self-awareness and an empathetic awareness of others. This environment is created by excluding

authoritarianism and judgment of self and others. Viola states that “the language and attitudes of

authoritarianism must be constantly scourged if the total personality is to emerge as a working

unit” (Spolin, 1963, pg. 8). She goes on to explain the healthy dynamics of group expression.

Groups work well with the acceptance of differences and similarities, as opposed to

individualized attention and competition. She explains that groups are better at problem solving

through their focus on a specific game. The process of the game alone helps to build

interpersonal skills within a group. She also includes the importance of awareness and listening

skills. Being aware of verbal and nonverbal cues is essential in moving forward with group

problem solving. There are many games given as examples to get students through basic

anxieties and blockage in theatrical training. These may also be used for the same problems in

interpersonal communication. She explains that every game can morph to solve any particular


problem (Spolin, 1963). "The games emerged out of necessity," she has said. "I didn't sit at home

and dream them up. When I had a problem [directing], I made up a game. When another problem

came up, I just made up a new game," she stated in an interview with the Los Angeles Times on

May 26, 1974 (Moffit, 2011). While Viola Spolin’s work is seen as theatrical use, her

understanding of group dynamics can be utilized in creating an open environment for

interpersonal communication within groups.

Theoretical Basis

Adaptive Structuration Theory (AST) claims that a group forms its own rules and

structures. The point of AST is “to make them aware of the rules and resources that they are

using so that they can have more control over what they do in the groups” (Griffin, 2009, p.236).

Improvisational games that abide by and teach improvisational principles help establish the rules

of the group. The rules of the group incorporate improvisational rules or principles. They allow

for each person in the group to contribute in an open and accepting environment. Improvisational

principles work as a tool to provide communicative resources that can be used in an organization

or group even if resources and rules are low. The practice of these principles through games may

help a group by creating an open environment for decision-making. The use of Improvisational

principles and exercises through the games’ own, could contribute to a group’s forming of rules

through appropriation (Griffin, p.240). Improvisational rules could serve as positive resources

(Griffin, p. 240) for a group’s evolution of Structuration or the “production and reproduction of

social systems through group members’ use of rules and resources in interaction” (Griffin, p.

237). For example, the use of the rule “Yes, and..., promotes the action of accepting information

and adding to or contributing to that information. This is also referred to as accepting and


heightening. This helps to create a standard for the group to not only be accepting to each other’s

ideas, but to also contribute and collaborate.

Cognitive dissonance theory originally developed by Leon Festinger, is when there are

two conflicting, or opposing beliefs within one’s self. This creates an automatic need to reduce

the opposition or dissonance. This relates to internal conflict noted in improvisation as self-

editing or control. Elliot Aronson states in his book about cognitive dissonance “most

individuals strive for three things [related to their self-concept], 1) To preserve a consistent,

stable, predictable sense of self, 2) To preserve a competent sense of self, and 3) To preserve a

morally good sense of self (Aronson, 1992).” Cognitive dissonance contributes to stage fright,

mental paralysis, and lack of cooperation in most small group cases. When a group is

established, individual members may go into the group initially as confident members. When it

comes time to participate in the group, the fear of failure and adverse judgment can begin to

create a dissonance within the student’s original feeling of confidence. The students then either

talk themselves out of participation or reluctantly participate with self-doubt, internal editing,

and intrapersonal judgment. This keeps the students from fully participating or interacting

within the groups.

If self-doubt and confidence create cognitive dissonance, how does one overcome it in

order to participate more fully with the group? Improvisational games give individuals an

opportunity to take focus off them in order to accomplish a small goal in the game for the greater

good of the group. Helping the group takes precedence over the individual, which can reduce

insecurity. The games can distract from the internal noise of fear in order to enable confidence.

The games are fast paced and rule focused so that the individual does not have time to create


dissonance with fear. Fear is replaced by spontaneous pressure in a supportive environment.

Once participation takes place it is affirmed by the Yes, and… principle and confidence returns.

Studies of Improvisation’s Effects on Communication

According to a study conducted by Dusya Vera and Mary Crossan, improvisation has a

positive effect on team innovation when combined with the team and contextual moderating

factors (Vera & Crossan, 2005). Their study specifically focused on training in the following

principles of improvisation: “practice,” “collaboration,” “agree, accept, and add,” “be present in

the moment,” and “draw on reincorporation and ready-mades” (Vera & Crossan, 2005). They

provided training to a large municipal organization referred to in the study as the “city” (Vera &

Crossan, 2005). It represented a variety of different jobs and departments including auditors,

marketing coordinators, engineering inspectors, community services, works and transportation,

legal services, finance, and management. It consisted of 348 people all working in various teams

according to their various jobs.

Vera and Crossan provided workshops, conducted surveys before, and two months after

the subjects’ training in improvisation. The term improvisation was omitted; instead the

workshops focused on spontaneity and creativity under pressure. The workshop topics included

teamwork play, paying attention to the moment and the need for an environment that rewards

experimentation. While this study specifically seeks to correlate improvisation and innovation, it

provides evidence that improvisational training does improve group communication and

creativity.

They tested six different hypotheses: The first hypothesis revealed that the team’s

expertise in their field helped in the use of collective improvisation producing innovation. The


second hypothesis proved that improvisation improved trust, cooperation, and overall teamwork

quality, which led to the ability to be creative and innovative. The third concluded that an

experimental and supportive environment of trial and error promoted a better relationship within

the team and its ability to be innovative. The fourth hypothesis suggests that real time

information (in the moment) and open communication is helpful in promoting innovation

through improvisation. The fifth hypothesis “The greater the team’s level of memory (e.g.,

procedures and systems), the more positive relationship between collective improvisation and

innovation” (Vera & Crossan, 2005)--was not supported. They found that when it comes to

improvising a situation the rules and regulations of an organization restrict creativity and

innovation. They did state that relying on memory of anecdotal knowledge or tactics that had

worked in the past seemed to help in improvising and innovation. The final hypothesis proved

that training in improvisation would improve the quality and increase the use of improvisation

and innovation in a regular work setting.

This was an in-depth quantitative study on improvisation, which is rarely found in the

literature on this subject. The article concluded that improvisation “has a clear positive effect on

innovation when combined with the team and contextual moderating factors” (Vera & Crossan,

2005). No real evidence proved that improvisation training prompted the production of

innovation in a regular office setting. The improvisation training did not hinder innovation but

rather improved the communication within the groups to be more open, trusting, and accepting of

new ideas. They concluded, “this study provides senior managers initial evidence about the

ability to develop the improvisational skill in individuals and teams, and shows that this requires

more than attendance in training workshops; it requires the development of a culture and a

context that supports spontaneous and creative processes in firms” (Vera & Crossan, 2005). This


shows that improvisational training should be applied directly to the group and not just to the

individual.

The maintenance of everyday operations was a limitation to the study, as members of the

same work team were unable to go through the workshops together. This process alone helps

develop teambuilding and trust within the team or groups. The improvisational training was

taught individually where the individual would then go back to their group and apply the skills.

Improvisation is more effective when taught with the original group as a whole. It provides an

experience together that builds trust and unity within that group. The other limitation was that

while there was evidence throughout the study of the benefits of improvisation in groups, the

focus was on improvisation and innovation.

While most of the literature found focuses on the positive aspects of improvisation, one

study cautions that improvisation can be negative when it comes to organizational learning and

communication. This study is referenced in the previous study conducted by Vera and Crossan.

