Gibberish Exercises by Viola Spolin

from "Improvisation for the Theater", Third Edition, p.114

GIBBERISH

Developing Organic Response Through Gibberish

Gibberish is an extremely valuable exercise and should be used through-out the workshops. For the director of the formal play, gibberish is a great aid in releasing players from the multitude of technical details surrounding the initial plunge into rehearsal and freeing them to move spontaneously and naturally within their roles.

Gibberish is, simply enough, the substitution of shaped sounds for recognizable words. It should not be confused with "double talk," where actual words are inverted or mispronounced in order to scramble the mean-ing. Gibberish is a vocal utterance accompanying an action, not the translation of an English phrase. The meaning of a sound in gibberish should not be understood unless the actor conveys it by action, expressions, or tone of voice, however, it is important that this be left for the student-actor to discover.

A scene that cannot be understood in gibberish is usually nothing but gags, story, plot, or ad-libbing. Gibberish develops the expressive physical language vital to stage life, by removing the dependency on words alone to express meaning. Because gibberish uses sounds of language minus the symbols (words), this puts the problem of communication on a direct experiential level.

The actor showing the most resistance to gibberish is usually the person who relies almost completely on words in place of experiencing and shows great anxiety when these words are taken away. Since this player almost invariably fights contact in any form, everyday body movement is stiff; and isolation from fellow players is quite pronounced.

There will also be the student who will keep insisting that the teacher spell it out: "Should it be through action or gibberish that the communication is made?" The older and more anxious the student, the more he or she will prod you to answer this question. One anxiety-ridden student who finally received great insight remarked: "You are on your own when you speak gibberish!" When asked if that wasn't also true when she used words, she thought a moment and replied: "No, when you use words, people know the words you are saying. So you don't have to do anything yourself."

Let students find this out for themselves. Gibberish, if communicated properly, can only bring about total physical response. But if the teacher tells the student to do it through action, the player will then concentrate on action and will not have a personal experience. We want integration of sound with physical or organic response; and it must come spontaneously from the student.

Because sound without symbols-except in the case of pain, joy, fear, or astonishment-cannot be recognized without body functioning, gibber-ish forces the student-actor to show and not tell. Because the sounds are meaningless, the player has no way of escaping. Then physicalizing mood, problem, relation, and character becomes organic. Body holds are re-leased, for players must listen and watch each other closely if they are to understand one another.

Scenes without sound, loosely called "pantomime" (see Chapter V), will not achieve the same results as gibberish; for we must not abstract sound (dialogue) from action. Dialogue and action are interdependent: dialogue creates action, and action creates dialogue. The players must be freed physically as they speak. The insecurity which can keep the flow and into-nation of the dialogue static will disappear as the student-actors lessen their dependency on words.

Insight into useless dialogue (ad-lib) often appears at this time. Dialogue that is not part of the expressive physical language of the stage life, is, after all, only gibberish!

Introducing Gibberish

Developing fluency in "no symbol" speech brings with it a release from word patterns that may not come easily to some players. The coach must illustrate what gibberish is before using it as an exercise and one may have to practice one's own fluency before presenting gibberish to the group. An illustration might consist of initiating a simple communication by asking a player, in gibberish, to stand up-Gallorusheo! - accompanying the sound with gesture. If the player is slow to respond, strengthen the gesture and repeat the sound, or utter a new phrase in gibberish. You might ask other students to sit down (Moolasay!), move about (Rallavo!), or sing (Plagee?) for example. The following exercise may now be played by the entire group.

GIBBERISH/INTRODUCTION

FOCUS: on speaking in Gibberish.

Ask the whole group to turn to neighbors and carry on conversations in gib-berish as if speaking an unknown language, and converse as though making perfect sense.

SIDE-COACHING: Use as many different sounds as possible! Exaggerate mouth movements! Vary the tone! Try gum-chewing movements! Keep your usual speech rhythm! Let the gibberish flow!

EVALUATION: Was there variety in the gibberish? Did the gibberish flow?

