1) The document discusses using improvisation techniques in language learning classes at the LSE Language Centre. They have found that improv helps develop students' communication, presentation, and language skills. 2) Some of the improv activities described include warm-up games, story-building exercises, and role-playing scenarios. Student feedback indicates these activities have helped increase confidence and fluency. 3) The Centre now offers several improv language courses and has integrated some improv into other language classes. Feedback from students and teachers suggests improv is an effective way to engage students and improve language abilities.

1. Improvisation for Language Learning, AULC, January 2017 Helen Mayer, Inés Alonso García (LSE)
January 2017 – Queen's University Belfast
Parallel session
Improvisation for Language Learning
Helen Mayer, Inés Alonso-García. Teaching and Learning Facilitators, LSE Language Centre
 Description of Improv
Improvisation (‘improv’) is the art of creating a live theatrical performance with no script or rehearsal. Improvisers make use of techniques that lead to the
spontaneous creation of characters, relationships and stories. Such techniques are learned and refined through the use of improv games, which develop the
improviser’s ability to accept the ideas of others and build upon them to jointly create an original piece of theatre. (Steve Bond, Improviser, Improvisation
teacher, Learning Technologist)
Viola Spolin, one of the pioneers of Theatre Improvisation, defines spontaneity as “…the moment of personal freedom when we are faced with a reality and see
it, explore it and act accordingly”.
The ludic component is key in improv. For Viola Spolin “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 is
having all the fun and excitement – this is the exact time one is truly open to receive them.” This is easily applicable to the language learning context and
learning in general.
McKnight and Scruggs, in their book Improv in the Classroom, believe that “play links sensory-motor, cognitive and social emotional experiences. Play is the
optimal setting for brain development. Play fully develops the complex and integrated brain, so essential for learning throughout childhood and adulthood”.
Having part of the class acting as an audience is an organic part of many of these activities, so students grow used to “performing” in front of the class. This is
extremely useful for improving presentation skills.
These are some of the extremely valuable skills, not only for language learning but also for life, and the reason why we were so compelled to use improv
techniques at the LSE Language Centre.

2. Improvisation for Language Learning, AULC, January 2017 Helen Mayer, Inés Alonso García (LSE)
 Improv at the LSE Language Centre – History
English: In 2012 the LSE Language Centre started offering a couple of improv sessions per term for International students at LSE whose main language was not
English with improvisers Steve Bond and Angelina Castellini. We are now offering three or four weekly sessions during term time and one or two in the summer,
taught by Angelina and ourselves (following a year of training). This is offered to students as free extra support.
Spanish Beginners and Improv: This is a three-hour session, part of the extra-curricular courses: two hours of normal class with a tutor, one with improv
facilitators. The improv hour has an additional cost and is only offered as part of one of the courses. We are piloting the course this year.
Italian beginners: 20 minutes of improv integrated weekly into their two-hour lesson.
One-off sessions in Spanish for presentation skills and fluency.
 Description of activities
Activity Instructions Notes
Name &
action
Class in a circle. Go around the circle in order:
1) Students say their names
2) Students say their names and make up an action. The whole group repeats the name and action after each
student
3) The same but faster
4) At the final stage, the whole class says each student’s name and the corresponding action at the same time
All levels
Warm-up
Body language
Yes and…
In pairs, one player A suggests doing something to player B. B accepts enthusiastically and builds on the suggestion
by saying "Yes, and…" and making a suggestion of their own. The idea is to build on things to do, not to just simply
add unconnected ideas.
E.g.:
A: Let’s go to the seaside.
B: Yes, and let’s take our bucket and spade!
A: Yes, and we can build a sandcastle.
B: Yes, and we’ll make a really big one in the shape of a boat! …
Lower
intermediate to
advanced
Continuity
Creativity
Listening
Speaking

3. Improvisation for Language Learning, AULC, January 2017 Helen Mayer, Inés Alonso García (LSE)
Things to look out for:
 Students just mention ideas without connection
 Students may add “Yes but” instead of “Yes and”
 Rejection of an idea: “I don’t like this, better do that”
I am a tree
 One student comes forward and adopts a pose, saying “I am a tree”
 A second student joins the scene as something that fits with the tree.
 A third player joins in the same way. (For example: A: I am a tree. B: I am a bird’s nest. C: I am an egg.)
 The first student chooses one of his companions to take away, saying “I’ll take the …” leaving the other person.
 The remaining person then repeats who they are, and the game starts again.
 Repeat until everyone has had a go, encouraging the reluctant members. Announce when it’s the last turn.
Things to look out for:
 People thinking too much before joining. It is better to just come in and think of something to be once you are in
the circle.
 People not committing to the thing they are miming. If it’s a dog, they should be on all fours. If it’s a road, they
should be lying on the floor.
 People not stating clearly what they are. Everyone must be able to hear and understand.
 People not repeating what they are to start the next round.
All levels
Vocabulary
Movement
Class activity
Creativity
Wise, wise,
wise
Students in a circle say one word at a time to create a 'proverb'. Any player with the turn to speak may decide when
a proverb has ended, instead of adding a word, they put their hands into the prayer position, bow and say 'wise,
wise, wise'. All students join in saying "wise, wise, wise". The same student then says the first word of the next
proverb. Note: do at least two examples. The sentences should be grammatically correct, even if the proverb’s
content doesn't make any sense. (i.e.: Only eat blue oranges)
This is very useful to practice specific structures (eg. Adverbs of frequency, such as always, never or giving advice)
Note:
For higher levels, the student who says the last word may step forward and give an explanation on the wisdom of
the proverb.
Lower
intermediate to
advanced
Accuracy
Specific
structures
Listening
Continuation