This field study entitled Organizational Improvisation and Learning :(Miner, Bassoff, &

Moorman, 2001). This study focused on defining improvisation through mostly observation of a

corporate organization and new product development. While the study was about the act of

simply improvising as opposed to the ‘art’ of improvising (the use of theatrical improvisational

training), the study of spontaneous reaction and innovation is still the grounds for

improvisational theatre training. The focal point of this study is on the negative effects of

improvisation, which is only a portion of the researcher’s conclusions. Minimal negative aspects

of improvisation in communication were found in this study. This helps to shed a light on

counter effective aspects of improvisation in order to conclude with well-rounded research on the

effectiveness of improvisation. This study suggests that improvising, while having many positive


effects was actually harmful in relation to long-term learning. They found that heavily relying on

improvisation would many times supersede the process of formal experimentation. This study

revealed that mistakes were made within the company when using improvisation as a way to

develop or work on a project, as opposed to relying on previous information, or experts that were

already established in the situation. They mentioned that the scientific and marketing

departments of the company saw improvisation as positive tools for flexibility and adaptability.

This produced conflict because the higher levels of the organization including financial, and

manufacturing managers saw improvising as a dangerous resource that was not efficient and

created costly errors. This negative aspect of improvisation is re-tested in the Vera and Crossan

study (Vera & Crossan, 2005) with their first hypothesis. It shows that collective improvisation

can be heightened when used in conjunction with expertise of the field. Improvisation should be

used as a tool in conjunction with expertise, not as a sole entity to create.

When used correctly, the use of improvisation to improve communication among various

professionals seems to be a useful tool. The MEDICAL EDUCATION Journal conducted a study

for 'first year', American medical students to determine if improvisation could improve patient

doctor interaction (Hoffman & Ari, 2008). This study specifically focused on interpersonal skills

with patients. The study consisted of eighteen first year students who were taught ten one hour

sessions of improvisation. The improvisational games were used to acknowledge the portrayal of

one’s self, perception of others and interpersonal interaction. The study was based on surveys

taken by students who participated in the class. The results of this study strongly concluded that

the course improves communication skills, and increases confidence in patient interaction. All

the students responded that the improvisation class was a refreshing and enjoyable way to

improve patient doctor communication. The limits to this study are the size and scale. It was not


very diverse or broad. This study does help to establish that improvisation can help with

developing interpersonal skills. It proves that improvisational games can be a positive tool to

promote confidence, empathy, listening skills and understanding of one’s self, which assists in

developing intrapersonal and interpersonal communication skills. These are all skills that are

needed to build group communication.

The American Journal of Pharmaceutical Education (Boesen, Herrier, Apar, &

Jackowski, 2009) found more in depth but similar results on the use of improvisation as a tool for

interpersonal communication. They conclude that improvisation training helped to improve

communication skills in pharmaceutical students. This study focused on the “art” of

communication specifically listening, observation, and response as opposed to specific technical

communication skills.

This study was quantitative in its use of standardized patient examination scoring and

qualitative incorporating student and instructor feedback surveys and journals. They incorporated

Twelve one -hour improvisational sessions to the existing patient communication course. The

study consisted of ninety, first year pharmaceutical students followed from the time span of 2002

to 2007. The study concluded that, over that span the scores average rose four points, the number

of perfect scores rose from 1 to 24 and 90 percent of participants acknowledged an improvement

in their communication skills.

Additionally they sought to use improvisation to (1) think quickly and generate ideas, (2)

recognize emotions and status communication (3) create confidence in communicating to large

groups (4) see basics of group communication through interaction (5) obtain focus in the moment


and be able to react with transitional communicative skills according to patient cues (Boesen, et

al., 2009).

They used different improvisational games to accomplish communication goals.

Repeated pattern exercises were games that create patterns to center focus, block out distractions

and teach listening. Advancing Conversation was taught with ‘Yes and…’games, and avoiding

questions or ‘no’, negating conversation. Questions and negating stopped or staled

communication.

They used short improvised scenarios that focused on emotion and status (high and low

status individuals) within the scene. This helped the students to recognize that emotional and

status influenced situations or obstacles within communicating. Group communication was

taught through emphasis on the importance of single focus. To communicate effectively, one

person must be allowed to speak at a time. This was done by the game ‘Give and take ‘. This

helped the students identify the importance of knowing when to take focus strongly or to speak

and when to give focus to someone else, listen.

They also conducted improvised 3-5 minute scenes that incorporated basic principles of

improvisation forcing them to work as a team, listen, and create ideas. Even though, this study

focuses on pharmaceutical students, it is a direct correlation to improvisational training

improving communication skills. It includes quantitative and qualitative research and shows a

need to incorporate improvisation as a learning tool to enhance communication skills that can be

used interpersonally.

The previous studies focus on use of improvisation as a tool to develop one on one

interpersonal skill with clients. When leading or facilitating a group of people interpersonally, as


a public speaker, or as a teacher improvisation is very helpful. An empirical study observed by

R.K Sawyer, a teacher who concludes that scripted teaching should incorporate and lean more

towards teaching as an improvisational performance. Sawyer claims that teachers improvise

more as they become more experienced. He states ” Several researchers have noted that the most

effective classroom interaction balances structure and script with flexibility and improvisation

(Borko & Livingston, 1989; Brown & Edelson, 2001; Erickson, 1982; Gershon, 2002; Mehan,

1979; Simon, 1995; Yinger, 1987)” (Sawyer, 2004, p. ). This article claims improvisation creates

interactive flow of creativity between teachers and students that lead to other forms of learning

and information. The previous methods of teaching as a performance tend to be over structured

involving a teacher’s reliance on a script, and focus on the teacher as opposed to the entire class

or collaborative learning. The National Research Council’s (1996) National Science Education

Standards and the National Council of Teachers of Mathematics’ (1991) Professional Standards

for teaching mathematic (Sawyer, 2004) recommend negotiation and collaboration in inquiry

when it comes to teaching. He refers to socio-cultural studies that emphasis the importance of the

focus on the group, as opposed to the individual. This is the focus in improvised games that the

focus is on the group and game as a whole, as opposed to an individual. The social constructivist

theory suggests that to be an effective teacher you must be improvisational so that a class can co-

construct their own knowledge. “As Erickson noted, “talk among teachers and students in

lessons . . . can be seen as the collective improvisation of meaning and social organization from

moment to moment” (Sawyer, 2004, p.14). Improvisation is used as in the game 'give and take’

to help structure participation, timing, and knowing when to speak. This article also notes that

improvisation, be it theatrical or jazz, always happens within a structure. Theatrical

improvisations structure is formed with the outline of the basic rules or principles and the use of


games. This article helps point out the potential use of improvisation in the classroom. It can

assist in creating an open environment for communicating and learning.

Summary-Rationale

The basis of this research was to pull information from a variety of professional fields

that use communication. The use of theater has been used in the past in a number of fields to

help develop empathy, self-awareness and rhetoric skills. There is a difference between regular

theater and improvisational theater. The training involved has similarities, but improvisation is

primarily ‘group’ focused and spontaneous. To achieve this improvisational games have been

created, morphed and recreated to get the participants to communicate on a higher intra and

interpersonal level.

This literature review showed that improvisation is being used and studied as a

communication improvement tool for educators, medical professionals, leaders, and business

people. It showed that the use of these games could create an environment that opens

communication to achieve learning and innovation. It has a positive use as a tool to promote

confidence, empathy, listening skills, self-awareness, group awareness, focus in the moment, and

quick thought. Improvisation is a tool to be used alongside expertise that already exists in

organizations :( Miner, Bassoff, & Moorman,2001).

Research Questions

What makes improvisation work? The principles and rules help distract negative focus of

an individual’s intrapersonal perception to positive focus of the group interpersonally.

Improvisation is about making something happen in the present moment. Positive distractions

seem to be major elements of improvisational games and side coaching that help prevent


negative thoughts through cognitive dissonance and establish positive rules as structure with

AST. These distracting elements are the rules/principles of improvisation. The rules/principles

that will be focused on involve the use of speed or timed games, and focus on the group/game

goal. The specific research questions include the following:

R1: Does improvisation help with communication skills specifically, confidence

(cognitive dissonance), interpersonal group skills (AST), or learning (experiential learning).

