The Connect Improv Curriculum:連接即興課程：
Supporting Youth on the Autism支持自閉癥青少年
Spectrum and Their Educators光譜和他們的教育工作者
Lacy Alana and Jim Ansaldo萊西·阿蘭娜和吉姆·安薩爾多
Lacy Alana is a licensed clinical social worker and improviser who eclectically combines her clinical expertise with her passion for creative expression. Accordingly, she has created several innovative and experiential therapeutic and arts programs for at-risk youth and youth with autism, and training programs for educators and clinicians who work with youth.
Jim? Ansaldo? conducts? research,? supports? school? change? efforts,? and facilitates? educator? professional? learning? around? Applied? Improvisation, culturally responsive practice, curriculum design, instructional consultation, and online learning at the Center on Education and Lifelong Learning at the Indiana Institute on Disability and Community at Indiana University. Jim has performed and taught improv comedy and musical improv for twenty-five years.
花邊阿拉娜是一名有執(zhí)照的臨床社會(huì)工作者和即興工作者承边，她把她的臨床專業(yè)知識(shí)和她對(duì)創(chuàng)造性表達(dá)的熱情結(jié)合在一起斥赋。因此，她為面臨風(fēng)險(xiǎn)的青少年和自閉癥青年創(chuàng)建了一些創(chuàng)新和經(jīng)驗(yàn)治療和藝術(shù)項(xiàng)目浪谴，并為從事青年工作的教育工作者和臨床醫(yī)生制定了培訓(xùn)方案。
Jim Ansaldo在印第安納大學(xué)印第安納殘疾和社區(qū)研究所的教育和終身學(xué)習(xí)中心開展研究雕什，支持學(xué)校改革努力裕照，并促進(jìn)教育工作者圍繞應(yīng)用即興創(chuàng)作、文化反應(yīng)靈敏的實(shí)踐在刺、課程設(shè)計(jì)逆害、教學(xué)咨詢和在線學(xué)習(xí)進(jìn)行專業(yè)學(xué)習(xí)藏古。Jim在即興喜劇和音樂(lè)即興表演方面有25年的教學(xué)經(jīng)驗(yàn)。
For several years, Lacy Alana and Jim Ansaldo have used Applied Improvisation (AI) to support youth on the autism spectrum and educators. Lacy has directed Building Connections, a weekly improv class series for autistic youth in Austin, Texas. Lacy and Jim have codirected Camp Yes And, a summer camp offered through Indiana University. The Connect Improv Curriculum (CIC) forms the core of both programs, and evidence suggests that the curriculum has brought significant benefits to youth on the spectrum and educators alike.
多年來(lái)忍燥，Lacy Alana和Jim Ansaldo一直在使用應(yīng)用即興表演（AI）來(lái)支持自閉癥青少年和教育工作者拧晕。Lacy曾指導(dǎo)過(guò)Building Connections，這是一個(gè)為德克薩斯州奧斯汀的自閉癥青少年舉辦的每周即興表演課程系列梅垄。萊西和吉姆聯(lián)合執(zhí)導(dǎo)了《夏令營(yíng)》是還有厂捞，印第安納大學(xué)提供的夏令營(yíng)。連接即興課程（CIC）構(gòu)成了這兩個(gè)項(xiàng)目的核心队丝，有證據(jù)表明靡馁，該課程為青少年和教育工作者帶來(lái)了顯著的好處。
Building Connections
Prior? to? starting? Building? Connections,? Lacy? worked? at? an? adolescent boys’ neurobehavioral unit in a residential treatment center that often served as a “l(fā)ast resort” for patients who had exhausted other, less restrictive interventions. The patients? were? complex? and? often? presented? with? multiple? mental? health, developmental,? and? social? system? challenges.? Many? were? regarded? as challenging patients who were oppositional, aggressive, and disconnected from others. Moreover, they felt they had been failed chronically by a broken mental health? system? and? often? resisted? treatment.? After? about? a? year,? Lacy? began integrating improv exercises and games into more traditional group and family therapy sessions as an experiment, and she found this approach to be highly successful. Youth? who? previously? refused? treatment? began? to? demonstrate? a willingness to participate and to make progress.
建立聯(lián)系
在創(chuàng)辦Building Connections之前机久，Lacy曾在一個(gè)住宅治療中心的青少年男孩神經(jīng)行為單元工作臭墨，該治療中心通常是那些已經(jīng)用盡其他限制較少的干預(yù)措施的患者的“最后手段”。病人很復(fù)雜和社會(huì)系統(tǒng)的多重挑戰(zhàn)膘盖。許多人被認(rèn)為是具有挑戰(zhàn)性的病人誰(shuí)是對(duì)立的胧弛，侵略性的，并與他人斷開侠畔。此外结缚，他們還感到，一個(gè)支離破碎的心理健康系統(tǒng)長(zhǎng)期以來(lái)讓他們感到失望软棺。而且常澈旖撸抗拒治療。大約一年后喘落，Lacy開始將即興練習(xí)和游戲整合到更傳統(tǒng)的團(tuán)體和家庭治療課程中茵宪，作為一個(gè)實(shí)驗(yàn)，她發(fā)現(xiàn)這種方法非常成功瘦棋。以前拒絕接受治療的青年開始表現(xiàn)出參與和取得進(jìn)展的意愿稀火。
One particular youth, Joshua, comes to mind who exemplifies this transformation.1 He was 17 and had been in and out of psychiatric hospitals since early adolescence. He was diagnosed with autism, along with a mood disorder and several learning disorders. At home, his behaviors were described as “out of control.” He struggled to communicate with others, and he often became aggressive. In treatment, he vacillated between being despondent and highly resistant. He largely refused to participate in individual, family, or group therapy, and was oppositional and guarded in those few times that he did participate. When improv initially was introduced in group therapy, Joshua didn’t join in. Over the next few weeks, he slowly increased his involvement: first standing near group members who were engaged in an improv game, then standing in the circle with peers, later gesturing silently and half-heartedly, and ultimately participating fully with body and voice. Improv seemed to unlock something for him. He began to laugh with peers. He wanted to teach improv games? to? his? family? during? therapy? sessions.? According? to? his? parents,? he became more expressive, engaged, and connected than he had been in years.
我想起了一個(gè)叫約書亞的年輕人誰(shuí)例證了這一轉(zhuǎn)變。他17歲兽狭，從青春期早期開始就在精神病院進(jìn)進(jìn)出出憾股。他被診斷為自閉癥，同時(shí)伴有情緒障礙和幾種學(xué)習(xí)障礙箕慧。在家里服球，他的行為被描述為“失控”。他很難與別人交流颠焦，而且他經(jīng)常變得咄咄逼人斩熊。在治療中，他在沮喪和強(qiáng)烈抵抗之間搖擺不定伐庭。他很大程度上拒絕參加個(gè)人粉渠、家庭或團(tuán)體治療分冈，在他參與的那幾次中，他是持反對(duì)態(tài)度和謹(jǐn)慎的霸株。當(dāng)最初在團(tuán)體治療中引入即興表演時(shí)雕沉，約書亞沒(méi)有加入。在接下來(lái)的幾個(gè)星期里去件，他慢慢地增加了他的參與度：首先站在正在玩即興游戲的小組成員附近坡椒，然后和同齡人一起站在圈子里，后來(lái)默默地尤溜、半心半意地做手勢(shì)倔叼，最后完全用身體和聲音參與進(jìn)來(lái)。即興表演似乎為他解開了什么宫莱。他開始和同齡人一起笑丈攒。他想在治療期間教他的家人玩即興游戲。據(jù)他的父母說(shuō)授霸，他變得比過(guò)去幾年更有表現(xiàn)力巡验，更投入，更有聯(lián)系绝葡。
Joshua was not alone. As Lacy continued to add improv into the curriculum with autistic youth, she noticed a marked improvement in many of her students’ communication and social interaction, flexibility and spontaneity, and ability to integrate sensory information. It was exciting to discover an intervention that consistently showed strong benefits. Improv supported a framework of enhancing and expanding strengths that these youths already possessed, rather than focusing on remediating deficiencies. With this success as a guidepost, Lacy and a group of Austin improvisers discussed the possibility of creating improv classes specifically for autistic youth. In 2013, Building Connections was established at Austin’s Hideout Theatre.
