The Connect Improv Curriculum:连接即兴课程：
Supporting Youth on the Autism支持自闭症青少年
Spectrum and Their Educators光谱和他们的教育工作者
Lacy Alana and Jim Ansaldo莱西·阿兰娜和吉姆·安萨尔多
Lacy Alana is a licensed clinical social worker and improviser who eclectically combines her clinical expertise with her passion for creative expression. Accordingly, she has created several innovative and experiential therapeutic and arts programs for at-risk youth and youth with autism, and training programs for educators and clinicians who work with youth.
Jim Ansaldo conducts research, supports school change efforts, and facilitates educator professional learning around Applied Improvisation, culturally responsive practice, curriculum design, instructional consultation, and online learning at the Center on Education and Lifelong Learning at the Indiana Institute on Disability and Community at Indiana University. Jim has performed and taught improv comedy and musical improv for twenty-five years.
花边阿拉娜是一名有执照的临床社会工作者和即兴工作者，她把她的临床专业知识和她对创造性表达的热情结合在一起。因此，她为面临风险的青少年和自闭症青年创建了一些创新和经验治疗和艺术项目，并为从事青年工作的教育工作者和临床医生制定了培训方案。
Jim Ansaldo在印第安纳大学印第安纳残疾和社区研究所的教育和终身学习中心开展研究，支持学校改革努力，并促进教育工作者围绕应用即兴创作、文化反应灵敏的实践、课程设计、教学咨询和在线学习进行专业学习。Jim在即兴喜剧和音乐即兴表演方面有25年的教学经验。
For several years, Lacy Alana and Jim Ansaldo have used Applied Improvisation (AI) to support youth on the autism spectrum and educators. Lacy has directed Building Connections, a weekly improv class series for autistic youth in Austin, Texas. Lacy and Jim have codirected Camp Yes And, a summer camp offered through Indiana University. The Connect Improv Curriculum (CIC) forms the core of both programs, and evidence suggests that the curriculum has brought significant benefits to youth on the spectrum and educators alike.
多年来，Lacy Alana和Jim Ansaldo一直在使用应用即兴表演（AI）来支持自闭症青少年和教育工作者。Lacy曾指导过Building Connections，这是一个为德克萨斯州奥斯汀的自闭症青少年举办的每周即兴表演课程系列。莱西和吉姆联合执导了《夏令营》是还有，印第安纳大学提供的夏令营。连接即兴课程（CIC）构成了这两个项目的核心，有证据表明，该课程为青少年和教育工作者带来了显著的好处。
Building Connections
Prior to starting Building Connections, Lacy worked at an adolescent boys’ neurobehavioral unit in a residential treatment center that often served as a “last resort” for patients who had exhausted other, less restrictive interventions. The patients were complex and often presented with multiple mental health, developmental, and social system challenges. Many were regarded as challenging patients who were oppositional, aggressive, and disconnected from others. Moreover, they felt they had been failed chronically by a broken mental health system and often resisted treatment. After about a year, Lacy began integrating improv exercises and games into more traditional group and family therapy sessions as an experiment, and she found this approach to be highly successful. Youth who previously refused treatment began to demonstrate a willingness to participate and to make progress.
建立联系
在创办Building Connections之前，Lacy曾在一个住宅治疗中心的青少年男孩神经行为单元工作，该治疗中心通常是那些已经用尽其他限制较少的干预措施的患者的“最后手段”。病人很复杂和社会系统的多重挑战。许多人被认为是具有挑战性的病人谁是对立的，侵略性的，并与他人断开。此外，他们还感到，一个支离破碎的心理健康系统长期以来让他们感到失望。而且常常抗拒治疗。大约一年后，Lacy开始将即兴练习和游戏整合到更传统的团体和家庭治疗课程中，作为一个实验，她发现这种方法非常成功。以前拒绝接受治疗的青年开始表现出参与和取得进展的意愿。
One particular youth, Joshua, comes to mind who exemplifies this transformation.1 He was 17 and had been in and out of psychiatric hospitals since early adolescence. He was diagnosed with autism, along with a mood disorder and several learning disorders. At home, his behaviors were described as “out of control.” He struggled to communicate with others, and he often became aggressive. In treatment, he vacillated between being despondent and highly resistant. He largely refused to participate in individual, family, or group therapy, and was oppositional and guarded in those few times that he did participate. When improv initially was introduced in group therapy, Joshua didn’t join in. Over the next few weeks, he slowly increased his involvement: first standing near group members who were engaged in an improv game, then standing in the circle with peers, later gesturing silently and half-heartedly, and ultimately participating fully with body and voice. Improv seemed to unlock something for him. He began to laugh with peers. He wanted to teach improv games to his family during therapy sessions. According to his parents, he became more expressive, engaged, and connected than he had been in years.
