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Viola Spolin (November 7, 1906 - November 22, 1994) is considered by many to be the American Grandmother of Improvisation. She influenced the first generation of Improv at the Second City in Chicago in the late 50's, as her son, Paul Sills, was one of the co-founders. Spolin developed new games that focused upon creativity, adapting and focusing the concept of play to unlock the individual's capacity for creative self-expression. Viola Spolin's use of recreational games in theatre came from her background with the Works Progress Administration during the Great Depression where she studied under Neva Boyd .

Spolin is the author of a number of improv texts, her most famous being Improvisation for the Theatre.

Contents 1 Early work 2 The Birth of American Improv 3 Later years 4 Spolin's Games 5 References 6 See also

Viola Spolin trained initially (1924-26) to be a settlement worker, studying at Neva Boyd's Group Work School in Chicago. Boyd's innovative teaching in the areas of group leadership, recreation, and social group work strongly influenced Spolin, as did the use of traditional game structures to affect social behavior in inner-city and immigrant children.

While serving as drama supervisor for the Chicago branch of the Works Progress Administration's Recreational Project (1939-1941), Spolin perceived a need for an easily grasped system of theater training that could cross the cultural and ethnic barriers within the WPA Project. Building upon the experience of Boyd's work, she responded by developing new games that focused upon individual creativity, adapting and focusing the concept of play to unlock the individual's capacity for creative self-expression. These techniques were later to be formalized under the rubric "Theater Games."^[1]

In 1946 Spolin founded the Young Actors Company in Hollywood. Children six years of age and older were trained, through the medium of the still developing Theater Games system, to perform in productions. This company continued until 1955, when Spolin returned to Chicago to direct for the Playwright's Theater Club and, subsequently, to conduct games workshops with the Compass Theatre, the country's first professional, improvisational acting company. The Compass Theatre made theater history in America. It began in a storefront theater near the University of Chicago campus in the summer of 1955 and out of this group was born a new form: improvisational theater and a radically new kind of comedian. "They did not plan to be funny or to change the course of comedy," writes Coleman. "But that is what happened." From 1960 to 1965, still in Chicago, she worked with her son Paul Sills as workshop director for his Second City Company and continued to teach and develop Theater Games theory. As an outgrowth of this work, she published Improvisation for the Theater ^[2], consisting of approximately two hundred and twenty games and exercises. It has become a classic reference text for teachers of acting, as well as for educators in other fields. In 1965 she co-founded the Game Theater in Chicago, again working with Sills. The theater sought to have its audiences participate directly in Theater Games, thus effectively eliminating the conventional separation between improvisational actors and audiences who watched them. The experiment achieved limited success, and the theater closed after only a few months.

In 1970 - 1971 Spolin served as special consultant for productions of Sills' Story Theater in Los Angeles, New York, and on television. On the West Coast, she conducted workshops for the companies of the Rhoda and Friends and Lovers television series and appeared as an actress in the Paul Mazursky film Alex in Wonderland (MGM 1970).

In November 1975 the publication of the Theater Game File made her unique approaches to teaching and learning more readily available to classroom teachers; in 1976 she established the Spolin Theater Game Center in Hollywood, serving as its artistic director. In 1979 she was awarded an honorary doctorate by Eastern Michigan University, and until the 1990s she continued to teach at the Theater Game Center. In 1985 her new book, Theater Games for Rehearsal: A Director's Handbook, was published.

Spolin's Theater Games are simple, operational structures that transform complicated theater conventions and techniques into game forms. Each game is built upon a specific focus or technical problem and is an exercise that gives the actor something to focus on and create. The intention and the experience of this is one of being in the moment with creating rather than being in the mind judging.

• The Spolin Center

• Books by Viola Spolin
• The Second City - Warning, lots of Flash Animations