約書亞并不孤單深碱。隨著Lacy繼續(xù)將即興表演加入到自閉癥青少年的課程中腹鹉，她注意到她的許多學(xué)生在溝通和社會(huì)互動(dòng)藏畅、靈活性和自發(fā)性以及整合感官信息的能力方面都有了顯著的進(jìn)步。這是令人興奮的發(fā)現(xiàn)功咒，干預(yù)一貫顯示出強(qiáng)大的好處愉阎。Improv支持一個(gè)加強(qiáng)和擴(kuò)大這些年輕人已經(jīng)擁有的優(yōu)勢(shì)的框架，而不是專注于彌補(bǔ)缺陷力奋。以此為指導(dǎo)榜旦，Lacy和一群奧斯汀的即興表演者討論了為自閉癥青年開設(shè)即興表演課程的可能性。2013年景殷，在奧斯汀的Hideout Theatre建立了建筑連接溅呢。
Initially, two simultaneous six-week trial classes were offered—one for ages 10– 13, and the other for ages 14– 18. Class structure, exercises, and intervention models were designed by Lacy with the overall objective of giving youth a safe place to have fun, express themselves, and improve communication and social skills (Figure 4.1). Building Connections met with quick success, and program offerings expanded to full semesters, prompting Lacy to develop the full CIC. The curriculum offers practitioners of AI a framework for understanding autism, evidence around the utility of improv as a key teaching and learning strategy, and full instructions for facilitating a thirteen-week improv class. In 2014, an opportunity to use the CIC outside of Building Connections came when Lacy and Jim met, and the two began to design Camp Yes And.
最初，我們同時(shí)開設(shè)了兩門為期六周的試驗(yàn)課程猿挚，其中一門是長(zhǎng)期的咐旧。10歲到13歲，另一個(gè)年齡段14- 18. 課堂結(jié)構(gòu)绩蜻、練習(xí)和干預(yù)模式都是由Lacy設(shè)計(jì)的铣墨，總體目標(biāo)是給青少年一個(gè)安全的地方，讓他們享受樂(lè)趣办绝，表達(dá)自己伊约，提高溝通和社交技能（圖4.1）姚淆。Building Connections很快就取得了成功，課程擴(kuò)展到了整個(gè)學(xué)期屡律，這促使Lacy開發(fā)了完整的CIC腌逢。該課程為人工智能從業(yè)者提供了一個(gè)理解自閉癥的框架，圍繞即興表演作為一個(gè)關(guān)鍵的教學(xué)和學(xué)習(xí)策略的效用的證據(jù)超埋，以及促進(jìn)13周即興表演課的完整說(shuō)明上忍。2014年，當(dāng)Lacy和Jim相遇時(shí)纳本，一個(gè)在Building Connections之外使用CIC的機(jī)會(huì)來(lái)了窍蓝，兩人開始設(shè)計(jì)Camp是的而且。
Camp Yes And
Jim has been a performing improviser since the late? 1980s and has facilitated educator? professional? learning? since? 2000.? In? 2014,? he? attended? Lacy’s presentation? at? the? Applied? Improvisation? Network? World? Conference.? Jim spoke with Lacy about bringing her work to Indiana, but given the distance, a weekly class wouldn’t be practical. They treated the distance as an offer and instead developed a summer improv camp for teens on the spectrum.
YES AND 營(yíng)地
Jim自20世紀(jì)80年代末以來(lái)一直是一名即興表演者繁成，并自2000年以來(lái)促進(jìn)了教育工作者的專業(yè)學(xué)習(xí)吓笙。2014年，他參加了Lacy在“應(yīng)用即興”的演講巾腕。網(wǎng)絡(luò)世界大會(huì)面睛。吉姆和萊西談過(guò)把她的工作帶到印第安納州，但考慮到距離尊搬，每周一次的課程是不切實(shí)際的叁鉴。他們把這段距離當(dāng)成了一項(xiàng)條件，轉(zhuǎn)而為青少年們開發(fā)了一個(gè)夏季即興夏令營(yíng)佛寿。
As the collaboration continued, Jim also saw the need to design a learning component aimed at the learning professionals that work with these teens. Parent feedback from Building Connections often contained phrases like, “I didn’t know she could do that!” Jim reasoned that if improv unearths skills in autistic youth that their own parents haven’t seen, it is possible that educators chronically underestimate and under-challenge these young people in school. Moreover, research suggests that many educators lack confidence in their ability to support students on the spectrum (Cassady 2011), and professional learning that provides practice, feedback, and coaching supports educators to transfer new skills from the workshop to the classroom (Joyce and Showers 2002). Camp Yes And is designed intentionally to provide educators with this critical support as they learn improv skills and apply them in an authentic context, working directly with autistic teens.
隨著合作的繼續(xù)幌墓，Jim也看到了設(shè)計(jì)一個(gè)學(xué)習(xí)組件的必要性，該組件旨在與這些青少年一起工作的學(xué)習(xí)專業(yè)人士冀泻。建立聯(lián)系的家長(zhǎng)反饋經(jīng)常包含這樣的短語(yǔ)比如常侣，“我不知道她還能這樣！”吉姆認(rèn)為弹渔，如果改善挖掘自閉癥青年的技能那自己的父母還沒(méi)有看到胳施，教育工作者可能長(zhǎng)期低估和挑戰(zhàn)這些在學(xué)校的年輕人。此外肢专，研究表明舞肆，許多教育工作者對(duì)支持學(xué)生的能力缺乏信心(Cassady，2011年)博杖，而提供實(shí)踐椿胯、反饋和輔導(dǎo)的專業(yè)學(xué)習(xí)則支持教育工作者將新技能從講習(xí)班轉(zhuǎn)移到課堂(Joyce和驟雨，2002年)欧募。營(yíng)地是旨在為教育工作者提供重要的支持压状，幫助他們學(xué)習(xí)即興表演技巧，并將其應(yīng)用于真實(shí)的情境中，直接與自閉癥青少年一起工作种冬。
Camp Yes And has been structured as a five-day summer camp for teens on the autism spectrum and educators, including general and special education teachers, speech-language pathologists, social workers, arts educators, and others. During each morning of camp, Lacy and Jim work alone with educators to practice improv techniques and discuss their application to supporting the academic and social success of youth on the spectrum. Each afternoon, the entire group works together to facilitate an improv camp for these teens (Figure 4.2). Each day, roughly two of the CIC modules are used to guide camp activities.
YES AND營(yíng)已被構(gòu)造為一個(gè)為期五天的夏令營(yíng)青少年對(duì)自閉癥譜系和教育工作者镣丑，包括普通和特殊教育教師俏扩，言語(yǔ)語(yǔ)言病理學(xué)家帮毁，社會(huì)工作者想邦，藝術(shù)教育工作者拯欧，和其他人。在夏令營(yíng)的每一個(gè)早晨洽腺，Lacy和Jim單獨(dú)與教育工作者一起練習(xí)即興表演技巧嗦嗡，并討論他們的應(yīng)用胆剧，以支持青少年在學(xué)術(shù)和社會(huì)上的成功旱物。每天下午遥缕，整個(gè)小組一起工作，為這些青少年提供一個(gè)即興表演營(yíng)（圖4.2）宵呛。每天单匣，大約有兩個(gè)CIC模塊被用來(lái)指導(dǎo)營(yíng)地活動(dòng)。
A Framework for Understanding Autism
Both? the? CIC? and? this? chapter? employ? varying? terms? to? describe? youth? in Building? Connections? and? Camp? Yes? And,? including? “autistic”? and? “on? the spectrum.” The term “neurodivergent” comes closest to describing the? CIC’s framework? for? understanding? autism.? “In? its? broadest? sense,? the? concept? of neurodiversity regards? atypical neurological development? as? a normal human difference.”3 Ultimately, Lacy and Jim regard autism as a set of perceptual and expressive differences, rather than a disability. Building Connections and Camp Yes And seek to use improv as a way to connect with people who move through the world in a unique way—not as a “fix” or “cure” for those who are different. Every? student? (adult,? child,? neurotypical,? or? neurodiverse)? brings? unique strengths? and? challenges? into? the? classroom.? Experienced? educators? assess students’? prior? knowledge? and? skill,? build? on? their? strengths,? support? their struggles, and help them find success and fun through progressive learning and skill development. There is a saying used in the autism community: “When you have met one person with autism, you have met exactly that: one person with autism.” This saying underscores the belief that each person, though she may share a diagnostic label with another, is unique and can’t be lumped together under? one? generalized? set? of characteristics.? That? said,? a? common? core? of significant? challenges? exists? for? people? on? the? autism? spectrum.? Broadly speaking, these challenges include difficulties with communication and social interaction, flexibility and spontaneity, and processing sensory information. Each of these three common challenges is discussed below.
