English

I. Creative Experience

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 to crawling to walking as it is for the scientist with his equations.

If the environment permits it, anyonecan learn whatever he chooses to learn; and if the individual permits it, tie environment will teach him everything it has to teach. "Talent" or 'lack of talent" have little to do with it.

We must reconsider what is meant by "talent* 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 theincreasing of the individual capacity for experiencing that the untold potentiality of a personality can be evoked.

Experiencing is penetration into the environment, total organic involvement with it. This means involvement on all levels: intellectual, physical, and intuitive. Of the three, the intuitive, most vital to the learning situation, is neglected.
Intuition is often thought to be an endowmentor a mystical force enjoyed by the gifted alone. Yet all of us have known moments when the right answer "just came'* or we did "exactly the right thing without thinking/' Sometimes at such moments, usually precipitated by crises, danger, or shock, the "average" person has been known to transcend the limitation of the familiar, courageously enter the area of the unknown, and release momentarygenius within himself. When response to experience takes place at this intuitive level, when a person functions beyond a constricted intellectual plane, he is truly open for learning.
The intuitive can only respond in immediacy right now. It comes bearing its gifts in the moment of spontaneity, the moment when we are freed to relate and act, involving ourselves in the moving, changing world around us.Through spontaneity we are re-formed into ourselves. It creates an explosion that for the moment frees us from handed-down frames of reference, memory choked with old facts and information and undigested theories and techniques of other people's findings. Spontaneity is the moment of personal freedom when we are faced with a reality and see it, explore it and act accordingly. In this reality thebits and pieces of ourselves function as an organic whole. It is the time of discovery, of experiencing, of creative expression.
Acting can be taught to the "average" as well as the "talented" if the teaching process is oriented towards making the theater techniques so intuitive that they become the students' own. A way is needed to get to intuitive knowledge. It requires an environment in whichexperiencing can take place, a person free to experience, and an activity that brings about spontaneity.
The full text is a charted course of such activity. The present chapter attempts to help both teacher and student find personal freedom so far as the theater is concerned. Chapter II is intended to show the teacher how to establish an environment in which the intuitive can emerge andexperiencing take place: then teacher and student can embark together upon an inspiring, creative experience.

Seven Aspects of Spontaneity

Games

The game is a natural group form providing the involvement and personal freedom necessary for experiencing* Games develop personal techniques and skills necessary for the game itself, through playing. Skills are developed at the very moment a person ishaving all the fun and excitement playing a game has to offer this is the exact time he is truly open to receive them.
Ingenuity and inventiveness appear to meet any crises the game presents, for it is understood during playing that a player is free to reach the game's objective in any style he chooses. As long as he abides by the rules of the game, he may swing, stand on his head, or fly...