If so how do they measure against each other?

R2: How do distraction elements help the games in achieving these skills? Focus on

rules/principles in improvisation that involve the use of speed or timed games, and focus on

the group/game goal.

R3: What rules or principles of improvisation (Appendix B) are the most effective?


Chapter 3: SCOPE AND METHODOLOGY

The Scope of the Study

The scope of this study highlights the affect improvisational games have on group

communication skills. Examples of specific games used in the beginning improvisation class are

listed in Appendix A they are organized under the principle or rule in which they are related. The

focus is on the skills of confidence (cognitive dissonance), interpersonal group skills (AST), and

learning (experiential learning). The distractive elements of Speed and Rules (Group and Game

goals) were measured as well the effectiveness of the rules or principles (Appendix B).

The two distracting elements of Improvisation:

Speed

Improvisation uses speed to create spontaneity and being in the moment. In order to

achieve this games associated with these elements focus on self-editing (over thinking), and

trusting your instincts. The study focuses on the reaction or affects of games associated with the

element of speed. These games are listed in Appendix A.

Rules- Group and Game goals

The study also focuses on games that help establish the basic rules (Appendix B), Yes,

and… (accepting and heightening), Give and take (listening), and Being in the moment. These

basic rules give the group a structurization to adapt to and rules on how to communicate to each

other.


Methodologies and Design

This study primarily focused on ethnographic research also known as field study. The

study utilizes observation, surveys, content analysis, and interviews with experts in the field of

improvisation. The documentation was conducted primarily through jotted notes used to refer to

moments and review (Newman, 2006). This method was useful in order to interpret real life

communication (Caputo, 2011). Observation focused primarily on confidence (cognitive

dissonance), interpersonal group skills (AST), and learning (experiential learning). Research and

studies on the use of improvisation in communication were utilized to analyze the elements

listed.

There was one environment studied in this ethnographic research. The categories within

this environment consist of the setting, student background, taxonomy, social scene and

reoccurring events that happen in the class (Caputo, 2011). The environment observed was an

eight-week adult improvisation class, for beginners. The adult improvisation class was held

through a local community college, continuing education department, in order to collect

ethnographic data.

The quantitative method used consisted of a survey that identifies any noticeable

differences in interpersonal communication skills. The survey was distributed after the last class

to assess if the students noticed any change in perception of interpersonal communication skills.

The areas of interpersonal skills surveyed were confidence (cognitive dissonance), interpersonal

group skills (AST), and learning (experiential learning). Content analysis was used to explore the

side coaching used by the improvisational instructor to produce results with students (Appendix

B). The attempt to analyze how these specific rules affected interpersonal communication within


the group in order to achieve their ultimate goal (Newman, 2006). Interviews with various

informants included instructors, and experts, to the art of improvisation.

Sampling

Purposive sampling was used for the interviews, surveys, and critical analysis to gather

data from informants within improvisation. The interviews included a variety of Improvisational

informants of various backgrounds. The sample of informants included an original Spolin Player

and student of Viola Spolin, the artistic director of training at The Second City in Chicago, and

an improvising instructor and company owner/producer with communications degree. The

improvisation instructors listed have also conducted improvisation workshops for educators,

corporations, and organizations. Accessibility to a diverse demographic sample was dependent

upon enrollment of the class. The sampling was opportunistic within the field study in observing

any changes of interpersonal skills among students. The field study environment varied

demographically in order to provide a better sampling frame (Newman, 2006). The accessibility

to the class was discussed and the informants had voluntarily agreed, and asked for no exchange.

The number of participants in the adult beginner’s class was seven adults.

Instrumentation and Procedures

The data collected evaluated confidence (cognitive dissonance), interpersonal group skills

(AST), and learning (experiential learning).The information collected resulted in a culmination

of performance measures, attitudinal measures, behavioral observations, interviews and

questionnaires. The Surveys conducted used the Likert scale, the field research is consistent with

Max Weber’s ideal type (Newman, 2006). The culmination of information was used to

determine any changes among students’ interpersonal skills after improvisational training. The


environment and informants allowed for a comparison between short-term exposure to

improvisation (beginning level class) and long-term exposure (Interviews) of improvisation. The

interview questions, listed under appendix C, provided insight into the effects of improvisation

on communication from the observation of experts in the field of improvisation (Newman,

2006).

Ethical Considerations

All persons involved were voluntary participants. Anonymity was protected by the use of

surveys taken privately and deposited in a central box; no names were listed on the survey or in

the study. Background information of those interviewed exposed their experience relevant to the

study. The participants gave e-mailed authorization and informed consent through the release

form listed under appendix E. The survey questions, under appendix D were kept anonymous.


Chapter 4: THE STUDY

Introduction

This study was designed to determine whether improvisation has an impact on

interpersonal communication skills. The skills focused on were of confidence (cognitive

dissonance), interpersonal group skills (AST), and learning (experiential learning). These

characteristics prove to be augmented through improvisational games. Improvisation is a great

tool and value to communicating outside of improvisational theatre. This study expands upon

the current research of improvisational techniques used as a communication tool. It also

establishes a need for the exploration of improvisation in other fields that demand high levels of

interpersonal communication skills. The following study discovered a relationship between

improvisation and interpersonal communication, and helped define the elements of improvisation

that affect interpersonal communication. This study contains the data analysis and results of two

parts the survey conducted and the interviews of experts in the field of improvisation.

SURVEY -Data Analysis

The demographics of the study consisted of a small control group of seven students, three

females, and four males. The age of the participants varied little a majority of students five out

of the seven participant’s ages ranged from fifty-two to sixty-four. Two of the seven students

ranged in age from thirty-five to forty-two. All participants were working professionals

unrelated to theatrical performance, fields included administrative, writing, education, legal,

finance, and computers. Five out of the seven participants in the study had formal education at

the graduate level; two participants had received a four-year degree.


Results of the Survey

The questions in the survey were distributed after the eight-week beginner’s class had

ended. The survey utilizes a quasi-filter of response options: Yes, No, and Not sure (Newman,

2006). The study measured whether or not there was an improvement in various communicative

skills. The skills focused on where listening, confidence, group communication. The other areas

of the study focused on were whether there was improvement on relationships outside of the

class with job satisfaction, romantic relationships, and overall communication skills. The final

point evaluated whether the students preferred experiential learning through improvisational

games as opposed to basic lecture.

The survey concluded that all participants noticed an improvement in confidence

and listening skills. All participants also, preferred to learning through the active participation of

the games, experientially. A majority of the participants six out of the seven noted an

improvement in group communication skills as well as overall communication skills. The

participants did not notice much improvement within their level of current job satisfaction, and

no participants saw any improvement in their romantic relationships.

Table 1

Survey for beginner’s improvisation class

Total

Participants

7

Improvement No improvement Not sure

Job satisfaction 3/7

(42.85%)

5/7

(71.42 %)

0/7

(0%)

Communication

skills

6/7

(85.7 %)

0/0

(0%)

1/7

(14.28%)


Romantic

relationships

0/7

(0%)

6/7

(85.7%)

1/7

(14.28%)

Confidence 7/7

(100%)

0/7

(0%)

0/7

(0%)

Listening

7/7

(100%)

0/7

(0%)

0/7

(0%)

Group

communication

6/7

(85.7%)

1/7

(14.28%)

0/7

(0%)

Prefer games 7/7

(100%)

Prefer Lecture

0/7

(0%)

RANKING OF IMPROVISATIONAL PRINCIPLES MOST HELPFUL TO LEAST

HELPFUL

Most helpful Helpful Least helpful

1-Yes, and… 5/7 1/7 1/7

2-Being in the moment 7/7 0/7 0/7

3-Give and Take 5/7 1/7 1/7

The survey allowed participants to rank rules on the same level with the same number. Example:

All the principles could be rank as 1 if the participant felt it’s level of importance was equal to

the other principles.