理解自閉癥的框架
CIC和本章采用了在建立聯(lián)系和夏令營(yíng)中用不同的術(shù)語(yǔ)來(lái)描述青少年是而且宝穗，包括“自閉”和“上頻譜”户秤。“神經(jīng)分化”這個(gè)術(shù)語(yǔ)最接近于描述CIC對(duì)自閉癥的理解框架逮矛〖牛“從最廣泛的意義上講，神經(jīng)多樣性的概念將非典型的神經(jīng)發(fā)育視為一種正常的人類差異须鼎【ò椋”最終，萊西和吉姆認(rèn)為自閉癥作為一套知覺(jué)和表達(dá)的差異莉兰，而不是一種殘疾挑围。建立聯(lián)系YES AND營(yíng)地是把即興表演作為一種方式，與那些以獨(dú)特的方式生活在這個(gè)世界上的人建立聯(lián)系糖荒，而不是作為那些與眾不同的人的“修復(fù)”或“治療”。每一個(gè)學(xué)生(成人模捂、兒童捶朵、神經(jīng)典型或神經(jīng)多樣性)給課堂帶來(lái)獨(dú)特的優(yōu)勢(shì)和挑戰(zhàn)。經(jīng)驗(yàn)豐富的教育工作者評(píng)估學(xué)生已有的知識(shí)和技能狂男，建立他們的優(yōu)勢(shì)综看，支持他們的奮斗，幫助他們通過(guò)進(jìn)步的學(xué)習(xí)和技能發(fā)展找到成功和樂(lè)趣岖食。在自閉癥群體中有這樣一句話：“當(dāng)你遇到一個(gè)孤獨(dú)癥患者時(shí)红碑，你遇到的就是：一個(gè)孤獨(dú)癥患者。” 這句話強(qiáng)調(diào)了一種信念析珊，即每個(gè)人都是獨(dú)一無(wú)二的羡鸥，不能用一套普遍的特征來(lái)概括。也就是說(shuō)忠寻，自閉癥譜系障礙患者面臨著一個(gè)共同的核心挑戰(zhàn)惧浴。從廣義上講，這些挑戰(zhàn)包括溝通和社會(huì)互動(dòng)的困難奕剃，靈活性和自發(fā)性衷旅，以及處理感官信息。下文將分別討論這三個(gè)共同挑戰(zhàn)纵朋。
Improv as a Key Teaching and Learning Strategy
The CIC was designed from the theory that improv creates a safe, supportive, and? authentic? context? for? strengthening? the? skills? needed? to? address? the challenges listed above. Research affirms the idea that drama and dramatic play are valuable tools for supporting youth on the autism spectrum to improve their communication and social skills (Caplan 2006; D’Amico et al. 2015; Kempe and Tissot 2012; Schuler 2003). In addition, people on the spectrum themselves have recommended? improv? as? a? valuable? outlet? to? reduce? anxiety? and? increase spontaneity (Caplan 2006).
即興表演作為一種重要的教學(xué)策略
CIC的設(shè)計(jì)理念是即興創(chuàng)造一個(gè)安全柿顶、支持和真實(shí)的環(huán)境，以加強(qiáng)應(yīng)對(duì)上述挑戰(zhàn)所需的技能操软。研究證實(shí)九串，戲劇和戲劇表演是支持青少年自閉癥譜系障礙的寶貴工具，以提高他們的溝通和社會(huì)技能（Caplan 2006寺鸥；D'Amico et al猪钮。2015年；肯普和天梭2012年胆建；舒勒2003年）. 此外烤低，這些人自己也推薦即興表演作為一種有價(jià)值的發(fā)泄方式來(lái)減少焦慮和壓力。增加自發(fā)性（卡普蘭2006年）笆载。
The CIC focuses on teaching improv in a highly supportive environment that encourages self-expression, connection with others, and self-confidence. Due to the fundamental emphasis in improv on collaboration with others, CIC exercises and games lend themselves well to providing autistic youth with experiential practice and do not need significant adaptation for this population. Rather, the focus on becoming successful improvisers is an authentic and nonthreatening way to redirect challenging behavior and social miscues that also occur “in real life.” Additionally, improv offers an excellent framework for educators to meet students where they are, connect with them, and support their growth. If anything, the biggest shift needed for improvisation to succeed with youth on the spectrum rests with educators, who often come to realize that they hold the key to creating the optimal learning conditions that promote autistic students’ success or failure.
CIC專注于在一個(gè)高度支持的環(huán)境中教授即興表演扑馁，鼓勵(lì)自我表達(dá)，與他人聯(lián)系和自信凉驻。由于即興表演的基本重點(diǎn)是與他人合作腻要，CIC練習(xí)和游戲很好地為自閉癥青少年提供了經(jīng)驗(yàn)性的練習(xí)，并不需要對(duì)這一人群進(jìn)行顯著的適應(yīng)涝登。相反雄家，專注于成為一個(gè)成功的即興表演者是一個(gè)真實(shí)的和非威脅性的方式來(lái)重新定向的挑戰(zhàn)行為和社會(huì)失誤，也發(fā)生在“現(xiàn)實(shí)生活中”胀滚。此外趟济，即興表演為教育工作者提供了一個(gè)很好的框架，以滿足學(xué)生咽笼，與他們聯(lián)系顷编，并支持他們的成長(zhǎng)。如果有的話剑刑，最大的轉(zhuǎn)變所需的即興成功與青年的頻譜在于教育工作者媳纬，他們往往會(huì)意識(shí)到，他們持有的關(guān)鍵，以創(chuàng)造最佳的學(xué)習(xí)條件钮惠，促進(jìn)自閉癥學(xué)生的成功或失敗茅糜。
Optimal Learning Conditions
The conditions? for optimal learning occur when? educational? systems provide learners with both appropriate challenge and frequent, ongoing opportunities for success (D’Amico et al. 2015). In other words, effective educators apply the “Goldilocks Principle” by facilitating learning activities that are “not too easy and not too difficult.” This practice usually calls for educators to increase the challenge of a learning task incrementally. Logically, then, there is a risk of failure? in? any? authentic? learning? task,? and? educators’? approach? to? risk management? is? critical? in? supporting? student? engagement,? motivation,? and learning.
最佳學(xué)習(xí)條件
當(dāng)教育系統(tǒng)為學(xué)習(xí)者提供適當(dāng)?shù)奶魬?zhàn)和頻繁的、持續(xù)的成功機(jī)會(huì)時(shí)萌腿，最佳學(xué)習(xí)的條件就會(huì)出現(xiàn)（D'Amico et al.2015）限匣。換句話說(shuō)，有效的教育者運(yùn)用“金發(fā)姑娘原則”毁菱，促進(jìn)學(xué)習(xí)活動(dòng)“不太容易也不太難”米死。“這種做法通常要求教育工作者逐步增加學(xué)習(xí)任務(wù)的難度贮庞。因此峦筒，從邏輯上講，任何真正的學(xué)習(xí)都有失敗的風(fēng)險(xiǎn)任務(wù)窗慎，以及教育工作者的方法風(fēng)險(xiǎn)管理在支持學(xué)生參與物喷、動(dòng)機(jī)和學(xué)習(xí)方面至關(guān)重要。
Improv games like Whoosh Bang Pow (Workbook 4.1) support learners to push their limits, and failure actually is a sign that the game is being played correctly. Pairing the game with the Failure Bow (Workbook 4.1) creates group safety and support by encouraging the celebration of risk-taking and letting go of mistakes and reframing them as opportunities. Early introduction of these games provides learners (and teachers!) with a tool to defuse stress and anxiety throughout the entire class period. In both Building Connections and Camp Yes And, it’s not unusual to see youth and adults taking failure bows to acknowledge anything from messing up a game to spilling popcorn at snack time. These techniques are particularly important for supporting youth on the spectrum, who often experience significant anxiety around “getting it right.” In fact, difficulty with communication and social interaction may be related to the desire to avoid failure and frustration as much as anything else.
像Whoosh Bang Pow（練習(xí)冊(cè)4.1）這樣的即興游戲可以幫助學(xué)習(xí)者突破自己的極限遮斥，而失敗實(shí)際上是游戲正確進(jìn)行的一個(gè)標(biāo)志峦失。將這個(gè)游戲與失敗弓（練習(xí)冊(cè)4.1）配對(duì)，通過(guò)鼓勵(lì)冒險(xiǎn)的慶资趼穑活動(dòng)尉辑，讓錯(cuò)誤隨風(fēng)而去，并將它們重新定義為機(jī)會(huì)较屿，創(chuàng)造團(tuán)隊(duì)安全感和支持隧魄。早期引入這些游戲可以為學(xué)習(xí)者（和老師！）用一個(gè)工具來(lái)緩解整個(gè)課堂期間的壓力和焦慮隘蝎。在建筑連接和營(yíng)地是而且购啄，我們經(jīng)常會(huì)看到年輕人和成年人以鞠躬的方式來(lái)承認(rèn)自己的失敗，不管是搞砸了一場(chǎng)比賽嘱么，還是在點(diǎn)心時(shí)間打翻了爆米花狮含。這些技巧對(duì)于支持頻譜上的年輕人尤其重要，他們經(jīng)常在周圍經(jīng)歷顯著的焦慮拱撵』源ǎ“做對(duì)了∷┎猓” 事實(shí)上，溝通和社會(huì)交往的困難可能與避免失敗和挫折的愿望有關(guān)府蛇，就像其他任何事情一樣集索。
Strengthening Communication and Social Skills
Autistic people often struggle with interpreting and responding to the unwritten rules of communication and social interaction in societies and cultures. Roy, for example, a teen from Camp Yes And, had trouble moderating his volume, stood more closely to others than was comfortable, and spoke excessively on topics of interest to him without seeming to notice whether his conversation partners were engaged in the discussion. Following the guidelines and strategies in the CIC, adults at camp valued and celebrated his enthusiasm, eagerness to connect, and bold communication strategies—all of which are great strengths in improv. At the same time, they also side-coached him and pointed out when these qualities impeded his capacity to co-create with others on stage and compromised his ability to fully connect and communicate with others outside of improv.