我想起了一个叫约书亚的年轻人谁例证了这一转变。他17岁，从青春期早期开始就在精神病院进进出出。他被诊断为自闭症，同时伴有情绪障碍和几种学习障碍。在家里，他的行为被描述为“失控”。他很难与别人交流，而且他经常变得咄咄逼人。在治疗中，他在沮丧和强烈抵抗之间摇摆不定。他很大程度上拒绝参加个人、家庭或团体治疗，在他参与的那几次中，他是持反对态度和谨慎的。当最初在团体治疗中引入即兴表演时，约书亚没有加入。在接下来的几个星期里，他慢慢地增加了他的参与度：首先站在正在玩即兴游戏的小组成员附近，然后和同龄人一起站在圈子里，后来默默地、半心半意地做手势，最后完全用身体和声音参与进来。即兴表演似乎为他解开了什么。他开始和同龄人一起笑。他想在治疗期间教他的家人玩即兴游戏。据他的父母说，他变得比过去几年更有表现力，更投入，更有联系。
Joshua was not alone. As Lacy continued to add improv into the curriculum with autistic youth, she noticed a marked improvement in many of her students’ communication and social interaction, flexibility and spontaneity, and ability to integrate sensory information. It was exciting to discover an intervention that consistently showed strong benefits. Improv supported a framework of enhancing and expanding strengths that these youths already possessed, rather than focusing on remediating deficiencies. With this success as a guidepost, Lacy and a group of Austin improvisers discussed the possibility of creating improv classes specifically for autistic youth. In 2013, Building Connections was established at Austin’s Hideout Theatre.
约书亚并不孤单。随着Lacy继续将即兴表演加入到自闭症青少年的课程中，她注意到她的许多学生在沟通和社会互动、灵活性和自发性以及整合感官信息的能力方面都有了显著的进步。这是令人兴奋的发现，干预一贯显示出强大的好处。Improv支持一个加强和扩大这些年轻人已经拥有的优势的框架，而不是专注于弥补缺陷。以此为指导，Lacy和一群奥斯汀的即兴表演者讨论了为自闭症青年开设即兴表演课程的可能性。2013年，在奥斯汀的Hideout Theatre建立了建筑连接。
Initially, two simultaneous six-week trial classes were offered—one for ages 10– 13, and the other for ages 14– 18. Class structure, exercises, and intervention models were designed by Lacy with the overall objective of giving youth a safe place to have fun, express themselves, and improve communication and social skills (Figure 4.1). Building Connections met with quick success, and program offerings expanded to full semesters, prompting Lacy to develop the full CIC. The curriculum offers practitioners of AI a framework for understanding autism, evidence around the utility of improv as a key teaching and learning strategy, and full instructions for facilitating a thirteen-week improv class. In 2014, an opportunity to use the CIC outside of Building Connections came when Lacy and Jim met, and the two began to design Camp Yes And.
