The Concept of Energy in Viola Spolin's Philosophy of Theatre Education

<p> This paper investigates the concept of energy in the philosophy of theatre education of Viola Spolin, an American actress, director, and educator of the 20^th century. It explores what has not been elucidated in detail in the practice and theory of education based on the performance and philosophy of modern improvisational theater: the significance of the concept of energy, its relation to other key concepts, and the role of energy in theater games. This study indicates that Spolin's concept of energy suggests several important viewpoints for the analysis of and reflection on education through improvisational theatrical activities.</p><p> Creative Drama in the USA and Drama in Education in the UK share a methodology in which both students and teachers are expected to play roles improvisationally in drama activities. Recently, a new paradigm of education has been developed on the basis of the performance and philosophy of modern improvisational theater. Energy is considered to be one of the vital factors of education through improvisational theatrical activities in these fields. In most of the studies, however, neither the phenomenon called energy itself nor its role in education is elucidated in detail.</p><p> In order to develop a new research perspective concerning education, improvisation, and theater, this paper interprets the concept of energy employed by Spolin, the pioneer of modern improvisational theater who created so-called theater games. Each theater game includes a "problem" for players to solve. Spolin explained that the term "energy" means the "level of intensity with which one approaches the problem" and "the inspiration released when a problem is solved."</p><p> Spolin defined "inspiration" as "energy fortified with intuitive knowledge" in theatrical situations. "Intuition" is understood here as "revelation" that sometimes comes to us beyond everyday logical reasoning and planning. Spolin pointed out that energy as creative inspiration is released when players engage intensely in theater games and solve their problems while involved in the theatrical environment. Conversely, when players resist solving a problem, the flow of energy is blocked. It is the director's job to reduce the resistance, offering activities appropriate for the players' ability, and to give them energy as inspiration. Spolin explained that players experience a moment of spontaneity when they overcome their resistance and solve the problem collaboratively. The released energy then brings about an "explosion" that liberates the players from conventional frameworks of thinking and sets them free to relate to the changing world.</p><p> This paper concludes that Spolin's concept of energy provides us with valuable insights into the phenomenon called energy and its role in theater games and that these insights suggest several important viewpoints for the analysis of and reflection on education through improvisational theatrical activities, especially in terms of the collaboration among students (and teachers), the integration of means and goals, the implications of players' resistance to solving problems, and personal freedom in the moment of spontaneity.</p>