加強(qiáng)溝通和社交技巧
自閉癥患者經(jīng)常在解釋和回應(yīng)社會(huì)和文化中不成文的溝通和社會(huì)互動(dòng)規(guī)則方面掙扎。比如羅伊夏令營(yíng)的一個(gè)少年是而且，很難調(diào)節(jié)自己的音量务荆，站得離別人太近妆距，不舒服，過(guò)多地談?wù)撟约焊信d趣的話題函匕，似乎沒(méi)有注意到他的談話伙伴是否參與了討論娱据。遵循中投公司的指導(dǎo)方針和策略，營(yíng)地里的成年人都很重視和慶祝他的熱情盅惜、對(duì)溝通的渴望中剩，以及大膽的溝通策略--所有這些都是他在即興發(fā)揮方面的巨大優(yōu)勢(shì)。與此同時(shí)抒寂，他們也在一旁指導(dǎo)他结啼，指出這些品質(zhì)阻礙了他在舞臺(tái)上與其他人共同創(chuàng)作的能力，影響了他在即興之外與其他人充分交流的能力屈芜。
As mentioned earlier, rather than having to address social communication directly, a focus on “doing good improv” has impact on behaviors on stage and off. The CIC provides students with numerous opportunities to practice understanding and responding to social cues through improv games and exercises. In Roy’s case, games that focused on “offers” being made by fellow players were particularly helpful. The Cycle of Deep Yes, And (Workbook 4.2) helped him to see how accepting and supporting others’ ideas—with others returning the favor—resulted in stronger and more fun improv. The cycle also delivers a concrete road map for successful communication and social interaction offstage. Additional games offered practice around initiating social interaction in a variety of contexts and a framework for understanding how and why to stay on topic. This focus was particularly helpful for Roy. After the camp’s final showcase, his parent remarked, “I could tell from the showcase that he had learned to control his conversation and let others speak.”
如前所述郊愧，與其直接解決社會(huì)交流問(wèn)題，不如專注于“做好即興表演”對(duì)臺(tái)上臺(tái)下的行為都有影響井佑。CIC為學(xué)生提供了大量的機(jī)會(huì)属铁，通過(guò)即興游戲和練習(xí)來(lái)練習(xí)理解和回應(yīng)社會(huì)暗示。在羅伊的案例中躬翁，專注于其他玩家提供的“條件”的游戲特別有幫助焦蘑。深深的輪回是的，而且(工作簿4.2)幫助他看到如何接受和支持別人的想法-與其他人回報(bào)-導(dǎo)致更強(qiáng)和更有趣的改進(jìn)姆另。這一周期還為成功的溝通和在舞臺(tái)外的社會(huì)互動(dòng)提供了一個(gè)具體的路線圖喇肋。另外的游戲提供了在各種環(huán)境下啟動(dòng)社交互動(dòng)的實(shí)踐，并為理解如何和為什么停留在主題上提供了一個(gè)框架迹辐。這種專注對(duì)羅伊特別有幫助蝶防。在夏令營(yíng)的最后一次展示后，他的父母說(shuō)：“我可以從展示中看出明吩，他已經(jīng)學(xué)會(huì)了控制自己的談話间学，讓別人說(shuō)話∮±螅”
Increasing Flexibility and Spontaneity
Connected to the communication skill of “staying on topic” is the reality that many neurodivergent youth have? a limited range? of specialized interests,? are dependent on routines, and struggle responding to unfamiliar situations. Improv creates the opportunity to Yes, And youth interests and rewards flexibility and spontaneity. Linda, another teen in Camp Yes And, was very reserved and slow to engage with the group. Despite encouragement, she chose to initially watch rather than participate. Through the camp application form, instructors knew that hippos were her main interest, so they set up a scene at a zoo near a hippo tank. Linda was the first to volunteer to be in the scene. Instructors said “yes” to her interest to engage her in participating with the group.
增加靈活性和自發(fā)性
與“緊扣主題”的溝通技巧相關(guān)的現(xiàn)實(shí)是低葫，許多神經(jīng)分化型青少年的專業(yè)興趣范圍有限，依賴于常規(guī)仍律，并努力應(yīng)對(duì)不熟悉的情況嘿悬。即興表演創(chuàng)造了機(jī)會(huì)，是的而年輕人的興趣和獎(jiǎng)勵(lì)靈活性和自發(fā)性水泉。琳達(dá)夏令營(yíng)的另一個(gè)青少年是而且善涨，是非常保守和緩慢的參與組窒盐。盡管受到鼓勵(lì)，她最初還是選擇觀看而不是參與钢拧。通過(guò)夏令營(yíng)申請(qǐng)表蟹漓，指導(dǎo)員了解到河馬是她的主要興趣，所以他們?cè)趧?dòng)物園里的河馬池附近設(shè)置了一個(gè)場(chǎng)景源内。琳達(dá)是第一個(gè)自愿參加拍攝的人葡粒。教練對(duì)她的興趣說(shuō)“是”，讓她參與小組活動(dòng)膜钓。
The “and” happened as instructors facilitated games and exercises that purposefully brought new ideas and topics into the mix. For example, New Choice (Workbook 4.3) challenges players to remake verbal and physical offers in a variety of ways. Players are encouraged to combine new ideas with preferred interests, ultimately resulting in stronger improv and increased areas of interest. The phrase “new choice” also becomes helpful code throughout classes and camps. When problem behavior occurs, instructors often say “new choice” to signal the need for redirection. Miguel, also in Camp Yes And, demonstrated an early habit for playing characters that used alcohol or drugs. After a couple of those scenes, Lacy said, “New choice! We know you can play that kind of character, but you know about lots of other things. Let’s see something new.”
“和”發(fā)生時(shí)嗽交，教師促進(jìn)游戲和練習(xí)，有目的地帶來(lái)新的想法和主題的組合呻此。例如轮纫，“新選擇”(Workbook 4.3)要求玩家以多種方式重做口頭和物理上的提議。鼓勵(lì)球員結(jié)合新的想法和優(yōu)先的興趣焚鲜，最終導(dǎo)致更強(qiáng)的改進(jìn)和更多的興趣領(lǐng)域掌唾。短語(yǔ)“新的選擇”也成為整個(gè)課程和營(yíng)地的有用代碼。當(dāng)問(wèn)題行為發(fā)生時(shí)忿磅，教師經(jīng)常說(shuō)“新的選擇”來(lái)表示需要重定向糯彬。米格爾也在“是”營(yíng)，他很早就養(yǎng)成了扮演使用酒精或毒品的角色的習(xí)慣葱她。拍了幾場(chǎng)這樣的戲后撩扒，萊西說(shuō)“新的選擇！我們知道你可以扮演那種角色吨些，但你知道很多其他的事情搓谆。來(lái)看看新的吧『朗”
The focus is on doing good improv, not a personal criticism. Many youth on the spectrum are encouraged to explore diverse interests, but the redirection often comes with a message of irritation from those who may be tired of hearing about a particular topic. New Choice is a perfect example of a way that instructors can help students understand that improv requires the exploration of a variety of interests in order to co-create with other players and utilize audience suggestions effectively. Over time, the words “new choice” may become sufficient to prompt students to self-redirect. As needed, instructors may offer more specific redirection or explanation within the improv, as above, or in private conversation after a game has concluded. In either case, a playful association with the game of New Choice seems to remove undue stress from behavioral redirection.
重點(diǎn)是做好即興表演泉手，而不是個(gè)人批評(píng)。學(xué)校鼓勵(lì)許多患有自閉癥的年輕人去探索不同的興趣偶器，但這種轉(zhuǎn)向往往伴隨著一些人的憤怒斩萌，這些人可能已經(jīng)厭倦了聽到某個(gè)特定的話題。新選擇是一個(gè)很好的例子屏轰，老師可以幫助學(xué)生理解即興表演需要探索各種興趣颊郎，以便與其他演員共同創(chuàng)造，并有效地利用觀眾的建議霎苗。隨著時(shí)間的推移姆吭，“新的選擇”這幾個(gè)字可能足以促使學(xué)生自我重新定向。當(dāng)需要時(shí)唁盏，教練可以提供更具體的重定向或解釋猾编，如上述瘤睹，或在游戲結(jié)束后的私人談話升敲。在這兩種情況下答倡，一個(gè)好玩的協(xié)會(huì)與游戲的新選擇似乎消除不當(dāng)?shù)膲毫Γ瑥男袨榈闹匦露ㄏ颉?/p>
Integrating Sensory Information
The? challenges? of processing? sensory? information? for? people? on? the? autism spectrum take different forms. Some individuals may be extremely sensitive to sensory? input,? such? as? bright? light? or? loud? noise.? Others? may? be? notably insensitive and speak in an overly loud voice. Also, sensory seeking behaviors, such? as? humming? or waving? arms,? may become? more prevalent? in? stressful environments,? and? an? individual? may? have? limited? awareness? of their? body movements, and may encroach on others’ personal space. Roy, described earlier, fell? into? this? last? category.? Games? that? focused? on? “offers”? were? helpful? in illuminating the “hidden rules” of social interaction. Viola Spolin’s ( 1963) basic Mirror exercises and the traditional game “Who Started the Motion” supported Roy’s development of greater body awareness.
