A person can acquire knowledge of grammar and syntax, and build vocabulary, but this in itself does not result in functionality. Knowing the mechanics to ride a bicycle or play a piano is insufficient to actually riding or performing. Knowing the mechanics of a language is necessary but insufficient toward its application in real life. Realistic experience develops proficiency between thought and action; the state of doing without thinking about doing. Conversation is fluid; often unpredictable. Improvisational exercises aim to reproduce this fluidity and unpredictability in the classroom, but outside the formality of the classroom. It seeks to reproduce the experience of real-world conversation through an approach both engaging and enjoyable, and where the only wrong answer is not to engage in the atmosphere of teamwork with fellow student. Each set of exercises, published in the four 2019 editions, is built around a theme. The first set lays the foundation through simple story development. The second set employs question and answer situations to develop conversational interplay. The third addresses precision. Finally, the fourth utilizes improvisational role playing to unite everything into an active, conversational format. The ultimate goal is to provide students with the personal confidence in their ability to readily employ the language they are learning in everyday situations anywhere in the world.
Improvisational Techniques Group 1 of 4 ROBERT PINE
This first group of exercises constructs the foundation upon which we will erect, in future groups, more complex and realistic improvisational conversations. These basic exercises are applicable to learners at all levels but the introductory one. Though basic, their flexibility allows you, as the rule setter, to adapt each to your goals and the level of your students. Children and new learners will employ shorter sentences with a limited vocabulary. For advanced learners you can require a greater range and higher level of vocabulary with more complexity in sentence structure.
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he common theme is to develop the power of listening; then from listening, properly adding to the continuity of a story line. In the first three exercises this occurs as words or sentences progress one by one through the participating students. Each student must listen carefully as their turn approaches. As they listen they assemble the developing story; start thinking about the possibilities for their addition; finally identifying the part of speech in which their addition must be fitted. In the final exercise each student develops a full segment within the context of the team effort. For learners whose language does not employ articles, such as Slavic, the first exercise in particular works fine to observe how well they follow the rules for using, and not using, “a”, “an” and “the” before a noun. In their focus on the word to add, even more advanced students will often jump directly to the noun, omitting the necessary article. This is one example of how you can observe subtleties in knowledge and ability through improvisational exercises from which you can adapt lessons and study. And the students have no idea they are, in effect, being tested. 35