POINTS OF OBSERVATION

1. Keep the conversation going until everyone participates.

2. Have those who are more fluent in gibberish converse with those who stick with a monotonous dadeeda sound.

3. While most of the group will be delighted at their ability to converse in gibberish, there may be one or two who are so tied to speech for communication that they will be almost paralysed, physically as well as vocally. Treat this casually and, in subsequent gibberish exercises, flow of sound and body expression should become one.

GIBBERISH/DEMONSTRATION

FOCUS: on communicating to an audience.

Single player, speaking gibberish, sells or demonstrates something to the audience. When well begun ask the player to repeat, but this time pitch what is being sold or demonstrated. Allow one or two minutes clock time per player, calling time at the half-way point "half-minute to go"-and at the end.

SIDE-COACHING: Sell directly to us! See us! Sell to us! Share your gibber-ish! Now pitch it! Pitch it to us!

EVALUATION: What was being sold or demonstrated? Was there variety in the gibberish? Did the player see us in the audience or stare at us? Was there a difference between selling it and pitching it?

POINTS OF OBSERVATION

1. Insist on direct contact. If players stare or look over the heads of the audience, asking them to pitch their sale should bring about actual seeing. Pitching, as practiced in carnivals or department stores, re-quires direct contact with others.

2. Both audience and player will experience the difference when staring becomes seeing. An added depth, a certain quiet, will come into the work when this happens.

GIBBERISH/PAST INCIDENT

FOCUS: on communicating without word structure.

Two players, preferably sitting at a table. Using gibberish, A tells B of a past incident, such as a fight or a trip to the dentist. B then tells A something that happened, also using gibberish. To avoid preliminary discussion the two players could be picked at random just prior to going on.

SIDE-COACHING: Communicate to your fellow player! Don't assume you know what is being said! Share your gibberish!

EVALUATION: Ask A what B told. Then ask B what A told. Ask the audience what was communicated to them.

POINTS OF OBSERVATION

1. Neither player must assume what the other has related since B's assumptions will not help A make the necessary clear communication.

2. When this game is first played, students will act out (tell) their incident in great detail. If relating a trip to the dentist, they might hold their jaw, moan, poke at their teeth, etc. Later the integration of sound and physical expression will be more subtle. They will be able to show, not tell.

GIBBERISH/TEACHING

FOCUS: on communicating.

Teaching A

Two players; each team decides on a Where, Who, and What that is a teaching/learning situation. Examples are learning how to take pictures; playing a guitar, etc. All speech is in gibberish.

Teaching B

Teams of three to ten players agree on Where, Who, and What so that players are in a teaching/learning situation. Teacher and students play scene in gibberish. Examples: a reading class, an anatomy class, airline hostess class; the choices are many.

SIDE-COACHING : Communicate to student! Student, work with teacher!

EVALUATION: Did players communicate clearly to one another? Players, do you agree?

POINT OF OBSERVATION

Now is a good time to play GIBBERISH/ENGLISH, followed by GIBBERISH INTERPRETER, pp. 384-85.

GIBBERISH/THE WHERE GAME

FOCUS: on the gibberish while showing Where through objects within it.

Teams of ten to twelve players speaking in gibberish play this exercise the same as THE WHERE GAME, p. 98. The first player sets up a Where, into which other players enter as Who, developing relationships and activity.

SIDE-COACHING: Communicate to the other player! Show Where! Show Who you are through use of objects! Don't tell! Relate in gibberish!

EVALUATION: Did players show us or tell us? Were objects in space or in players' heads? Was communication made in gibberish?

GIBBERISH/WHERE WITH GIBBERISH

FOCUS: on communicating to the other players.

Teams of two to four players agree upon Where, Who, and What, preparing floorplans if desired. Scenes are first played in gibberish, then repeated in English.

SIDE-COACHING: During gibberish: Communicate to the other players! Don't expect them to interpret! What are you telling them?

WHERE

EVALUATION: Was the meaning of the English dialogue close to or the same as the gibberish?

POINTS OF OBSERVATION

Repeating in English is done simply to determine how exact the com-munication had been when made in gibberish. During the English ver-sion, stop the action frequently to ask the players and audience, "Did he or she communicate that in gibberish?"

Unnecessary verbalizing comes sharply to the players' attention when there are no understandable words between them. The English version of the scene does not have to be completed once this point has been made.