整合感官信息
人類處理感官信息的挑戰(zhàn)表現(xiàn)出不同的形式驴党。有些人可能對(duì)感官輸入非常敏感瘪撇，如強(qiáng)光或噪音。其他人可能明顯不敏感港庄，說(shuō)話聲音太大倔既。此外，感覺(jué)尋求行為鹏氧，如哼唱或揮舞手臂渤涌，可能會(huì)變得更加普遍，在緊張的環(huán)境中把还，一個(gè)人可能對(duì)自己的身體動(dòng)作意識(shí)有限实蓬，并可能侵犯他人的個(gè)人空間。羅伊吊履，如前所述安皱，陷入了這個(gè)最后一類。游戲主要集中在"要約"有助于闡明社會(huì)交往的"潛規(guī)則"艇炎。第一次親密接觸（1963）基本鏡面練習(xí)和傳統(tǒng)游戲“誰(shuí)發(fā)起了運(yùn)動(dòng)”支持羅伊的發(fā)展更大的身體意識(shí)酌伊。
Another helpful strategy employed in Building Connections and Camp Yes And is to identify “who has the focus” in any given moment. When someone is speaking, or is on stage playing a game, adult educators remind the group of who has the focus: “Joe has the focus now, because he has asked us to listen and everyone is looking at him. Let’s watch him to see what offers he makes.” This strategy supports students in identifying extraneous sensory input and filtering it out.
To support individuals who are sensitive to sensory input, overhead lighting is kept relatively low. In addition, classrooms always have a designated “chill out” area, where students may take a break from activities and still be able to see what’s happening.? Often,? students? can be brought back? into participation by asking them to provide suggestions for, or input about the game being played on stage.
另一個(gè)有用的策略采用了建立聯(lián)系和營(yíng)地是以及在任何給定的時(shí)刻識(shí)別“誰(shuí)擁有焦點(diǎn)”。當(dāng)有人在演講缀踪，或在舞臺(tái)上玩游戲時(shí)居砖，成人教育者會(huì)提醒大家誰(shuí)是焦點(diǎn)：“喬現(xiàn)在有了焦點(diǎn)，因?yàn)樗笪覀儍A聽驴娃，每個(gè)人都看著他奏候。讓我們看看他會(huì)提出什么條件⊥锌” 這種策略支持學(xué)生識(shí)別外來(lái)的感官輸入鼻由，并將其過(guò)濾掉。
為了支持那些對(duì)感官輸入敏感的人厚棵，頭頂上的照明保持相對(duì)較低蕉世。此外，教室總是有一個(gè)指定的“放松”區(qū)婆硬，在那里學(xué)生可以從活動(dòng)中休息一下狠轻，仍然可以看到正在發(fā)生的事情。通常彬犯，通過(guò)要求學(xué)生對(duì)舞臺(tái)上正在進(jìn)行的游戲提供建議或輸入向楼，可以使他們重新參與進(jìn)來(lái)查吊。
Conclusion and Future Directions
The? CIC? is? a valuable tool to? support people? on the? spectrum to? strengthen communication? and? social? skills,? increase? flexibility? and? spontaneity,? and integrate sensory information. It also equips educators with practical and flexible tools that can be implemented in a variety of educational settings to support the development of critical skills for teens.
While? adolescence? is? a? particularly? critical? time? for? intervention,? the curriculum provides an instructional foundation relevant to any age population. Building Connections has expanded to serve multiple age groups (9– 13, 13– 18, and 18+), and Camp Yes And is building the capacity for similar expansion. In addition, tools are being developed to measure the impact of the CIC, and a train-the-trainer? model? is? being? created? to? support? those? interested? in implementing the CIC and replicating the Camp Yes And model.
Teen registration for Camp Yes And has filled within twenty-four hours each year, and many teens are left on the waiting list. In the coming years, it will be critical to expand capacity and bring this work to more people and licensing the curriculum for use in a variety of settings.
結(jié)論和未來(lái)方向
CIC是一個(gè)有價(jià)值的工具，以支持頻譜的人湖蜕，以加強(qiáng)溝通和社交技能逻卖，增加靈活性和自發(fā)性，整合感官信息昭抒。它還為教育工作者提供了實(shí)用和靈活的工具评也，可以在各種教育環(huán)境中實(shí)施，以支持青少年關(guān)鍵技能的發(fā)展灭返。
雖然青春期是干預(yù)的一個(gè)特別關(guān)鍵的時(shí)期盗迟，但課程提供了與任何年齡人口相關(guān)的教學(xué)基礎(chǔ)。建立聯(lián)系服務(wù)擴(kuò)展到多個(gè)年齡組（9- 13 歲熙含，13- 18 歲和 18 歲以上）罚缕，以及營(yíng)地是并正在建立類似擴(kuò)展的能力。此外怎静，正在開發(fā)工具邮弹，以衡量社區(qū)創(chuàng)新中心的影響，并開發(fā)一個(gè)培訓(xùn)員培訓(xùn)模式消约。是被創(chuàng)建為支持有興趣實(shí)施社區(qū)創(chuàng)新中心和復(fù)制營(yíng)地是和模型肠鲫。
青少年注冊(cè)營(yíng)地是而且每年在24小時(shí)內(nèi)就滿了，還有很多十幾歲的孩子還在等候名單上或粮。在未來(lái)幾年导饲，至關(guān)重要的是擴(kuò)大能力，將這項(xiàng)工作帶給更多的人氯材，并授權(quán)課程在各種環(huán)境中使用渣锦。
The power of the work is expressed best in the words of participants. For teens on the spectrum, improv is empowering: “This camp’s just opened me up like an eggshell—just cracking open my true self.” For educators, it is freeing:
“It has changed me as an educator because it has expanded my sense of not only what I should be bringing to the table, but it also has expanded my inner sense of myself ... I felt like I rediscovered my sense of play. And I realize now that’s an element that’s been missing.” For Lacy and Jim, it is a joy, a privilege, and a calling.
工作的力量在參與者的話語(yǔ)中得到了最好的表達(dá)。對(duì)于青少年來(lái)說(shuō)氢哮，即興表演是一種力量：“這個(gè)夏令營(yíng)就像打開蛋殼一樣打開了我袋毙，打開了我的真實(shí)自我∪哂龋”對(duì)于教育工作者來(lái)說(shuō)听盖，它解放了：
“它改變了我作為一個(gè)教育工作者，因?yàn)樗鼣U(kuò)大了我的感覺(jué)裂七，不僅是我應(yīng)該把什么帶到桌子上皆看，但它也擴(kuò)大了我內(nèi)心的自我意識(shí)...我覺(jué)得我重新找回了玩的感覺(jué)。我現(xiàn)在意識(shí)到這正是我們一直缺少的元素背零⊙鳎” 對(duì)于萊西和吉姆來(lái)說(shuō)，這是一種快樂(lè)徙瓶，一種特權(quán)毛雇，一種使命嫉称。
Note
1? All names have been made up.
WORKBOOK
4.1? ? Whoosh Bang Pow and Failure Bow
This is a full group activity, which invites and encourages risk-taking and letting go of mistakes.
At the end of this exercise, participants will have ...
?? learned soft focus, listening, and staying in the moment;
?? experienced positive outcomes of “failure”: a mistake can be made without shame or any need to hide it;
?? managed risks by making small mistakes in a supportive environment; and
?? learned a tool to defuse stress and anxiety.
Running the Exercise
1.? ? Ask participants to stand in a circle.
2.? ? Demonstrate? “passing? Whoosh”? by? facing? the? person? to? your? right, saying “Whoosh,” and moving your hands in a way that indicates energy passing to them. Ask that person to pass it to their neighbor and repeat until the Whoosh has made it completely around the circle. Then “pass” the Whoosh to the left in the same way.