Discussion

The survey conducted helps to answer the research question- R1: Does improvisation

help with communication skills specifically, confidence (cognitive dissonance),


interpersonal group skills (AST), and learning (experiential learning). If so, how do they

measure against each other? The small survey conducted shows a noticeable improvement in

confidence, interpersonal group skills, and learning experientially. They all seemed to equally

measure on the same level as far as far as improvement in each area. The survey asked the

students to rank the principles of improvisation in order of most helpful to least. While a

majority of the students ranked the principles equally. The principle of being in the moment was

ranked highest in level of importance. This was probably because the participants saw the very

definition of improvisation as the ability to be in the moment. The principles of yes, and…, and

give and take are essentially principles that support being in the moment. Being in the moment is

the focus of clearing out preconceived thought or control over the situation or scene and moving

forward. In order to achieve this the two principles (yes, and.., and give and take) are many

times assumed tools used to achieve the primary principle of being in the moment. Yes, and... is

the ability to accept what information is given and to expand or heighten that information. Give

and take is basically listening and being available to support those you are listening to. This

section of the survey overall showed the reliance of these principles was equally important

communicatively to improvisation.

INTERVIEWS-Data Analysis

The interviews conducted were of a selected few whose background in improvisation was

extensive and varied in an attempt to provide a wider range of data; all those interviewed have

trained, performed, and taught improvisation for a minimum of ten years. The interviewees

consisted of three experts in the field of improvisation.


Interviewee I (I-1) - is the owner of an improvisational company in operation for over

five years, who teaches and directs improvisation on a regular basis. I-1 conducts workshops for

the public, kids, and for a variety of business professionals/corporations. I-1 has a BA in

communications from DePaul University and study at The Second City training center in

Chicago, IL. I-1 has applied their knowledge of communications and improvisation to thier work

in marketing, sales, public relations, and customer relations.

Interviewee II (I-2)-is the current artistic director of the school of improvisation training

center at The Second City in Chicago, Il, which is the top training center or improvisation

internationally. The training center teaches improvisation for a number of uses, performance,

education, and for business and corporate workshops. I-3 has performed, directed and taught

improvisation for over ten years.

Interviewee III (I-3)- is an Adjunct Professor of Business Administration for The Fuqua

School of Business, Duke University. He also is the CEO of Business Improvisations, based out

of Chicago, Los Angeles, and New York. For over fifteen years Bob has performed and taught

improvisation internationally. His teaching and performing credits include Chicago's Second

City (master artist in residence), Improv Olympic (resident company/faculty), Columbia College,

London TheaterSports, The Banff Centre, The Australian Graduate School of Management,

UCLA Anderson School of Management, and Columbia University Business School. His

consulting and teaching work in leadership and managerial improvisation includes emphases on

team skills, fostering a collaborative corporate culture, whole body listening, busting blocks to

creativity, conflict management, dyadic relationships, creative and adaptive problem solving,

leadership, and fostering creative cultures.


The survey questions help to answer the research questions R1 and R3 from the

student’s point of view. While all the research questions were asked to those interviewed on

research question R2 was directed solely to those who have taught improvisation and used these

distraction elements within their side coaching of students. R2: How do distraction elements

help the games in achieving these skills? Focus on rules/principles in improvisation that

involve the use of speed or timed games, and focus on the group/game goal.

Results of the Interviews

INTERVIEW (I-1)

1. Through your experience and previous observation of improvisation, how do you think

improvisation affects interpersonal communication skills?

“The Main elements are listening, and being active in the moment. When you listen, or are

actively practicing give and take, everything else falls in to place. You can’t Yes, and… or

support, heighten and move forward with improvisation. Intuition is key to not just my

classes but in how I conduct my own life. It is critical to many of my gut decisions, now that

I own my own business I preach it. In the work force, you are conditioned to not make

emotional decisions. People judge or condemn decisions based on intuition or emotion. I

finally trusted my instincts, began following the yes, and… concept for myself, and learned

to trust my gut. In the end it does work. When it comes to people, intuition is a natural skill

people have. It is the ability to link people together through a shared a shared energy. This

innate s something that we have been conditioned to ignore. We have been told we can’t

have this skill anymore, in the workplace and our lives, essentially, we are told to rely on the

information handed (like media) to us and are told how to respond to it (like in schools, with


rote learning). Intuition validates the individuals thoughts and teaches us to rely on ourselves

and make our own decisions. Most adults do it. “

2. How does improvisation specifically affect (if at all), confidence (cognitive dissonance),

interpersonal group skills (AST), or learning (experiential learning).

“Through the experiential training aspect you gain confidence it happens with my students in

every class they are completely different people after the workshops. The experience is like

a magic bullet that brings you to a confidence. The rules of improv should be the rules of life

when those rules are set-you use them to succeed. One student of my stated “Improv also

gave me the confidence to leave a dead end direct sales job and get another one that I felt

good about and believed in. I’m no longer afraid to approach people and tell them what I do.

I am able to make more confident decisions and speak out without the fear of rejection” So

many rules of improvisation can be used to affect people’s personal and philosophical

perspectives of life and decision-making. The corporate setting is different (according to

affecting, confidence, interpersonal group skills, and learning) because not everyone wants to

be there. I tell them up front ‘You aren’t going to like me for the 1st hour and you are going

to feel awkward and uncomfortable.’ When you are honest and communicate upfront about

improv rules, it seems to help. People find security in rules and instruction the improv rules

set the tone to be successful in any situation, because these rules help people to realize how

to think on their own, break conventional social rules, and ultimately begin to think outside

the box.”

3. What are (if any) negative aspects of improvisation in communication specifically

interpersonal skills?


“Sometimes, I’m a bigger smart ass than ever. Some people can become over confident and

forget the balance required by following all the rules in improve, if they become complacent

and forget rules like give and take, yes, and…,they are quick to fail.”

4. By observing improvisation what kind of interpersonal skills do you see improve

primarily, confidence (cognitive dissonance), interpersonal group skills (AST), or

learning (experiential learning)? Please explain, give examples of games, rules and

principles that apply.

“Confidence #1 overall communication listening, observing, intuition all tied together.

Through the workshops, I teach to businesses and corporations, sales have doubled due to

employees listening to clients. Some quotes from previous workshop participants are

“Improv teaches you how to think on your feet and how to react and adapt very quickly to

unexpected events and things you may not have planned for.” Improv helps with…so

much….problem solving, active listening and verbal and non verbal communication, being

comfortable in front of one or a group of people, collaboration, innovation and creativity,

listening inter and intra-personally, being engaging and present, teambuilding, avoiding

judgment of self and others, conquering the fear of mistakes, and making more confident

choices.”

5. Over time with continued training or lack of training, do these skills progress, remain

neutral or, digress?

“There is a huge difference continuing in practice. It’s like practicing your golf swing it’s

like a mental exercise. You have to build and maintain those mental muscles.”


6. Do improvisational groups or troupes ever fail, if so why specifically in relationship to,

confidence (cognitive dissonance), interpersonal group skills (AST), or learning

(experiential learning)?

“Troupes fail when they lose commitment. If commitment is not there a troupe or even a

business professionals/organizations in general fail. Just like in performing improv you have

to commit in order to make decisions, and be present be in the moment of a scene. The other

failing point is when the group fails to listen to each other. When the group becomes

individualized and stops working as a team. I am also a fan of tough love commitment you

put in the effort and time to exercise with improv you will see success. “

7. When an improvisational troupe is successful how long does it take for them to bond or

for you to see improvement?

