Viola Spolin Citas

• Play touches and stimulates vitality, awakening the whole person - mind, body, intelligence and creativity.

  Viola Spolin

  Creativity, Play, Mind

  90 Copiar cita

• Everyone can act. Everyone can improvise. Anyone who wishes to can play in the theater and learn to become 'stage-worthy.' We learn through experience and experiencing, and no one teaches anyone anything. This is as true for the infant moving from kicking and crawling to walking as it is for the scientist with his equations. If the environment permits it, anyone can learn whatever he chooses to learn; and if the individual permits it, the environment will teach him everything it has to teach. 'Talent' or 'lack of talent' have little to do with it.

  Viola Spolin

  Moving, Play, Wish

  Viola Spolin (1999). “Improvisation for the Theater: A Handbook of Teaching and Directing Techniques”, p.50, Northwestern University Press

  89 Copiar cita

• La espontaneidad nos transforma en nosotros mismos. Crea una explosión que, por el momento, nos libera de los marcos de referencia heredados, de la memoria atascada de hechos e información antiguos y de las teorías y técnicas no digeridas de los descubrimientos de otras personas. La espontaneidad es el momento de libertad personal en el que nos enfrentamos a la realidad, la vemos, la exploramos y actuamos en consecuencia. En esta realidad, las partes de nosotros mismos funcionan como un todo orgánico. Es el momento del descubrimiento, de la experiencia, de la expresión creativa.

  Viola Spolin

  Memories, Reality, Discovery

  Viola Spolin (1999). “Improvisation for the Theater: A Handbook of Teaching and Directing Techniques”, p.4, Northwestern University Press

  93 Copiar cita

• The unknown is where we go to find new things and intuition is how we find them.

  Viola Spolin

  Intuition, New Things

  57 Copiar cita

• The techniques of the theater are the techniques of communicating.

  Viola Spolin

  Technique, Theater, Communicate

  Viola Spolin (1999). “Improvisation for the Theater: A Handbook of Teaching and Directing Techniques”, p.14, Northwestern University Press

  57 Copiar cita

• Aprendemos a través de la experiencia y la vivencia, y nadie enseña nada a nadie.

  Viola Spolin

  Enseña

  Viola Spolin (1999). “Improvisation for the Theater: A Handbook of Teaching and Directing Techniques”, p.50, Northwestern University Press

  53 Copiar cita

• Theater Games are a process applicable to any field, discipline, or subject matter which creates a place where full participation, communication, and transformation can take place.

  Viola Spolin

  Communication, Games, Discipline

  44 Copiar cita

• Get out of your head, into your space and await the invisible stranger

  Viola Spolin

  Space, Stranger, Invisible

  40 Copiar cita

• It is highly possible that what is called 'talented behavior' is simply a greater individual capacity for experiencing. From this point of view, it is in the increasing of the individual capacity for experiencing that the untold potentiality of a personality can be evoked.

  Viola Spolin

  Inspiración, motivación, actitud

  Viola Spolin (1999). “Improvisation for the Theater: A Handbook of Teaching and Directing Techniques”, p.50, Northwestern University Press

  81 Copiar cita

• Everyone can act. Everyone can improvise. Anyone who wishes to can play in the theatre.

  Viola Spolin

  Play, Wish, Theatre

  Viola Spolin (1999). “Improvisation for the Theater: A Handbook of Teaching and Directing Techniques”, p.50, Northwestern University Press

  65 Copiar cita

• A través de la espontaneidad volvemos a ser nosotros mismos.

  Viola Spolin

  Espontaneidad

  Viola Spolin (1999). “Improvisation for the Theater: A Handbook of Teaching and Directing Techniques”, p.4, Northwestern University Press

  35 Copiar cita

• When the rational mind is shut off, we have the possibility of intuition.