注
1所有的名字都編好了。
工作簿
4.1“砰”一聲和“失敗弓”
這是一項(xiàng)完整的集體活動(dòng)灵疮，它邀請(qǐng)并鼓勵(lì)冒險(xiǎn)和放棄錯(cuò)誤织阅。
在這次演習(xí)結(jié)束時(shí)，參與者將有..始藕。
學(xué)會(huì)輕柔的專注蒲稳、傾聽和停留在當(dāng)下；
經(jīng)歷過(guò)“失敗”的積極結(jié)果：可以毫無(wú)羞恥地或不需要掩蓋錯(cuò)誤伍派；
通過(guò)在有利環(huán)境中犯小錯(cuò)誤來(lái)管理風(fēng)險(xiǎn)；
·學(xué)習(xí)了一種緩解壓力和焦慮的工具剩胁。
操練
1.要求參與者圍成一圈诉植。
2.展示“通過(guò)歡呼”，面向右邊的人昵观，說(shuō)“嗚嗚”晾腔，并以一種表示能量傳遞給他們的方式移動(dòng)你的手。讓那個(gè)人把它遞給他們的鄰居啊犬，然后重復(fù)一遍灼擂，直到它完全圍繞著圓圈。然后用同樣的方式“傳遞”呼呼到左邊觉至。
3. Once the group seems comfortable, introduce Bang. Ask someone on one side of you to pass a Whoosh to you. Once they do this, cross your arms in an “X” across your chest, and say “Bang.” Explain to the group that this means that the Whoosh changes directions. The person who had attempted to pass you the Whoosh then turns back around and passes the Whoosh in the opposite direction.
4.? ? Inevitably, the Whoosh will get stuck, as some participants will Bang on either side of another participant. Use this as a natural point to introduce Pow. Instruct students that whoever “has the Whoosh” can also choose to pass the energy to someone across the circle by making eye contact with that person,? clapping their hands together and then immediately pointing at the person while saying “Pow.” Instruct the person receiving the Pow that they can then choose to Whoosh in either direction.
3.? ? 一旦大家都覺(jué)得舒服了剔应，就介紹Bang。讓坐在你旁邊的人給你遞一個(gè)“嗖”语御。一旦他們這么做了峻贮，你就在胸前交叉雙臂成“X”形，然后說(shuō)“Bang”应闯。向小組解釋這意味著“嗖”的一聲會(huì)改變方向纤控。那個(gè)試圖把“嗖”傳遞給你的人又轉(zhuǎn)過(guò)身來(lái)，朝相反的方向傳遞了“嗖”碉纺。
4.? ? 不可避免地船万，“嗖”的一聲會(huì)卡住，因?yàn)橐恍﹨⑴c者會(huì)砰的一聲撞到另一個(gè)參與者的兩側(cè)骨田。使用這一點(diǎn)作為一個(gè)自然的點(diǎn)來(lái)介紹電源耿导。指導(dǎo)學(xué)生，誰(shuí)“嗖”的一聲盛撑，誰(shuí)也可以選擇通過(guò)與那個(gè)人的眼神接觸碎节，一起拍手，然后立即指向那個(gè)人抵卫，同時(shí)說(shuō)“啪”的能量傳遞給另一個(gè)人狮荔。指示接受異能的人胎撇，他們可以選擇向任何一個(gè)方向“嗖”的一聲。
5. Mid-exercise Debrief
a.? ? Once the group has played for a bit, stop and discuss. Is the group playing with risk? Or are they going slowly to ensure they don’t make? mistakes?? How? can? we? increase? the? fun? in? this? game? (Increase speed, commitment, and willingness to make mistakes.)
b.? ? Engage the group in a conversation about the benefits of mistakes. What are the good things about making mistakes? (We learn from them, we can find unexpected gifts, etc.)
c.? ? Teach the? group the Failure Bow? (see Workbook? 3.2). Let them know that at any time, anyone can put their hands in the air, take a bow,? and? say,? “I? failed!”? When? they bow,? the? entire? group will celebrate? wildly? for? them.? Demonstrate? this,? giving? everyone? an opportunity to practice in pairs or in the group. Ask the group to state a real-life “failure” (as big or as small as they’d like: I failed a quiz,? I? spilled? milk,? I? forgot? to? put? on? deodorant).? The? group celebrates each failure bow.
6.? ? Play? Whoosh? Bang? Pow? again,? inviting? them? to? take? Failure? Bows anytime they feel they’ve made a mistake.
5.? ? 中期演習(xí)匯報(bào)
一個(gè)一旦大家玩了一會(huì)兒殖氏，就停下來(lái)討論晚树。集團(tuán)是在玩風(fēng)險(xiǎn)嗎？還是說(shuō)他們走得很慢雅采，以確保不犯錯(cuò)誤爵憎？怎樣才能增加趣味性在這場(chǎng)比賽中？提高速度婚瓜、承諾和犯錯(cuò)的意愿宝鼓。
b。讓小組參與一個(gè)關(guān)于錯(cuò)誤的好處的對(duì)話巴刻。犯錯(cuò)的好處是什么愚铡？（我們向他們學(xué)習(xí)，我們可以找到意想不到的禮物胡陪，等等）
c沥寥。教會(huì)團(tuán)隊(duì)失敗的教訓(xùn)弓（見練習(xí)冊(cè)3.2）讓他們知道，在任何時(shí)候柠座，任何人都可以舉起雙手邑雅，鞠個(gè)躬，然后說(shuō)妈经，“我失敗了淮野！”當(dāng)他們鞠躬時(shí)，整個(gè)團(tuán)隊(duì)都會(huì)瘋狂地為他們慶祝狂塘。證明這樣录煤，每個(gè)人都有機(jī)會(huì)兩人一組或小組練習(xí)。讓小組陳述一個(gè)真實(shí)的“失敗”(無(wú)論大小都可以：我的測(cè)驗(yàn)失敗了荞胡，我灑了牛奶妈踊，我忘了抹除臭劑）。該小組慶祝每一個(gè)失敗的鞠躬泪漂。
6.? ? 再玩一次“嗖”的一聲廊营，邀請(qǐng)他們?cè)谌魏嗡麄冇X(jué)得自己犯了一個(gè)錯(cuò)誤的時(shí)候接受失敗的鞠躬。
Debrief
?? How did willingness to make mistakes change the game?
?? How did celebrating your own mistakes (either in the game or a real-life mistake) make you feel?
?? How did it feel to witness your colleagues celebrating their failure?
?? Anything from this that resonates out in the world for you?
Suggestions
?? If a participant excessively uses Bang, this may signal that the participant likes to “block” their peers.
?? At times, if the Bangs are so excessive that it slows the exercise down significantly, it may be necessary to create a “Whoosh must make it? around circle before Banging it” rule.
問(wèn)詢
·犯錯(cuò)的意愿如何改變了游戲萝勤？
·慶祝自己的錯(cuò)誤(無(wú)論是在游戲中還是在現(xiàn)實(shí)生活中的錯(cuò)誤)會(huì)給你什么感覺(jué)露筒？
·目睹你的同事們慶祝他們的失敗是什么感覺(jué)？
·有什么能讓你在這個(gè)世界上產(chǎn)生共鳴的嗎敌卓？
建議
·如果參與者過(guò)度使用Bang慎式，這可能意味著參與者喜歡“阻止”同齡人。
·有時(shí)，如果班加西太過(guò)分瘪吏，以至于它大大減緩了鍛煉的速度癣防，那么也許有必要?jiǎng)?chuàng)造一種“在敲打它之前必須繞圈轉(zhuǎn)”的規(guī)則。
? Celebrating failure can be a difficult concept for some to grasp— especially for those who struggle with rigidity. However, most participants are thrilled to be celebrated in their mistakes, and teaching the Failure Bow provides a framework for diffusing worries about making a mistake.
?? If a participant won’t identify a real-life mistake to use, just ask: “Is it okay if we just celebrate and applaud you?”
?? “Failure” can feel like a loaded word. However, saying “I failed!” with enthusiasm creates an opportunity for reframing: “I failed and made a? mistake, and I learned from it, and I am still okay and awesome!”
?? Review how making a mistake––even to the point of utterly failing––? ? doesn’t make us failures. Alternatively, a “l(fā)ighter” word, such as “oops” or “uh-oh,” may be used. It is impactful, however, to give participants an opportunity to reclaim the powerful and loaded language of “failure.”