“The players spend a lot of time together as a troupe, if they are successful. It depends on

those who work, those who work and support each other bond quicker. We develop group

dynamic in and outside rehearsals so they are also connected on a social level, the seasoned

players build up the new players.”

8. What elements make a group or troupe successful?

“I would say Give and Take or listening and support. It also seems to be the biggest

challenge with new students.”

9. How do distraction elements like rules/principles in improvisation that involve the use of

speed or timed games, and focus on the group/game goal help the games in achieving

these skills?


“People are so easily distracted by internal thoughts of control and self-editing these

distraction elements help in keeping attention on the group goal and maintaining being in the

moment. Rules- really help in feeling free to be creative and not worrying about failing.

They are freeing the rules are established as an exercise so that once a player has built the

mental muscles needed, they can be free enough to break the rules, at the same time and

create harmony or team synergy.”

10. What rules or principles of improvisation (Appendix B) are the most effective?

“Yes, and… The "yes" means unconditional acceptance and the "and" means you are taking

the idea and building directly upon it. We are encouraging buy-in of the ideas and ownership

of every individual participating in the success of the activity overall.”

Interview (I-2)

1. Has improvisation improved your satisfaction with your current field?

“Improvisation is not just helpful with my work and communications skills, but it is a way of

life. The rules of Improvisation apply to leadership and making life decisions, being in the

moment is essentially living in the moment.”

2. Does improvisation affect communication skills if so how?

“Yes. We, at Second City have customized curriculum to specifically teach communication

skills, we’ve taught to groups organizations, businesses, and corporations. We focus on the

intuitional and typical cues of communication that can be taught and learned in order to be

able to better perceive signals, specifically through improvisational training. Improvisation

can train your mind to be better receptive to communication signals. We focus on listening,


eye contact, and learning how our bodies convey receptiveness, or not. The practice of

improv is like a mental exercise. When we improvise scenes, we are building and discovering

a story that has never been told in conjunction with multiple people. You have to be flexible,

and listening, neither one of you can control directly what is going on. You are building

something that stands as a sum that is greater than its parts. You have to be mentally prepared

to give up your control of an idea at the same time you have to be proactively making offers.

For example, if you see it as building a cathedral together, you put a brick down my partner

puts a brick down and in the end, you have this amazing thing that never existed before. That

dichotomy of surrendering your own will with bringing something to the table, or yes,

and…is a staple communication skill. This is not just for communicating a story on stage but

also for being able to work with other people in corporations or organizations. It is the lack

or breakdown of those skills that hurt organizations and corporations. It keeps them from

moving forward and accomplishing their goals. This causes people to be stifled and

unproductive. We work on reestablishing these basic communication skills. Through games

so we do games that get people to let go of control, open up, listen and rely on each other.

We do exercises that force you to make strong offers. These games are designed to make you

feel powerful as a creator. When you mix the idea of individuals making creative offers with

scene partners that are making their own offers, and all involved are able to surrender their

own will to what the outside scene needs, then you have a pretty effective means of creating

something valuable. When we learn to turn off our internal self-editing, judgment, and doubt

then we learn to make positive offers instead of negatively shooting down offers. This is a

practical tool for businesses and organizations to increase productivity, and innovation. We

are surprised that people don’t think about these things, we live in a very individual focused


type of culture. We don’t try to stifle individualism, but improvisation is an ensemble based

art form, you learn to empower other people’s ideas and learn to live the philosophy of Yes,

and… on a grander scale. “



“In a few cases improv does not work, just like a democracy doesn’t work all the time.

Sometimes a dictatorship is necessary because not all ideas work, or you have to carry the

weight or lead until everyone jumps on board. Sometimes classes fail because a company has

hired us and the participants do not agree or have no interest in learning or willingness to

experience it, you can’t force it. Sometimes improve is better used in a different light as in

sketch comedy writing. Improv is used as a means to find repeatable scripted material, or to

generate ideas. “

4. Does improvisation affect confidence levels in your students if so how?

“Yes and, being in the moment, and give and take are the key elements of improvisation.

Improvisation uses the speed and the rules to create confidence. People get nervous when

things are out of their control, most students take improvisation so that they can learn to be

more flexible, and comfortable being in situations they can’t control. Whether it be people

staring at you or, having to do anything in front of a crowd. Improv allows you to trust that,

even if you make a decision that fails then that failure can be turned into a success. We learn

to conquer that fear of judgment and failure. I see many students that are shy but curious.,

When you put them in situations supported by the class, instructor, and ensemble then that


student learns that a perceived mistake can simply be spun in another direction to become

successful. When all players are listening and supporting it creates something very powerful.

When you are presented with yes, and… the student feels less self-conscious about making

offers and putting themselves out there. Confidence is about being willing to make an offer

and not fear its failure. “

5. Does improvisation affect listening skills if so how?

“Most successful improvisers have a very shrewd ear; they are listening on a level that is

beyond hearing. It takes comprehension and addiction to cues (these are non-critical terms).

They are tuned into the subtext of their partners their brains are automatically, without

thinking hard about it, searching for connections and relationships that relate to the real

world. Most people aren’t tuned in. A game like red ball, involves concentration. The

receiver or players have to be actively looking, and listening. This can be a revelation for

some people, because most people assume listening is a very passive thing. You sit back and

wait for someone else to get your attention then you listen. Decent ensembles are actively

seeking and open to messages. We rely on listening, eye contact, body language etc... This

proactive listening seems to seep in to students even being away from class it improves.”

6. Does improvisation affect communication skills within a group, if so how?

“There are basic honorable truths about how ensembles work together. Some of these things

transcend improvisation. You want to create a fair supportive environment so there are

certain things within a group that you have to agree, upon. For instance, let’s agree to not

interrupt each other, or pause the scene for too long. Some of these things can help in


building groups cohesiveness. Improv is like exercise, you are developing a muscle in the

body. The more you do it the easier it is to be in that state of mind. Our classes meet once a

week for a block of time. Many times the learning comes from what the students get outside

of class. If you practice in class, and you go away for a while, it gives the mind a chance to

process what was going on, so when the student returns you see an improvement.”

7. Did you find your students learn better through their experience with the improvisational

games or through lecture?

“Most definitely, active participation, working through experience. This is an experiential art

form, we learn through doing. Actively participating keeps people out of their heads. The

improvisers don’t stop at the classroom. They hang out socially and the process continues

outside of class.”

8. Over time with continued training or lack of training, do these skills progress, remain neutral

or, digress?

“The more time and practice the more ones perspective changes to coincide with the rules.

Continued training works again like the exercise. “

9. What is the purpose of distraction elements like rules/principles in improvisation, the use of

speed or timed games, and focus of the group/game goals? How do these elements affect

confidence and interpersonal communication skills?

“It cuts out self-editing and forces a reliance on listening, accepting and heightening. It helps

in the generation of ideas.”


All three rules are equally effective improv cannot work without all these elements in effect

at once.


Interview (I-3)

1. Are Yes, and..., being in the moment, and give take the 3 grounding principles of

improvisation as it applies to communication?

“Yes.”


“Tremendously improvisation is my current field. My professional degree is in business. I

left that to become a professional improviser in the mid nineties when that term was a

contradiction. I went broke and left all that to become a professional improviser who teaches

improvisation to corporate types, of the University at Duke and the direct corporate level. So,

I found a way to make a living at improvisation through thinking outside the box. “


“Absolutely, with those three basic principles communication skills are affected. Yes, and…,

with adaptability are particularly important. People who are adept at improvisation become

more flexible, not necessarily with their specific opinions, but accepting others opinions.