最初，我们同时开设了两门为期六周的试验课程，其中一门是长期的。10岁到13岁，另一个年龄段14- 18. 课堂结构、练习和干预模式都是由Lacy设计的，总体目标是给青少年一个安全的地方，让他们享受乐趣，表达自己，提高沟通和社交技能（图4.1）。Building Connections很快就取得了成功，课程扩展到了整个学期，这促使Lacy开发了完整的CIC。该课程为人工智能从业者提供了一个理解自闭症的框架，围绕即兴表演作为一个关键的教学和学习策略的效用的证据，以及促进13周即兴表演课的完整说明。2014年，当Lacy和Jim相遇时，一个在Building Connections之外使用CIC的机会来了，两人开始设计Camp是的而且。
Camp Yes And
Jim has been a performing improviser since the late 1980s and has facilitated educator professional learning since 2000. In 2014, he attended Lacy’s presentation at the Applied Improvisation Network World Conference. Jim spoke with Lacy about bringing her work to Indiana, but given the distance, a weekly class wouldn’t be practical. They treated the distance as an offer and instead developed a summer improv camp for teens on the spectrum.
YES AND 营地
Jim自20世纪80年代末以来一直是一名即兴表演者，并自2000年以来促进了教育工作者的专业学习。2014年，他参加了Lacy在“应用即兴”的演讲。网络世界大会。吉姆和莱西谈过把她的工作带到印第安纳州，但考虑到距离，每周一次的课程是不切实际的。他们把这段距离当成了一项条件，转而为青少年们开发了一个夏季即兴夏令营。
As the collaboration continued, Jim also saw the need to design a learning component aimed at the learning professionals that work with these teens. Parent feedback from Building Connections often contained phrases like, “I didn’t know she could do that!” Jim reasoned that if improv unearths skills in autistic youth that their own parents haven’t seen, it is possible that educators chronically underestimate and under-challenge these young people in school. Moreover, research suggests that many educators lack confidence in their ability to support students on the spectrum (Cassady 2011), and professional learning that provides practice, feedback, and coaching supports educators to transfer new skills from the workshop to the classroom (Joyce and Showers 2002). Camp Yes And is designed intentionally to provide educators with this critical support as they learn improv skills and apply them in an authentic context, working directly with autistic teens.
随着合作的继续，Jim也看到了设计一个学习组件的必要性，该组件旨在与这些青少年一起工作的学习专业人士。建立联系的家长反馈经常包含这样的短语比如，“我不知道她还能这样！”吉姆认为，如果改善挖掘自闭症青年的技能那自己的父母还没有看到，教育工作者可能长期低估和挑战这些在学校的年轻人。此外，研究表明，许多教育工作者对支持学生的能力缺乏信心(Cassady，2011年)，而提供实践、反馈和辅导的专业学习则支持教育工作者将新技能从讲习班转移到课堂(Joyce和骤雨，2002年)。营地是旨在为教育工作者提供重要的支持，帮助他们学习即兴表演技巧，并将其应用于真实的情境中，直接与自闭症青少年一起工作。
Camp Yes And has been structured as a five-day summer camp for teens on the autism spectrum and educators, including general and special education teachers, speech-language pathologists, social workers, arts educators, and others. During each morning of camp, Lacy and Jim work alone with educators to practice improv techniques and discuss their application to supporting the academic and social success of youth on the spectrum. Each afternoon, the entire group works together to facilitate an improv camp for these teens (Figure 4.2). Each day, roughly two of the CIC modules are used to guide camp activities.
YES AND营已被构造为一个为期五天的夏令营青少年对自闭症谱系和教育工作者，包括普通和特殊教育教师，言语语言病理学家，社会工作者，艺术教育工作者，和其他人。在夏令营的每一个早晨，Lacy和Jim单独与教育工作者一起练习即兴表演技巧，并讨论他们的应用，以支持青少年在学术和社会上的成功。每天下午，整个小组一起工作，为这些青少年提供一个即兴表演营（图4.2）。每天，大约有两个CIC模块被用来指导营地活动。
A Framework for Understanding Autism
Both the CIC and this chapter employ varying terms to describe youth in Building Connections and Camp Yes And, including “autistic” and “on the spectrum.” The term “neurodivergent” comes closest to describing the CIC’s framework for understanding autism. “In its broadest sense, the concept of neurodiversity regards atypical neurological development as a normal human difference.”3 Ultimately, Lacy and Jim regard autism as a set of perceptual and expressive differences, rather than a disability. Building Connections and Camp Yes And seek to use improv as a way to connect with people who move through the world in a unique way—not as a “fix” or “cure” for those who are different. Every student (adult, child, neurotypical, or neurodiverse) brings unique strengths and challenges into the classroom. Experienced educators assess students’ prior knowledge and skill, build on their strengths, support their struggles, and help them find success and fun through progressive learning and skill development. There is a saying used in the autism community: “When you have met one person with autism, you have met exactly that: one person with autism.” This saying underscores the belief that each person, though she may share a diagnostic label with another, is unique and can’t be lumped together under one generalized set of characteristics. That said, a common core of significant challenges exists for people on the autism spectrum. Broadly speaking, these challenges include difficulties with communication and social interaction, flexibility and spontaneity, and processing sensory information. Each of these three common challenges is discussed below.