4. Improvisation for Language Learning, AULC, January 2017 Helen Mayer, Inés Alonso García (LSE)
Invisible
present
Student “A” gives a present by miming it, not specifying what it is. Student “B” receives it and says: thank you for
this… (Saying what the present is). “A” accepts the idea of the present, even if it is not what she has in mind and
adds what is special about it. “B” will then mention why it is such a good present.
A: This is for you! (pretending to give something)
B: Thank you for this lovely rock!
A: It is not an ordinary rock: it is a piece of a meteorite from Mars!
B: This is great, exactly what I was looking for. I will put it in a special place in my Mars collection!
Note: For lower levels, only offering and accepting, naming the present would be enough
Things to look out for:
Students may have an idea of what they are giving and not accept what the second student names.
All levels
Vocabulary
Cultural
awareness
Offering &
accepting
Pair work
The exhibit
This is a form of yes-anding another person’s body language. It also provides a stimulus for speakers to create a
story that cannot be ‘wrong’, releasing them from some of the pressure of public speaking.
How to play:
 In pairs. One player will be the artist, the other the artwork.
 The artwork is given a few seconds to ‘become’ art - using their body and the surroundings to create the piece.
 Each artist in turn then explains what they were trying to say when they created this piece of art.
 The teacher can ask the artist questions if they get stuck.
 If time, the pairs swap roles and repeat.
 For large groups, assign 2 artists per artwork. The artists then explain the piece together, by quickly interrupting
each other with the phrase “That’s right, Bob”, then yes-anding whatever the other person just said.
Things to look out for:
 Artworks should not move (unless the movement is part of the art). If people get themselves into positions they
cannot maintain, suggest they change position.
 Artworks should not speak (not even as part of the art).
 When an artwork has been explained, allow the artwork to relax so they can view the others.
Lower
intermediate to
advanced
Audience,
Presentation,
Creativity

5. Improvisation for Language Learning, AULC, January 2017 Helen Mayer, Inés Alonso García (LSE)
 Feedback
Teacher’s feedback
“I have noticed that this week students were more receptive and perceptive to class content and they asked more targeted questions, showing a better
understanding and having the confidence to ask. As a result we have worked more and better; in fact, one student’s satisfaction was shown when she
enthusiastically clapped at the end of the class.” (Roser, Spanish beginners tutor, week 4)
“I have attended all sessions for my students and I have been amazed at the participation of students who are extremely shy in class. They seem to forget their
fears and are really willing to share their creativity and imagination.” (Mercedes Coca, Spanish Coordinator)
Students’ feedback
From the 8-week English programme
o I registered because I wanted to have the courage to speak out in English and now I have it as well as many communication skills
o I have become more confident not only about English but also about myself
o I am now more willing to speak and more comfortable to talk in social settings
o Great job!! It is important to develop students in new ways and funny ways
o Now I am not as stressful as before when doing a presentation
o You don't know what you are going to do or speak next, which provides situations similar in real life. So it is helpful for speaking fluently and
spontaneously
o I liked the last part about presentation and the part about telling stories because they are quite related with my study life here
From one-off sessions
o I really enjoyed this because it was a mix of emotional skills and language skills
o I just couldn't stop smiling and laughing
o What a fantastic way to meet complete strangers!
o Very fun and good practice of quick responses
o I really enjoyed and admired everyone's imagination

6. Improvisation for Language Learning, AULC, January 2017 Helen Mayer, Inés Alonso García (LSE)
 References, further reading and resources:
Spolin, Viola (2011) Improvisation for the Theatre (3rd
Edition), Northwestern University Press
McKnight, Katherine S. and Scruggs, Mary (2008) The Second City Guide to Improv in the Classroom, Jossey-Bass Teacher
Johnston, Chris (2009) The Improvisation Game. Discovering the secrets of spontaneous performance (2nd
Edition), Nick Hern Books
Improvisation Encyclopedia: http://improvencyclopedia.org/games/index.html Great collection of games available online
Improvisation school and resources: http://www.hooplaimpro.com/
Applied Improvisation Network (AIN): http://appliedimprovisation.network/
 Contacts:
Helen Mayer, Teaching and Learning Facilitator: h.m.mayer@lse.ac.uk
Inés Alonso García, Teaching and Learning Facilitator: i.alonso-garcia@lse.ac.uk
Angelina Castellini, Improvisation teacher, Applied Improvisation Network Organiser: a.c.castellini@gmail.com
Mercedes Coca, Spanish Coordinator: m.coca@lse.ac.uk
Roser Martínez Sánchez, Spanish Tutor: r.martinez-sanchez@lse.ac.uk