They are influenced by those opinions, so they can see a number of different right answers,

instead of just one right or wrong answer. Therefore, this becomes an extension of conflict

management. When you get into a debate you can yes, and… yourself out of sticky

situations, it becomes less of the personal and more about the issue in the middle.”



“Improv calls for people to access parts of themselves. Therefore, it is very authentic in that

way. When people access parts of themselves that they have not accessed in a while whether

its freedom of play, or emotions (very often you have to have emotions readily available in

improvisation) it becomes for some people cathartic and empowering. It creates a different

level of understanding of an individual (who you are) in relation to other people. “


“What?........it’s a joke. Of course it affects listening skills, for the three principles

mentioned. If you are really, present and in the moment and abiding by the tenants of Yes,

and…then you are taking something that someone has offered you , you accept it and adding

to it by building directly on it, heightening it or simply giving your perspective on what was

given to you. So it forces the brain to slow down and stay present in the moment. I go back to

the old improve phrase words are gold. If words are gold, according to give and take, you

don’t waste gold. You don’t just throw them out everywhere, you become much more

selective of what you say. Also, if words are gold, you collect them. You collect them like

they are very valuable you don’t dismiss them, you cherish what other people give you so it

becomes like gifts. This places value not only on the words it holds the people that are

saying the words valuable. In relation to communication, it engenders trust by extension

relationship building.”


“I think it is roughly the same. I do a lot of group stuff with Columbia and their social

sciences department. I think give and take along with adaptability allows for a larger


exchange of ideas. True improv, if you are listening in the moment and valuing each word,

you are slowing the brain down and listening. Therefore, it is common for a group of

improvisers to be having multiples conversations at the same time and not even realize it

because their listening skills and acceptance skills, reasoning skills are so strong. You could

be in a room with several people talking to one person, while knowing what another person

across the room is saying, then chime in on the other conversation then come back to your

own conversation without missing a beat.”



“Active learning for improvisation is the best teacher. If you are teaching something like

math and science, that involves equations or formulas it is probably better to learn the

formulas that have already been proven as opposed to combining combustible elements that

are going to cause explosions. Sometimes tested formulas work so there is no need to

improvise but to rely on what has been established and improvise when needed. Improv is

very much experiential many people work very well with learning by doing; it can really

create a muscle memory that will not exist by reading, or lecture. Continual training works

the mental muscles of communication. Improvisation at its root is really a communication

based art form. Even people that improvise solo are not alone; it is still a group effort, like a

stand-up comedian. They are working with an audience, the y are communicating back and

forth with each other. So looking at the brain there are certain components that effect

communication and like any exercise if you work those muscles they become stronger, this

goes back to muscle memory. Improvisers are much more adept at communication skills.”




“Yes, narcissism! I think many improvisers like to talk about themselves. A narcissism

exists with people who want to perform. Therefore, you get a group of improvisers together

and they always want to talk about improv and themselves. So as much as it can be an

authentic and an individual journey that anyone goes through in improvisation, it relates to an

articulation of that individual journey. Sometimes, when confidence levels are boosted

people start talking more, the listening or give and take skills can be lost. In reality or truth,

the most confident people listen more. “

9. Over time with continued training or lack of training, do these skills progress, remain neutral

or, digress?

“I think it’s depends on the individual. Overall, they improve unless they get to a point where

they become too comfortable and they stop trying, at that point, they may dip a little bit.

Even with that, those that study improv are better at communicating.”

10. What is the purpose of distraction elements like rules/principles in improvisation, the use of

speed or timed games, and focus of the group/game goals? How do these elements affect

confidence and interpersonal communication skills

“Personally, you learn the games to learn structure. Short form limits what you can do, more

than the long form. I go back to adaptability; I think overall, they strengthen the way that

people communicate with each other. With speed, timeline or specific rules you still must

effectively communicate inside those parameters. Improv should not allow you time to think,

you should be in the moment. I do not know if I would call it distracting they are just the

rules of the game. Just like when you learn to play baseball you learn the rules of the game,


once you learn the rules you do not think about the rules you just do them. Like any sport,

same with improv you learn the rules in order to play the game with other people, once you

get them down it becomes second nature and that naturally cares over into communication.”

Discussion

R1: Does improvisation help with communication skills specifically, confidence (cognitive

dissonance), interpersonal group skills (AST), or learning (experiential learning).

If so how do they measure against each other?

The interviews conclude that yes improve does help communication skills, specifically

interpersonal and those listed above. Overall, the use of the three basic rules of Yes, and…,

Being in the moment, and give and take were noted as being the basic founding elements of

improvisation. Through the interviews, these principles concur with the definitions of these

terms listed in Appendix B. All of these principles were referred to as the basis for building

strong interpersonal communication skills. Confidence seemed to be the primary skill improved

as well as creating an accepting environment through the use of yes, and…”

R2: How do distraction elements help the games in achieving these skills? Focus on

rules/principles in improvisation that involve the use of speed or timed games, and focus on

the group/game goal.

A majority of those interviewed stated that these elements helped with focus though elimination

of self-editing, and control. It forces the students to rely on the rules or principles. These rules

and principles once second nature can be broken, or no longer have to be stated because


confidence, group interpersonal skills, have been improved enough that they can communicate

positively, and effectively through experiential learning.

R3: What rules or principles of improvisation (Appendix B) are the most effective?

Overall, the three basic rules are equally effective. Being in the moment, relies on Yes, and…,

and give and take. These principles seem to rely on each other for improvisation and group

communication to happen effectively. Yes, and… seems to promote the open and secure

environment that is needed for people to participate. Give and take provides the listening skills

needed for the participation to happen without chaos or interruption. All experts mentioned the

application of improvisational training and the principles or rules to not just communication but

as a philosophy for life or life skills. Being in the moment can refer to living in the moment, yes,

and…, is the acceptance and building upon what life gives you, and give and take is trusting in

intuition knowing when to act or listen.


CHAPTER 5: SUMMARIES AND CONCLUSIONS

Limitations to the Study

The limitations to this study were the inability to observe the students’ interpersonal

skills prior to the improvisation class. The other issues included the need for a larger

demographic, a wider scale of environments, a larger number of participants and those who did

not choose to take an improvisation class.

The limitations to this survey were the simplicity, and the small number of participants.

Although, the demographic consisted of professionals unrelated to theater, the demographic was

heavily older and at higher levels educationally. This survey would vary if the demographic

were mixed with younger and less educated individuals. In addition, the ranking of principles

needed to be more clearly stated. A better connection of the principles to daily and professional

communication needed could have been more clearly established.

Further Study

The interviews revealed that the three principles of improvisation are not only applicable

to improvisational training as a performance but also to building communication skills and a life

philosophy. This discovery of improvisation as a philosophy or metaphor for life was a

something that this study unexpectedly revealed. This aspect was a nuance that should lead to

future study, and further research in the relation of improvisation and leadership. Another

possibility of further research discovered through literature review was the affects of

improvisational training physiologically and mentally. All interviewed referred to improvisation

s a mental exercise in communication. Through my research, I did find an article that related to

this reference. A study through John Hopkins University recently revealed a connection to the


training or practice of improvisational jazz and an actual physiological effect on the brain (Johns

Hopkins Medical Institutions, 2008). The study showed through CT scans that the practice of

improvisational jazz could actually rewire the brain. (Since the improvisational performance is

similar to improvisational, jazz this aspect is another application of improvisation that requires

further research and study.

There is a need to translate this world of improvisation to the real world of

communication. Improvisation as a performance continues to grow and create new forms. There

are over sixty different improvisational troupes in Chicago alone. These experimental theatres

are creating different forms of improvisation individually. It is time to start taking that creativity

to other areas such as communication, leadership, and professionals that work with others, such

as businessperson and client.