理解自闭症的框架
CIC和本章采用了在建立联系和夏令营中用不同的术语来描述青少年是而且，包括“自闭”和“上频谱”。“神经分化”这个术语最接近于描述CIC对自闭症的理解框架。“从最广泛的意义上讲，神经多样性的概念将非典型的神经发育视为一种正常的人类差异。”最终，莱西和吉姆认为自闭症作为一套知觉和表达的差异，而不是一种残疾。建立联系YES AND营地是把即兴表演作为一种方式，与那些以独特的方式生活在这个世界上的人建立联系，而不是作为那些与众不同的人的“修复”或“治疗”。每一个学生(成人、儿童、神经典型或神经多样性)给课堂带来独特的优势和挑战。经验丰富的教育工作者评估学生已有的知识和技能，建立他们的优势，支持他们的奋斗，帮助他们通过进步的学习和技能发展找到成功和乐趣。在自闭症群体中有这样一句话：“当你遇到一个孤独症患者时，你遇到的就是：一个孤独症患者。” 这句话强调了一种信念，即每个人都是独一无二的，不能用一套普遍的特征来概括。也就是说，自闭症谱系障碍患者面临着一个共同的核心挑战。从广义上讲，这些挑战包括沟通和社会互动的困难，灵活性和自发性，以及处理感官信息。下文将分别讨论这三个共同挑战。
Improv as a Key Teaching and Learning Strategy
The CIC was designed from the theory that improv creates a safe, supportive, and authentic context for strengthening the skills needed to address the challenges listed above. Research affirms the idea that drama and dramatic play are valuable tools for supporting youth on the autism spectrum to improve their communication and social skills (Caplan 2006; D’Amico et al. 2015; Kempe and Tissot 2012; Schuler 2003). In addition, people on the spectrum themselves have recommended improv as a valuable outlet to reduce anxiety and increase spontaneity (Caplan 2006).
即兴表演作为一种重要的教学策略
CIC的设计理念是即兴创造一个安全、支持和真实的环境，以加强应对上述挑战所需的技能。研究证实，戏剧和戏剧表演是支持青少年自闭症谱系障碍的宝贵工具，以提高他们的沟通和社会技能（Caplan 2006；D'Amico et al。2015年；肯普和天梭2012年；舒勒2003年）. 此外，这些人自己也推荐即兴表演作为一种有价值的发泄方式来减少焦虑和压力。增加自发性（卡普兰2006年）。
The CIC focuses on teaching improv in a highly supportive environment that encourages self-expression, connection with others, and self-confidence. Due to the fundamental emphasis in improv on collaboration with others, CIC exercises and games lend themselves well to providing autistic youth with experiential practice and do not need significant adaptation for this population. Rather, the focus on becoming successful improvisers is an authentic and nonthreatening way to redirect challenging behavior and social miscues that also occur “in real life.” Additionally, improv offers an excellent framework for educators to meet students where they are, connect with them, and support their growth. If anything, the biggest shift needed for improvisation to succeed with youth on the spectrum rests with educators, who often come to realize that they hold the key to creating the optimal learning conditions that promote autistic students’ success or failure.