GIBBERISH/FOREIGN LANGUAGE A

FOCUS: on communicating with those who do not speak the same language.

Teams of four players divide into sub-team A and sub-team B. The players on each sub-team speak the same language; however, the opposite sub-team speaks a different language; and neither team understands the other team's language. All four players agree on Where, Who, and What. For ex-ample, two students abroad are seeking directions from two officials at a foreign border.

SIDE-COACHING: Sub-teams, talk to each other! You understand each other! Sub-teams, communicate with the foreigners! Play the game!

EVALUATION: Did players on the sub-teams understand each other? Did players communicate to "foreigners" (opposite sub-team)?

POINTS OF OBSERVATION

1. Note (if players are working on focus) the fluency of speech and ges-ture when partners share the same language and the labored gibber-ish and exaggerated gestures used to communicate in the "foreign" language.

2. Tell the players to avoid giving actual language rhythms to their gibber-ish (such as French, Swedish, etc.)

GIBBERISH/FOREIGN LANGUAGE B

FOCUS: on communicating with another who does not speak the same language.

Two players; each speaks a language that the other does not understand. They agree upon Who, Where, and What and speak only in gibberish.

SIDE-COACHING: Communicate to the other player! Make no assumptions! Communicate!

POINT OF OBSERVATION

This exercise could be played as a lead-in to GIBBERISH/FOREIGN LANGUAGE A, as is done in The Theater Game File.

GIBBERISH/GIVE AND TAKE (TWO SCENES)

Incorporate gibberish into GIVE AND TAKE/TWO SCENES, P. 149. The sub-teams must be alerted to the game's focus, and, since they are speaking gibberish, will be greatly involved in full stage action.

GIBBERISH/ENGLISH

FOCUS: on communication.

Introductory Demonstration: Choose two players to select a topic and con-duct a conversation. Explain to the group that players will be coached to switch from English to Gibberish and back again, even if caught mid-word. Proceed to side-coach. Conversation is to flow normally and advance in meaning.

When playing is understood, divide workshop into teams of three. Many teams, each with its own side-coach, play simultaneously. After a time, call "change!" for the side-coaches so that all team members have a chance to side-coach and to converse in Gibberish/English with both teammates.

SIDE-COACHING: Gibberish! English! Gibberish! (and so on).

EVALUATION: Did the conversation flow and have continuity? Was commu-nication maintained throughout? Players, do you agree?

POINTS OF OBSERVATION

1. This game develops side-coaching skills within all age ranges.

2. If Gibberish becomes painful for any player, immediately change to En-glish for a time. In all side-coaching, help the player who withdraws en-ergy from the problem.

3. The moment of change should be when the speaker is off-guard, in mid-word or sentence. In the off-balance moment, the source of new insights is tapped.

4. A group of four can play, one as interpreter, the others speaking Gib-berish, if the class size is uneven.

GIBBERISH INTERPRETER

FOCUS: on following the follower with Gibberish.

A. Interpreting a Lecture

Teams of two. One player gives a speech or lecture in Gibberish to audi-ence players. The second player is the interpreter for the audience. The speaker pauses for the interpreter's translations and then continues in Gib-berish. The interpreter "follows the follower" by reflecting the speaker's sound and meaning spontaneously in translation. The speaker reflects the interpreter by taking in the interpretation as if it accurately translates what was meant.

B. Three-Player Gibberish Interpreter

Two players who speak different languages are both understood by a third player who sits between them and interprets for them in English. Conversa-tion between the two Gibberish speakers flows through the interpreter. Af-ter a satisfying exchange, the player on stage right leaves and the other two move over, leaving a vacant seat on their left for a new player. The player in the middle chair is now the interpreter for a new round of play, and the game continues until everyone has been an interpreter.

C. Gibberish Interpreter with Where, Who, and What

Teams of three or more players agree on Where, Who, and What so that at least one interpreter is needed. Scenes on foreign borders, parties for diplomats, hiring foreigners are possibilities.

SIDE-COACHING: Interpreter, know what the speaker is saying! Follow the follower! Know what is being communicated!

EVALUATION: Players, did the interpreter pass on what you communi-cated? Interpreter player, were you following the follower?