Although there is a shortage of both field studies and empirical studies on improvisation,

prior research in improvisation and communication has largely been qualitative. A quantitative

study needs to form in order to take improvisation out of the arts and into research and

eventually develop grounded theory for communication and improvisation. Although

improvisation can be used for artistic creativity, its use as a communicative tool has not been

completely tapped into. Most information on improvisation is opinionated articles. There are few

studies, partly because those recognizing improvisations potential fail to provide adequate

research or studies that provide substantial evidence. Therefore, improvisation needs to be

officially recognized as a communicative tool, not just a theatrical experiment.


Conclusions

This paper concluded in finding a definite connection between improvisational training

and the building of many interpersonal communication skills. The skills affected the most were,

according to the survey and interviews, teambuilding, confidence, empathy, listening, self-

awareness, group awareness, quick thought and focus in the moment.

Through the interviews conducted, a common thread emerged in the acknowledgment

and agreement of the three basic founding principles defined in this paper as Being in the

moment, yes, and…, and give and take , from the various experts in the field of improvisation.

This helped to create a common definition and a basic structure that helped in identifying the

founding principles. This was imperative in order to attempt a connective bridge to those already

defined communication skills and theories. In defining the three principles, the ability to look

deeper in to improvisational training’s connection to the world outside of performance games

became possible through the studies conducted. The games were then focused on to reveal that

the use of speed, and rules as distracting elements were the primary tactics used in a majority of

improvisational games to get people to participate and start exercising the use of the three

principles of improvisations. The communication theories in this study of cognitive dissonance

(Aronson, 1992), Adaptive Structuration Theory (Griffin, 2009), and the philosophies of

experiential learning through John Dewey (Dewey, Alexander, & Hickman, 1998), and Viola

Spolin (Spolin, 1963) were connected to the three principles of improvisation. They showed a

positive application of these theories in conjunction with improvisation al training.

The literature reviews in comparison to this study overall concur. Improvisation, as noted

in the interviews, successfully builds adaptability and flexibility (Vera & Crossan, 2005).


Improvisation is very useful in innovation but should not be used instead of trusted and tested

methods as mentioned by both Interviewee I-3, and the field study Organizational Improvisation

and Learning: (Miner, Bassoff, & Moorman, 2001). All the other studies in the literature review

coincided with the majority of this study.


REFERENCES

Adler, T. (n.d.). Improvisational Theater. Encyclopedia of Chicago. Retrieved October 1, 2011,

from http://encyclopedia.chicagohistory.org/pages/631.html

Aronson, E. (1992). The return of the repressed: dissonance theory makes a comeback.

Psychological Inquiry. 3(4), 303 – 311

Boesen, K. P., Herrier, R. N., Apar, D. A., & Jackowski, R. M. (2009). Improvisational

Exercises to Improve Pharmacy Students' Professional Communication Skills. American

Journal of Pharmaceutical Education, 73(2), 1-8.

Caputo, J. S., Hazel, H. C., McMahon, C., & Dannels, D. (2002). Communicating Effectively

Linking Thought and Expression. Dubuque: Kendall/Hunt Publishing Company.

Caputo, John. Retrieved March 7, 2011 from:

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Dewey, J., Alexander, T. M., & Hickman, L. A. (1998). The Essential Dewey: Pragmatism,

Education, Democracy.. Indiana: Indiana University Press.

Eriksson, P. & Kovalainen, A. (2008). Qualitative methods in business research. Thousand

Oaks, CA: Sage.

Floyd, K. (2010). Interpersonal communication: the whole story. New York: Mcgraw-Hill

Learning Solutions.

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Griffin, E. A. (2008). A first look at communication theory (7. ed.). Boston: McGraw-Hill Higher

Education.

Halpern, C., Close, D., & Johnson, K. (1994). Truth in comedy: the manual of Improvisation.

Colorado Springs, Colo.: Meriwether Pub..

Hoffman, A., Utley, B., & Ciccarone, D. (2008). Improving medical student communication

skills through improvisational theatre. Medical Education, 42(5), 537-538.

doi:10.1111/j.1365-2923.2008.03077.x

Improv Encyclopedia. (n.d.). Improv Encyclopedia. Retrieved September 11, 2011, from

http://improvencyclopedia.org/

Interpersonal Communication Skills Test. (n.d.). Queendom: personality tests, IQ tests, mind

games, love tests, career tests. Retrieved October 21, 2011, from

http://www.queendom.com/tests/access_page/index.htm?idRegTest=2288

Johns Hopkins Medical Institutions (2008, February 26). This Is Your Brain On Jazz: Researchers Use

MRI To Study Spontaneity, Creativity. ScienceDaily. Retrieved May 4, 2012, from

http://www.sciencedaily.com /releases/2008/02/080226213431.htm

Miner, A. S., Bassoff, P., & Moorman, C. (2001). Organizational improvisation and learning: A

Field study. Administrative Science Quarterly;, 46(2), 304-373.

Moffit, D. (n.d.). The Spolin Center - Viola Spolin Biography. The Spolin Center - about The

Spolin center. Retrieved October 1, 2011, from http://www.spolin.com/violabio.html

Neuman, W.L. (2006). Social research methods: Qualitative & quantitative approaches. 6th

Eds. Upper Saddle River, NJ: Allyn & Bacon.


Rubin, Rebecca B., Rubin, Alan M., & Haridakis, Paul. (2009). Communication Research:

Strategies and Sources. Wadsworth Pub Co.

Sawyer, R. K. (2004). Collaborative Discussion as Disciplined Improvisation. Educational

Researchers, 33(2), 12-20.

Scruggs, M., & McKnight, K. S. (2008). The Second City guide to improv in the classroom:

using improvisation to teach skills and boost learning in the content areas. San

Francisco, Calif.: Jossey-Bass ;.

Shepherd, G. J., John, J., & Striphas, T. G. (2006). Communication as--: perspectives on theory.

Thousand Oaks, Calif.: Sage Publications.

Simpson, D. J. (2010). Teachers, leaders, and schools essays by John Dewey. Carbondale, Ill.:

Southern Illinois University Press.

Spolin, V. (1963). Improvisation for the Theatre. Evanston: Northwestern University Press.

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Second City - 50 Years of Funny. Retrieved October 21, 2011, from

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Vera, D., & Crossan, M. (2005). Improvisation and Innovative Performance in Teams.

Organization Science, 16(3), 203-224.

Viola Spolin. (n.d.). ImprovisationComedy.Org. Retrieved October 1, 2011, from

http://www.improvcomedy.org/hall/spolin1.html


APPENDIXES

APPENDIX A

GAME EXAMPLES

Improvisation game names vary according to the instructor and their training. The examples here

were taken directly from the Improv encyclopedia http://improvencyclopedia.org/ for easy

reference. The example games listed were some of the games played in the improvisation class

by the participants of the study.

RULE/PRINCIPLE ESTABLISHING GAMES:

YES, AND… GAMES

Yes Lets

Pick a group activity, like throwing a party or organizing a picnic. One player starts, saying

"Let`s ..." filling in what she wants to do. Then she starts actually doing what she said she

wanted to do. A second player jumps in, saying "Let`s ..." do something else, to advance the

group activity. Both players say "Yes, let`s do that" and start doing whatever suggested. Third

player jumps in, suggests what to do, and again all players loudly agree to do it, and actually do

it. Continue till everyone has suggested something.

Accepting Circle

Get everyone in a big circle. One player starts by making a little gesture, perhaps with a little

sound. His or her neighbor then tries and does exactly the same. And so on. Although we expect

the gesture/sound not to change, it will.


Notes

Watch for movements that suddenly change left/right arm or leg. This is not really supposed to

happen, but it will. Once happened, it should be accepted by the next player. Also, watch/listen

for little moans or sighs that players might make before or after their turn - these should also be

taken over by the next player.