CIC专注于在一个高度支持的环境中教授即兴表演，鼓励自我表达，与他人联系和自信。由于即兴表演的基本重点是与他人合作，CIC练习和游戏很好地为自闭症青少年提供了经验性的练习，并不需要对这一人群进行显著的适应。相反，专注于成为一个成功的即兴表演者是一个真实的和非威胁性的方式来重新定向的挑战行为和社会失误，也发生在“现实生活中”。此外，即兴表演为教育工作者提供了一个很好的框架，以满足学生，与他们联系，并支持他们的成长。如果有的话，最大的转变所需的即兴成功与青年的频谱在于教育工作者，他们往往会意识到，他们持有的关键，以创造最佳的学习条件，促进自闭症学生的成功或失败。
Optimal Learning Conditions
The conditions for optimal learning occur when educational systems provide learners with both appropriate challenge and frequent, ongoing opportunities for success (D’Amico et al. 2015). In other words, effective educators apply the “Goldilocks Principle” by facilitating learning activities that are “not too easy and not too difficult.” This practice usually calls for educators to increase the challenge of a learning task incrementally. Logically, then, there is a risk of failure in any authentic learning task, and educators’ approach to risk management is critical in supporting student engagement, motivation, and learning.
最佳学习条件
当教育系统为学习者提供适当的挑战和频繁的、持续的成功机会时，最佳学习的条件就会出现（D'Amico et al.2015）。换句话说，有效的教育者运用“金发姑娘原则”，促进学习活动“不太容易也不太难”。“这种做法通常要求教育工作者逐步增加学习任务的难度。因此，从逻辑上讲，任何真正的学习都有失败的风险任务，以及教育工作者的方法风险管理在支持学生参与、动机和学习方面至关重要。
Improv games like Whoosh Bang Pow (Workbook 4.1) support learners to push their limits, and failure actually is a sign that the game is being played correctly. Pairing the game with the Failure Bow (Workbook 4.1) creates group safety and support by encouraging the celebration of risk-taking and letting go of mistakes and reframing them as opportunities. Early introduction of these games provides learners (and teachers!) with a tool to defuse stress and anxiety throughout the entire class period. In both Building Connections and Camp Yes And, it’s not unusual to see youth and adults taking failure bows to acknowledge anything from messing up a game to spilling popcorn at snack time. These techniques are particularly important for supporting youth on the spectrum, who often experience significant anxiety around “getting it right.” In fact, difficulty with communication and social interaction may be related to the desire to avoid failure and frustration as much as anything else.
像Whoosh Bang Pow（练习册4.1）这样的即兴游戏可以帮助学习者突破自己的极限，而失败实际上是游戏正确进行的一个标志。将这个游戏与失败弓（练习册4.1）配对，通过鼓励冒险的庆祝活动，让错误随风而去，并将它们重新定义为机会，创造团队安全感和支持。早期引入这些游戏可以为学习者（和老师！）用一个工具来缓解整个课堂期间的压力和焦虑。在建筑连接和营地是而且，我们经常会看到年轻人和成年人以鞠躬的方式来承认自己的失败，不管是搞砸了一场比赛，还是在点心时间打翻了爆米花。这些技巧对于支持频谱上的年轻人尤其重要，他们经常在周围经历显著的焦虑。“做对了。” 事实上，沟通和社会交往的困难可能与避免失败和挫折的愿望有关，就像其他任何事情一样。
Strengthening Communication and Social Skills
Autistic people often struggle with interpreting and responding to the unwritten rules of communication and social interaction in societies and cultures. Roy, for example, a teen from Camp Yes And, had trouble moderating his volume, stood more closely to others than was comfortable, and spoke excessively on topics of interest to him without seeming to notice whether his conversation partners were engaged in the discussion. Following the guidelines and strategies in the CIC, adults at camp valued and celebrated his enthusiasm, eagerness to connect, and bold communication strategies—all of which are great strengths in improv. At the same time, they also side-coached him and pointed out when these qualities impeded his capacity to co-create with others on stage and compromised his ability to fully connect and communicate with others outside of improv.