  Viola Spolin

  Mind, Intuition, Possibility

  Viola Spolin (1999). “Improvisation for the Theater: A Handbook of Teaching and Directing Techniques”, p.14, Northwestern University Press

  15 Copiar cita

• El público es el miembro más venerado del teatro. Sin público, no hay teatro. Todo lo que se hace es, en última instancia, para el disfrute del público. Son nuestros invitados, compañeros de juego y el último radio de la rueda que puede empezar a rodar. Ellos hacen que la representación tenga sentido.

  Viola Spolin

  Meaningful, Player, Theatre

  47 Copiar cita

• If the environment permits it, anyone can learn whatever he chooses to learn, and if the individual permits it, the environment will teach him everything it has to teach.

  Viola Spolin

  Environment, Individual, Permit

  Viola Spolin (1963). “Improvisation for the theater: a handbook of teaching and directing techniques”

  35 Copiar cita

• One must be chary of words because they turn into cages.

  Viola Spolin

  Cages, Turns

  32 Copiar cita

• First teach a person to develop to the point of his limitation and then-pfft!-break the limitation.

  Viola Spolin

  Firsts, Limits, Break

  40 Copiar cita

• That which is not yet known comes out of that which is not yet here.

  Viola Spolin

  Conocido

  Viola Spolin (1999). “Improvisation for the Theater: A Handbook of Teaching and Directing Techniques”, p.13, Northwestern University Press

  21 Copiar cita

• Es lógico que si dirigimos todos nuestros esfuerzos a alcanzar un objetivo, corramos el grave peligro de perder todo aquello en lo que hemos basado nuestras actividades cotidianas. Porque cuando un objetivo se superpone a una actividad en lugar de evolucionar a partir de ella, a menudo nos sentimos engañados cuando lo alcanzamos.

  Viola Spolin

  Losing Everything, Daily Activities, Goal

  Viola Spolin (1999). “Improvisation for the Theater: A Handbook of Teaching and Directing Techniques”, p.12, Northwestern University Press

  31 Copiar cita

• ¡No inicies! ¡Sigue al iniciador! Sigue al seguidor.

  Viola Spolin

  Followers, Initiate

  Viola Spolin, Carol Sills (1985). “Theater Games for Rehearsal: A Director's Handbook, Updated Edition”, p.93, Northwestern University Press

  15 Copiar cita

• My vision is a world of accessible intuition.

  Viola Spolin

  Intuition, Vision, World

  Viola Spolin (1999). “Improvisation for the Theater: A Handbook of Teaching and Directing Techniques”, p.11, Northwestern University Press

  9 Copiar cita

• Cuando los estudiantes-actores ven a la gente y la forma en que se comportan cuando están juntos, ven el color del cielo, escuchan los sonidos en el aire, sienten el suelo bajo ellos y el viento en sus caras, obtienen una visión más amplia de su mundo personal y el desarrollo en el teatro se acelera. El mundo proporciona el material para el teatro y el crecimiento artístico se desarrolla de la mano del reconocimiento del mundo y de uno mismo dentro de él.

  Viola Spolin

  Air, Self, Views

  29 Copiar cita

• Hay pocos lugares fuera de su propio juego en los que un niño pueda contribuir al mundo en el que se encuentra. Su mundo: dominado por adultos que le dicen qué hacer y cuándo hacerlo, tiranos benévolos que reparten regalos a sus buenos súbditos y castigos a los malos, que se divierten con la inteligencia de los niños y se molestan con sus estupideces.

  Viola Spolin

  Children, Punishment, Play

  19 Copiar cita

• General improvisations often give actors an insight beyond their words by helping them to 'see the word' and achieve a reality for the scene.

  Viola Spolin

  Reality, Giving, Actors

  19 Copiar cita

• Creativity is not the clever rearranging of the known.

  Viola Spolin

  Clever, Creativity, Rearranging

  22 Copiar cita

• We have freedom of speech, but you got to watch what you say.

  Viola Spolin

  Freedom Of Speech, Theatre, Watches

  13 Copiar cita

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