·慶祝失敗對(duì)一些人來(lái)說(shuō)是一個(gè)很難理解的概念掌眠，特別是對(duì)那些與僵化作斗爭(zhēng)的人蕾盯。然而，大多數(shù)參與者都很高興在他們的錯(cuò)誤中得到慶祝蓝丙，并從失敗中吸取教訓(xùn)级遭。鞠躬提供了一個(gè)框架來(lái)分散對(duì)犯錯(cuò)的擔(dān)憂。
·如果一個(gè)參與者不愿意找出一個(gè)現(xiàn)實(shí)生活中的錯(cuò)誤來(lái)使用渺尘，只需要問(wèn)：“我們只是為你慶祝和鼓掌可以嗎挫鸽？”
·? “失敗”可能是一個(gè)沉重的詞。然而沧烈，熱情地說(shuō)“我失敗了掠兄！”創(chuàng)造了一個(gè)重塑的機(jī)會(huì)：“我失敗了，犯了錯(cuò)誤锌雀，但我從中吸取了教訓(xùn)，我仍然很好迅诬，很棒腋逆！”
·回顧犯了一個(gè)錯(cuò)誤——即使是完全失敗的地步——也不會(huì)讓我們成為失敗者〕薮或者惩歉，一個(gè)“較輕”的詞，如“哎呀”或“呃—天啊“可使用俏蛮。這是有影響的撑蚌，但是，給與會(huì)者一個(gè)機(jī)會(huì)搏屑，收回強(qiáng)大的和加載的語(yǔ)言“失敗”争涌。
Connections: Whoosh Bang Pow is another version of Zip Zap Zop and Zip Zap Boing. All versions of this exercise can teach students the concepts of accepting and building on offers (Yes, And), redirecting offers (Yes, But), and blocking offers (No). For example, a “Whoosh” is a Yes, And because it accepts the offer and keeps the energy moving quickly in the same direction; whereas a “Pow” accepts then redirects the offer across the circle, which tends to slow the momentum a bit. Finally, a “Bang” is a block because it does not accept the “Whoosh” at all.
4.2? ? The Cycle of Deep Yes, And!
This exercise uses pairs to demonstrate the power of Yes, And in co-creating
scenes.
At the end of this exercise, participants will have ...
?? experienced how to Yes, And in scene work;
?? understood how and why Yes, And is such a powerful concept; and
?? understood the larger framework of Yes, And so it may be internalized and used in scene work and in life.
連接數(shù)：嗖嗖砰電是另一個(gè)版本的郵編zap zop和郵編zap波音公司。這個(gè)練習(xí)的所有版本都可以教給學(xué)生接受和建立在offer上的概念（是辣恋，和）亮垫，重定向優(yōu)惠（是，但是）伟骨，并阻止提供（不）饮潦。如，“嗖”的一聲是一個(gè)是的携狭，因?yàn)樗邮芰颂嶙h并保持能量在同一個(gè)方向上快速移動(dòng)继蜡；而“Pow”接受了提議，然后重新定向穿過(guò)圓圈，這往往會(huì)稍微減緩動(dòng)量稀并。最后仅颇，“砰”的一聲是塊，因?yàn)樗静唤邮堋班病钡囊宦暋?/p>
4.2深層的循環(huán)是的稻轨，還有灵莲！
這個(gè)練習(xí)使用配對(duì)來(lái)演示Yes，而在共同創(chuàng)造
場(chǎng)景
本練習(xí)結(jié)束時(shí)殴俱，參與者將有...
·經(jīng)驗(yàn)豐富的如何是的政冻，和現(xiàn)場(chǎng)工作；
·理解“是的线欲，并且”是一個(gè)非常強(qiáng)大的概念明场；
·理解“是”的更大框架因此，它可以內(nèi)化并應(yīng)用于現(xiàn)場(chǎng)工作和生活中李丰。
Running the Exercise
1.? ? Ask participants to sit as an audience, except two who are told to plan a party by making offers that provide details about the party (e.g. “We should have balloons at the party”). Label them Player A and Player B.
2.? ? Round One: Player B is told secretly to respond by beginning every sentence with “No, we should ...”
3.? ? For each of the following four rounds assign two new players. Continue to secretly give Player B their prompts.
a.? ? Round Two: Player B starts every sentence with “Yes, or ...”
b.? ? Round Three: Player B starts every sentence with “Yes, but ...”
c.? ? Round Four: Player B starts every sentence with “Yes, and ...”
d.? ? Round Five: Player B starts every sentence with just “Yes!”
Debrief 1
?? Which party do you want to attend? Why?
運(yùn)行練習(xí)
1.? ? 要求參與者作為聽眾坐著苦锨，除了兩個(gè)人，他們被告知通過(guò)提供關(guān)于聚會(huì)的細(xì)節(jié)來(lái)策劃聚會(huì)（例如“我們應(yīng)該在派對(duì)上放氣球”）趴泌。分別標(biāo)記為參與人A和B
2.? ? 第一回合：玩家B被秘密告知每句話的開頭都是“不舟舒，我們應(yīng)該”
3.? ? 在接下來(lái)的四個(gè)回合中，每一輪分配兩名新玩家嗜憔。繼續(xù)秘密地給參與者B提示秃励。
一個(gè)第二輪：玩家B每句話的開頭都是“是的，或者……”
b吉捶。第三輪：玩家B每句話的開頭都是“是的夺鲜，但是”
c。第四回合：玩家B每句話的開頭都是“是的呐舔，還有”
d币励。第五輪：玩家B以“Yes！”開始每句話珊拼。
匯報(bào)1
·你想?yún)⒓幽囊粋€(gè)聚會(huì)食呻？為什么呢？
? What did you notice about each of the parties? Which parties were planned? Generally, participants will make the following assessments, but they sometimes require structured support as this exercise is processed:
?? No, We Should Party: No plans are made, ends in an argument/disagreement
?? Yes, Or Party: No plans are made. Many options generated, but no forward movement
?? Yes, But Party: Ends in argument, very much like “No, we should ...”
?? Yes, And Party: Results in an actual plan (even if wacky), and ideas are connected. (Ask: Why did this party actually get planned? How? did that happen?)
?? Yes! Party: Sometimes results in a plan, but Player A does all the? ? ? work and receives no support. Sometimes goes nowhere because? ? ? Player A feels extensive pressure to create everything independently and runs out of steam. (Ask: Even though we are saying “Yes!” here, why is this not enough? Even though we are not saying “No,” why is this unhelpful?)
·你注意到了每一方的什么杆麸？計(jì)劃了哪些派對(duì)搁进？一般來(lái)說(shuō)，參與者將進(jìn)行以下評(píng)估昔头，但在進(jìn)行這項(xiàng)工作時(shí)果正，他們有時(shí)需要結(jié)構(gòu)化的支持：
·不慌烧，我們應(yīng)該聚會(huì)：沒(méi)有計(jì)劃凯沪，以爭(zhēng)論/分歧結(jié)束
·是的崇棠，或黨：沒(méi)有計(jì)劃峻堰。產(chǎn)生了許多備選方案，但沒(méi)有取得進(jìn)展
·是的盅视，但是聚會(huì)：以爭(zhēng)論結(jié)束捐名，很像“不，我們應(yīng)該……”
·是的闹击，和當(dāng)事人：結(jié)果是一個(gè)實(shí)際的計(jì)劃（即使是古怪的）镶蹋，想法是相互聯(lián)系的。（問(wèn)：為什么要策劃這個(gè)派對(duì)赏半？怎么會(huì)這樣贺归？
·? 是的！締約方：有時(shí)會(huì)產(chǎn)生一個(gè)計(jì)劃断箫，但是玩家A做了所有的工作拂酣，卻沒(méi)有得到任何支持。有時(shí)候會(huì)毫無(wú)進(jìn)展仲义，因?yàn)橥婕褹感受到了獨(dú)立創(chuàng)造一切的巨大壓力婶熬，筋疲力盡。（問(wèn)：雖然我們?cè)谡f(shuō)“是埃撵！”為什么這還不夠即使我們沒(méi)有說(shuō)“不”赵颅，為什么這是無(wú)益的？）
·? How does this relate to improv?
?? We are making things up together. We need to be able to build on? ? ? each other’s ideas, say “yes” to each other, and make each other look good. Because we are creating things together on the spot, we need to be able to join our ideas with other people’s ideas to make something together.
Debrief 2
Now that the? group understands the basics? of Yes, And,? explore what? it means to truly Yes, And each other. Draw the Cycle of Deep Yes, And on a board? (Figure? 4.3).? Start? first? with? Yes,? And? then? Offer,? Awareness, Acceptance,? and? Addition,? in? order.? After? each? new? word,? draw? the connecting arrow(s) and describe in the following ways:
?? Offer: An offer in improvisation is anything a player says or does (see Appendix A).
?? Awareness: The first step of accepting an offer is having awareness that an offer has been made. If we aren’t paying attention, we will miss all offers.
?? Acceptance: The next step in Yes, And-ing is to accept the offer. This? ? ? ? doesn’t mean that you always must say “yes” to every offer. But, you must accept the reality offered by the other player. For example, note the? ? ? ? ? ? differences between Player A saying, “Here is a glass of milk,” and Player B saying, “No, thank you, I’d prefer coffee today,” vs. “That isn’t milk.”? The second response doesn’t accept the spirit of Player A’s offer and? ? ? ? ? creates difficulty in moving forward with the scene.