加强沟通和社交技巧
自闭症患者经常在解释和回应社会和文化中不成文的沟通和社会互动规则方面挣扎。比如罗伊夏令营的一个少年是而且，很难调节自己的音量，站得离别人太近，不舒服，过多地谈论自己感兴趣的话题，似乎没有注意到他的谈话伙伴是否参与了讨论。遵循中投公司的指导方针和策略，营地里的成年人都很重视和庆祝他的热情、对沟通的渴望，以及大胆的沟通策略--所有这些都是他在即兴发挥方面的巨大优势。与此同时，他们也在一旁指导他，指出这些品质阻碍了他在舞台上与其他人共同创作的能力，影响了他在即兴之外与其他人充分交流的能力。
As mentioned earlier, rather than having to address social communication directly, a focus on “doing good improv” has impact on behaviors on stage and off. The CIC provides students with numerous opportunities to practice understanding and responding to social cues through improv games and exercises. In Roy’s case, games that focused on “offers” being made by fellow players were particularly helpful. The Cycle of Deep Yes, And (Workbook 4.2) helped him to see how accepting and supporting others’ ideas—with others returning the favor—resulted in stronger and more fun improv. The cycle also delivers a concrete road map for successful communication and social interaction offstage. Additional games offered practice around initiating social interaction in a variety of contexts and a framework for understanding how and why to stay on topic. This focus was particularly helpful for Roy. After the camp’s final showcase, his parent remarked, “I could tell from the showcase that he had learned to control his conversation and let others speak.”
如前所述，与其直接解决社会交流问题，不如专注于“做好即兴表演”对台上台下的行为都有影响。CIC为学生提供了大量的机会，通过即兴游戏和练习来练习理解和回应社会暗示。在罗伊的案例中，专注于其他玩家提供的“条件”的游戏特别有帮助。深深的轮回是的，而且(工作簿4.2)帮助他看到如何接受和支持别人的想法-与其他人回报-导致更强和更有趣的改进。这一周期还为成功的沟通和在舞台外的社会互动提供了一个具体的路线图。另外的游戏提供了在各种环境下启动社交互动的实践，并为理解如何和为什么停留在主题上提供了一个框架。这种专注对罗伊特别有帮助。在夏令营的最后一次展示后，他的父母说：“我可以从展示中看出，他已经学会了控制自己的谈话，让别人说话。”
Increasing Flexibility and Spontaneity
Connected to the communication skill of “staying on topic” is the reality that many neurodivergent youth have a limited range of specialized interests, are dependent on routines, and struggle responding to unfamiliar situations. Improv creates the opportunity to Yes, And youth interests and rewards flexibility and spontaneity. Linda, another teen in Camp Yes And, was very reserved and slow to engage with the group. Despite encouragement, she chose to initially watch rather than participate. Through the camp application form, instructors knew that hippos were her main interest, so they set up a scene at a zoo near a hippo tank. Linda was the first to volunteer to be in the scene. Instructors said “yes” to her interest to engage her in participating with the group.
增加灵活性和自发性
与“紧扣主题”的沟通技巧相关的现实是，许多神经分化型青少年的专业兴趣范围有限，依赖于常规，并努力应对不熟悉的情况。即兴表演创造了机会，是的而年轻人的兴趣和奖励灵活性和自发性。琳达夏令营的另一个青少年是而且，是非常保守和缓慢的参与组。尽管受到鼓励，她最初还是选择观看而不是参与。通过夏令营申请表，指导员了解到河马是她的主要兴趣，所以他们在动物园里的河马池附近设置了一个场景。琳达是第一个自愿参加拍摄的人。教练对她的兴趣说“是”，让她参与小组活动。
The “and” happened as instructors facilitated games and exercises that purposefully brought new ideas and topics into the mix. For example, New Choice (Workbook 4.3) challenges players to remake verbal and physical offers in a variety of ways. Players are encouraged to combine new ideas with preferred interests, ultimately resulting in stronger improv and increased areas of interest. The phrase “new choice” also becomes helpful code throughout classes and camps. When problem behavior occurs, instructors often say “new choice” to signal the need for redirection. Miguel, also in Camp Yes And, demonstrated an early habit for playing characters that used alcohol or drugs. After a couple of those scenes, Lacy said, “New choice! We know you can play that kind of character, but you know about lots of other things. Let’s see something new.”
