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Theatre games are also commonly used as warm-up exercises for actors before a rehearsal or performance, in the development of improvisational theatre, and as a lateral means to rehearse dramatic material. They are also used in drama therapy to overcome anxiety by simulating scenarios that would be fear-inducing in real life.
Some key figures in the development of improvisational theatre are Viola Spolin and her son Paul Sills, founder of Chicago's famed Second City troupe and originator of Theater Games, and Del Close, founder of ImprovOlympic (along with Charna Halpern) and creator of a popular longform improv format known as The Harold.
Theatresports is a form of improvisational theatre, which uses the format of a competition for dramatic effect. Opposing teams can perform scenes based on audience suggestions, with ratings by the audience or by a panel of judges.
Video games limit the player to a linear pre-written game script organized by the game developers. Although video games present some control over the development of the story, players are not the playwrights of the game. Video games are vital to the formation of emotional connections between a gamer and player. [7]
Viola Spolin (November 7, 1906 — November 22, 1994) was an American theatre academic, educator and acting coach. She is considered an important innovator in 20th century American theater for creating directorial techniques to help actors to be focused in the present moment and to find choices improvisationally, as if in real life. [1]
KapCon in Wellington has hosted large theatre-style games since 2001. There are also now larp-only conventions - Chimera in Auckland [8] and Hydra in Wellington. These typically run both indoor theatre-style and outdoor live-combat games, with a large "flagship" event on the Saturday night to provide a unifying experience for all participants.
Some immersive theater designers incorporate audiences going safely off script into their work. Adventure 1, conducted by Coney, a British interactive and game-based theater, consists of audiences who record their adventure at St. Paul near the center of London. Participants are in an open and unrestricted set while wearing headphones that ...
Since then, these ideas have been developed more, giving them meaning in a modern-day context. The creation of the Theatre of the Oppressed is largely based on the idea of dialogue and interaction between audience and performer. Moreover, these ideas have served as a framework for the development and evolution of stronger ideas. [2]