GIVE AND TAKE

Give and Take

This is a variation on Walking by Numbers : all players find a position the room. One person

must always make sound and one person must walk. This can be the same person who is walking

and making sound but it could be one person walking while a different person is making sound.

The focus can be given (i.e. a walker stops walking) or can be taken (i.e. someone else starts

walking; the original walker must stop then). Feel free to try with multiple walkers.

Point of View

Improvise a simple scene. Then the scene is replayed, from the point of view of one of the

characters. You can replay several times, from several POVs. Make sure the scene is such that

the relationships between the characters allow for clear POVs. A scene about dryly buying a pair

of shoes does not lead to exciting POVs... Also known as Rashomon. - after the movie by Akira

Kurosawa, that follows different points of view as well. For the same reason also known by the

name Also known as Kurosawa..

http://improvencyclopedia.org/games/Walking_by_Numbers.html


The technique can be used as an excellent Narration Exercise : have one improviser tell a story,

something simple like what happened to him or her today, interacting with other characters.

After that, other players talk about the interaction from the POV of one of the characters in the

original.

Mirror in Circle

All players in a circle. Make eye contact with the player immediately in front of you, or on the

other side of the circle and start mirroring each other. Once the routine is established, they both

start to walk to the center of the circle and stop when they are close enough to touch, still

mirroring each other. All the players should reach the center of the circle at the same time.

Variations

Participants can mirror who ever they want to in the circle and shouldn't let the person they're

mirroring guess that they are being mirrored.

Alternatively, one player gets out of the room and waits outside while somebody is designated in

the circle to be copied by all the other members of the circle. The player waiting outside is called

back in and has to guess, by observing the circle, who is originating the movements that

everyone else is copying.

BEING IN THE MOMENT

Crisis Situation

Great exercise for spontaneity. 2 players on stage approach each other with a crisis, and an object

http://improvencyclopedia.org/categories/Narration.html

http://improvencyclopedia.org/categories/Exercise.html


unrelated to the crisis. After each has presented his or hers, each solves the other`s crisis with

their own object. Replies must be instantaneous and may be ridiculous.

Example:

Player A: My wife left me and I`m stuck here with this t-shirt

Player B: I got robbed and all I have left is my good looks.

Player A: Here`s my t-shirt; you can sell it and make some money.

Player B: Erm... Marry me.

Surprise Movement

Have everyone walk around leisurely. Tel them to stop and start make a movement, a gesture, a

sound, anything really. Let the players repeat the gesture until they know what they `are`. The

idea is not to preconceive, but to let it happen. Players may turn out to be dish washers, ushers,

lawn mowers, ping pong balls, whatever. Explain that there are no wrong answers. Tell the

players just to acknowledge what they `are` for themselves, and then move on, stop again and

make another gesture/movement/sound.

Ding

A scene is played. Whenever the MC ring a bell (or yells `Ding`), the player that is doing

something/saying something needs to say/do something else.

Notes -Doing `something else` is quite often interpreted as doing/saying the opposite of what you

did before. One can be more creative, e.g. repeat what was said in a different emotion.


If you use this as an exercise on Spontaneity the trainer can `Ding` quite often (very frustrating

for the players, but they will come up with stuff they never would have thought of before).

Disadvantage of this is that the story/characters tend to get lost. Use sparingly for performance.

Also known as Other Choice.

http://improvencyclopedia.org/categories/Spontaneity.html


APPENDIX B

THREE BASIC RULES THAT ARE GROUNDING PRINCIPLES FOR

IMPROVISAITON.

Yes, and…,

-“Yes, and…” Accept or empathize with what is given to you communicatively and heighten that

dialogue information and or action.

-Make Action choices- Make a decision or do something that ignites an action, move the scene

forward by making a decision that makes a stand on something. Also referred to as ‘today is the

day’ something happens.

Being in the moment

- Spontaneity- referred to in improvisation as don’t think, be in the moment, do not self-edit,

trust your instincts, be honest.

-Make bold choices- assumptions, statements, and avoid questions.

-Assume you know someone for at least six months- when you know someone for more than six

months you are able to start in the middle of a situation, or scene.

Give and Take

-Listen, Intuition, or Give and take – the ability to read others, knows when to needed, and when

to back off or stop a scene or communication.


APPENDIX C

INTERVIEW QUESTIONS

Through your experience and professional background with improvisation, please iterate the

observations you have noticed with the following questions.







games or through lecture? Active working



8. Over time with continued training or lack of training, do these skills progress, remain

neutral or, digress?

9. What is the purpose of distraction elements like rules/principles in improvisation, the use

of speed or timed games, and focus of the group/game goals? How do these elements

affect confidence and interpersonal communication skills



APPENDIX D

Improvisation Survey

The following questionnaire is being used to measure any differences in interpersonal

communication skills that have been affected by the improvisation class you just took.

Answer one of the following for each question, type the corresponding # after each

question/statement.

1- for Yes

2- for No

3- for Not sure SURVEY QUESTIONS

Interpersonal Skills and

I. Demographic-

11. Please, answer the questions below as objectively as you can.

12. Gender:

13. Age:

14. What is the highest degree of formal education that you have achieved?

15. What field do you work in?

16. How would you classify your socio-economic status? In the options below, please, select

the closest level. Upper, Middle, or Lower Class.

17. What is your ethnicity?

II. Research Questions

18. Has the improvisation class improved your satisfaction with your current field?

19. How would you rate your communication skills before the improv class?


20. After?

21. How would you rate your romantic relationship before the improve class?

22. After?

23. After taking the improvisation class, have you noticed an improvement in your

confidence level?

24. After taking the improvisation class, have you noticed an improvement in listening skills?

25. After taking the improvisation class, have you noticed an improvement in communicating

within a group?

26. Did you learn more communicatively through your experience with the improvisational


27. I noticed a positive difference in confidence (cognitive dissonance), interpersonal group

skills (AST), and learning (experiential learning).

III. Basic Rules Ranking

Please rank the rules in improvisation from most helpful or important to least helpful or

important communicatively on the scale of 1-3 after each line/rule. If you feel any rules

belong on the same level, please rank them with the same number 1 being most helpful or

important and 3 being the least helpful or important.

Yes, and…,

Being in the moment

Give and Take

Additional Comments:


APPENDIX E

Release Form

I agree to participate in the study conducted through documentation by Brooklin Green. The

purpose of the research project is to measure how improvisational training through games affects

interpersonal communication.

I understand and consent to the use and release of the audiotape and or observation documented

through written notes by Brooklin Green. I understand that the information is for research

purposes only and that my name and image will not be used for any other purpose. I relinquish

any rights to the documentation and understand the documentation may be copied and used by

Brooklin Green without further permission. I understand that I can refuse participation at any

time.

I agree I will instantly raise any concerns or areas of discomfort with the study to Brooklin

Green.

Please sign your name:____________________________________________________

Date:______________________________________________________________

Print Name: ______________________________________________

Thank you!

Your participation is greatly appreciated!


APPENDIX F

E-mailed Release Form

Please respond via e-mail stating that you agree to the release below.

Thank you!

Your participation is greatly appreciated!

Release Form

I agree to participate in the study conducted through observation, jotted notes and or audio

documentation by Brooklin Green. The purpose of the research project is to measure how

improvisational training through games affects interpersonal communication.

I understand and consent to the use and release of the documentation by Brooklin Green. I

understand that the information is for research purposes only and that my name and will not be

used for any other purpose. I relinquish any rights to the documentation and understand the

documentation may be copied and used by Brooklin Green without further permission. I

understand that I do not have to participate.

I agree I will instantly raise any concerns or areas of discomfort with the study to Brooklin

Green.

By replying via-e-mail, I am giving my consent to this release form.


IMPACT OF IMPROVISATION ON INTERPERSONAL COMMUNICATION

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