“和”发生时，教师促进游戏和练习，有目的地带来新的想法和主题的组合。例如，“新选择”(Workbook 4.3)要求玩家以多种方式重做口头和物理上的提议。鼓励球员结合新的想法和优先的兴趣，最终导致更强的改进和更多的兴趣领域。短语“新的选择”也成为整个课程和营地的有用代码。当问题行为发生时，教师经常说“新的选择”来表示需要重定向。米格尔也在“是”营，他很早就养成了扮演使用酒精或毒品的角色的习惯。拍了几场这样的戏后，莱西说“新的选择！我们知道你可以扮演那种角色，但你知道很多其他的事情。来看看新的吧。”
The focus is on doing good improv, not a personal criticism. Many youth on the spectrum are encouraged to explore diverse interests, but the redirection often comes with a message of irritation from those who may be tired of hearing about a particular topic. New Choice is a perfect example of a way that instructors can help students understand that improv requires the exploration of a variety of interests in order to co-create with other players and utilize audience suggestions effectively. Over time, the words “new choice” may become sufficient to prompt students to self-redirect. As needed, instructors may offer more specific redirection or explanation within the improv, as above, or in private conversation after a game has concluded. In either case, a playful association with the game of New Choice seems to remove undue stress from behavioral redirection.
重点是做好即兴表演，而不是个人批评。学校鼓励许多患有自闭症的年轻人去探索不同的兴趣，但这种转向往往伴随着一些人的愤怒，这些人可能已经厌倦了听到某个特定的话题。新选择是一个很好的例子，老师可以帮助学生理解即兴表演需要探索各种兴趣，以便与其他演员共同创造，并有效地利用观众的建议。随着时间的推移，“新的选择”这几个字可能足以促使学生自我重新定向。当需要时，教练可以提供更具体的重定向或解释，如上述，或在游戏结束后的私人谈话。在这两种情况下，一个好玩的协会与游戏的新选择似乎消除不当的压力，从行为的重新定向。
Integrating Sensory Information
The challenges of processing sensory information for people on the autism spectrum take different forms. Some individuals may be extremely sensitive to sensory input, such as bright light or loud noise. Others may be notably insensitive and speak in an overly loud voice. Also, sensory seeking behaviors, such as humming or waving arms, may become more prevalent in stressful environments, and an individual may have limited awareness of their body movements, and may encroach on others’ personal space. Roy, described earlier, fell into this last category. Games that focused on “offers” were helpful in illuminating the “hidden rules” of social interaction. Viola Spolin’s ( 1963) basic Mirror exercises and the traditional game “Who Started the Motion” supported Roy’s development of greater body awareness.
整合感官信息
人类处理感官信息的挑战表现出不同的形式。有些人可能对感官输入非常敏感，如强光或噪音。其他人可能明显不敏感，说话声音太大。此外，感觉寻求行为，如哼唱或挥舞手臂，可能会变得更加普遍，在紧张的环境中，一个人可能对自己的身体动作意识有限，并可能侵犯他人的个人空间。罗伊，如前所述，陷入了这个最后一类。游戏主要集中在"要约"有助于阐明社会交往的"潜规则"。第一次亲密接触（1963）基本镜面练习和传统游戏“谁发起了运动”支持罗伊的发展更大的身体意识。
Another helpful strategy employed in Building Connections and Camp Yes And is to identify “who has the focus” in any given moment. When someone is speaking, or is on stage playing a game, adult educators remind the group of who has the focus: “Joe has the focus now, because he has asked us to listen and everyone is looking at him. Let’s watch him to see what offers he makes.” This strategy supports students in identifying extraneous sensory input and filtering it out.
To support individuals who are sensitive to sensory input, overhead lighting is kept relatively low. In addition, classrooms always have a designated “chill out” area, where students may take a break from activities and still be able to see what’s happening. Often, students can be brought back into participation by asking them to provide suggestions for, or input about the game being played on stage.