·這和即興表演有什么關(guān)系暂刘？
·我們?cè)谝黄鹁幑适滦院Ｎ覀冃枰軌蚪⒃诒舜说南敕ǎf(shuō)“是”對(duì)方鸳惯，讓對(duì)方看起來(lái)不錯(cuò)。因?yàn)槲覀兪窃诂F(xiàn)場(chǎng)一起創(chuàng)造東西叠萍，我們需要能夠把我們的想法和其他人的想法結(jié)合起來(lái)芝发，一起創(chuàng)造一些東西。
匯報(bào)2
既然大家都了解了“是”的基本知識(shí)而且苛谷，探索什么它的意思是要真正是的辅鲸，還有彼此。畫出循環(huán)深是的腹殿，和一個(gè)板上（圖4.3）独悴。開始首先是“是的，然后依次是提供锣尉、意識(shí)刻炒、接受和增加。在每個(gè)生詞后面畫上連接箭頭自沧，用以下方式描述：
·提供的服務(wù)：在即興演奏中坟奥，提議是指演奏者所說(shuō)或所做的任何事情（見附錄A）。
·意識(shí)：接受要約的第一步是意識(shí)到要約已經(jīng)發(fā)出。如果我們不注意爱谁，我們將錯(cuò)過(guò)所有的機(jī)會(huì)晒喷。
·驗(yàn)收：“Yes,And-ing”的下一步是接受對(duì)方的提議。這并不意味著你必須對(duì)每一個(gè)提議都說(shuō)“是”访敌。但是凉敲，你必須接受其他玩家提供的現(xiàn)實(shí)。例如寺旺，請(qǐng)注意參與者A說(shuō)“這里有一杯牛奶”和參與者B說(shuō)“不爷抓，謝謝，我今天更喜歡咖啡”和“那不是牛奶”之間的區(qū)別迅涮。第二個(gè)回應(yīng)沒(méi)有接受玩家A提議的精神废赞，給場(chǎng)景的推進(jìn)制造了困難。
? Addition: The next phase of Yes, And-ing is to add on to the offer the other person made. In the scenario above, this could be saying, “Ah, thank you, I love milk,” or “No, thank you. No milk today, Jonathan.”
·補(bǔ)充內(nèi)容：“是的叮姑，還有”的下一個(gè)階段是對(duì)別人的提議進(jìn)行補(bǔ)充唉地。在上面的場(chǎng)景中，這可能是在說(shuō)传透，“啊耘沼，謝謝你，我喜歡牛奶朱盐，”或“不群嗤，謝謝你。今天沒(méi)有牛奶兵琳，喬納森狂秘。“
Discuss how each of these steps is important. What happens if we skip being aware? What happens in life sometimes in the “space” between becoming aware and acceptance? What happens if we are aware of someone else’s offer/idea, but we negate it with our own offer/idea? What is the feeling when an offer/idea is not accepted (blocked)? How does the story/situation change and build when an offer is built upon?
Connections: This exercise is rooted in Keith Johnstone’s offer/block/accept exercises found in both Impro ( 1979) and Improfor Storytellers ( 1999).
討論這些步驟的重要性躯肌。如果我們跳過(guò)覺(jué)知者春，會(huì)發(fā)生什么？有時(shí)候清女，在意識(shí)到和接受之間的“空間”里钱烟，生活中會(huì)發(fā)生什么？如果我們知道別人的提議/想法嫡丙，但我們用自己的提議/想法來(lái)否定它拴袭，會(huì)發(fā)生什么？當(dāng)一個(gè)提議/想法不被接受（阻止）時(shí)是什么感覺(jué)曙博？當(dāng)一個(gè)提議建立在這個(gè)基礎(chǔ)上時(shí)拥刻，故事/情況是如何改變和建立的？
連接數(shù)：這個(gè)練習(xí)植根于Keith Johnstone的報(bào)價(jià)/阻擋/接受練習(xí)羊瘩，在Impro（1979）和Improfor Storytellers（1999）中都可以找到泰佳。
4.3 New Choice
This exercise rewards flexibility and spontaneity by challenging players to remake verbal and physical offers in a variety of ways.
At the end of this exercise, participants will have ...
?? developed more flexibility, spontaneity, and risk-taking;
?? less attachment to their own predetermined story lines and agendas; and
?? greater openness to experiencing new outcomes and turns in the road.
4.3新選擇
這個(gè)練習(xí)獎(jiǎng)勵(lì)靈活性和自發(fā)性盼砍，通過(guò)挑戰(zhàn)球員以各種方式重新做出口頭和身體報(bào)價(jià)。
本練習(xí)結(jié)束時(shí)逝她，參與者將有...
發(fā)展了更多的靈活性浇坐、自發(fā)性和冒險(xiǎn)性；
·減少對(duì)自己預(yù)先設(shè)定的故事情節(jié)和議程的執(zhí)著黔宛；
·更開放地體驗(yàn)新的結(jié)果和道路上的轉(zhuǎn)折近刘。
Running the Exercise
1.? ? Ask two participants to start a scene. At any point, you can ring a bell and say, “New choice!” indicating the player should “take back” what they just said or did and make a new offer. Continue to call for new choices until you are satisfied. When you stop ringing the bell, the scene continues as though the most recent offer were the only one made. For example:
a.? ? Player A: Hello grandma! (Ding! “New choice!”)
b.? ? Player A: ’Sup grandma! (Ding! “New choice!”)
c.? ? Player A: Hi Grandma, it is me, your most favorite grandchild. I am here to pet your canary. (No ding.)
d.? ? Player B: Well, great to see you. Here is the bird.
2. Remember, physical offers can also be “dinged.”
運(yùn)行練習(xí)
1.? ? 請(qǐng)兩名參與者開始一個(gè)場(chǎng)景。在任何時(shí)候臀晃，你都可以搖鈴說(shuō)：“新的選擇觉渴！”表示玩家應(yīng)該“收回”他們剛才說(shuō)的話或做的事，并提出新的報(bào)價(jià)徽惋。繼續(xù)呼吁新的選擇案淋，直到你滿意為止。當(dāng)你停止搖鈴時(shí)险绘，場(chǎng)景繼續(xù)踢京，就好像最近的報(bào)價(jià)是唯一的報(bào)價(jià)。舉個(gè)例子：
一個(gè)玩家A：奶奶好；鹿住（叮鞍昃唷！“新的選擇代咸！”)
b蹈丸。運(yùn)動(dòng)員A：“奶奶好！”（叮澳沤妗逻杖！“新的選擇！”)
c思瘟。玩家A：嗨弧腥，奶奶，是我潮太，您最喜歡的孫子。我是來(lái)照顧你的金絲雀的虾攻。（沒(méi)有叮的一聲铡买。）
d。游戲者B：很高興見到你霎箍。這是一只鳥奇钞。
2. 請(qǐng)記住，物理報(bào)價(jià)也可以“dinged”漂坏。
Debrief
?? What did it feel like to keep getting interrupted by the “ding”?
?? What was your reaction when you had to “give up” your first offer? How did that change ifyou got “dinged” on your second and third offers as? ? well?
?? What did you observe in your partner when they got “dinged?”
?? How was it easy/hard to come up with new choices?
Suggestions
問(wèn)詢
·被“叮當(dāng)”打斷是什么感覺(jué)景埃？
·當(dāng)你不得不“放棄”你的第一個(gè)提議時(shí)媒至，你的反應(yīng)是什么？如果你的第二次和第三次邀請(qǐng)也遭到了“抨擊”谷徙，那么這種情況又是如何改變的呢拒啰？
·當(dāng)你的伴侶被“詛咒”時(shí)，你在他們身上觀察到了什么完慧？
·想出新的選擇是多么容易難谋旦？
建議
This exercise can be challenging for some. If participants get stuck, side- coach with “New emotion!” or “New gesture!” or “New topic !” or offer another adjustment (verbal or physical) you would like participants to explore.
The group may also stand in a circle and play New Choice together. For example, everyone is told, “Greet your mom.” When you say, “New choice!” everyone greets again in a different way.
Connections: Also called Quick Change on the TV show Whose Line Is It Anyway? and Ding Game (Fotis and O’Hara 2016).
這個(gè)練習(xí)對(duì)一些人來(lái)說(shuō)是很有挑戰(zhàn)性的。如果參與者被困屈尼，邊教練用“新情感册着！”或者“新姿態(tài)！”或者“新話題脾歧！”或者提供另一個(gè)你希望參與者去探索的調(diào)整(語(yǔ)言或身體)甲捏。
這群人也可以站在一個(gè)圓圈里一起玩“新選擇”。例如鞭执，每個(gè)人都被告知司顿，“問(wèn)候你的媽媽〔隙”當(dāng)你說(shuō)免猾，“新的選擇！”每個(gè)人都以不同的方式再次問(wèn)候囤热。
連接：在電視節(jié)目中也叫“快速改變”猎提，它到底是誰(shuí)的臺(tái)詞？和“丁游戲”(Fotis和O‘Hara 2016)旁蔼。