另一个有用的策略采用了建立联系和营地是以及在任何给定的时刻识别“谁拥有焦点”。当有人在演讲，或在舞台上玩游戏时，成人教育者会提醒大家谁是焦点：“乔现在有了焦点，因为他要求我们倾听，每个人都看着他。让我们看看他会提出什么条件。” 这种策略支持学生识别外来的感官输入，并将其过滤掉。
为了支持那些对感官输入敏感的人，头顶上的照明保持相对较低。此外，教室总是有一个指定的“放松”区，在那里学生可以从活动中休息一下，仍然可以看到正在发生的事情。通常，通过要求学生对舞台上正在进行的游戏提供建议或输入，可以使他们重新参与进来。
Conclusion and Future Directions
The CIC is a valuable tool to support people on the spectrum to strengthen communication and social skills, increase flexibility and spontaneity, and integrate sensory information. It also equips educators with practical and flexible tools that can be implemented in a variety of educational settings to support the development of critical skills for teens.
While adolescence is a particularly critical time for intervention, the curriculum provides an instructional foundation relevant to any age population. Building Connections has expanded to serve multiple age groups (9– 13, 13– 18, and 18+), and Camp Yes And is building the capacity for similar expansion. In addition, tools are being developed to measure the impact of the CIC, and a train-the-trainer model is being created to support those interested in implementing the CIC and replicating the Camp Yes And model.
Teen registration for Camp Yes And has filled within twenty-four hours each year, and many teens are left on the waiting list. In the coming years, it will be critical to expand capacity and bring this work to more people and licensing the curriculum for use in a variety of settings.
结论和未来方向
CIC是一个有价值的工具，以支持频谱的人，以加强沟通和社交技能，增加灵活性和自发性，整合感官信息。它还为教育工作者提供了实用和灵活的工具，可以在各种教育环境中实施，以支持青少年关键技能的发展。
虽然青春期是干预的一个特别关键的时期，但课程提供了与任何年龄人口相关的教学基础。建立联系服务扩展到多个年龄组（9- 13 岁，13- 18 岁和 18 岁以上），以及营地是并正在建立类似扩展的能力。此外，正在开发工具，以衡量社区创新中心的影响，并开发一个培训员培训模式。是被创建为支持有兴趣实施社区创新中心和复制营地是和模型。
青少年注册营地是而且每年在24小时内就满了，还有很多十几岁的孩子还在等候名单上。在未来几年，至关重要的是扩大能力，将这项工作带给更多的人，并授权课程在各种环境中使用。
The power of the work is expressed best in the words of participants. For teens on the spectrum, improv is empowering: “This camp’s just opened me up like an eggshell—just cracking open my true self.” For educators, it is freeing:
“It has changed me as an educator because it has expanded my sense of not only what I should be bringing to the table, but it also has expanded my inner sense of myself ... I felt like I rediscovered my sense of play. And I realize now that’s an element that’s been missing.” For Lacy and Jim, it is a joy, a privilege, and a calling.
工作的力量在参与者的话语中得到了最好的表达。对于青少年来说，即兴表演是一种力量：“这个夏令营就像打开蛋壳一样打开了我，打开了我的真实自我。”对于教育工作者来说，它解放了：
“它改变了我作为一个教育工作者，因为它扩大了我的感觉，不仅是我应该把什么带到桌子上，但它也扩大了我内心的自我意识...我觉得我重新找回了玩的感觉。我现在意识到这正是我们一直缺少的元素。” 对于莱西和吉姆来说，这是一种快乐，一种特权，一种使命。
Note
1 All names have been made up.
WORKBOOK
4.1 Whoosh Bang Pow and Failure Bow
This is a full group activity, which invites and encourages risk-taking and letting go of mistakes.
At the end of this exercise, participants will have ...
• learned soft focus, listening, and staying in the moment;
• experienced positive outcomes of “failure”: a mistake can be made without shame or any need to hide it;
• managed risks by making small mistakes in a supportive environment; and
• learned a tool to defuse stress and anxiety.
Running the Exercise
1. Ask participants to stand in a circle.
2. Demonstrate “passing Whoosh” by facing the person to your right, saying “Whoosh,” and moving your hands in a way that indicates energy passing to them. Ask that person to pass it to their neighbor and repeat until the Whoosh has made it completely around the circle. Then “pass” the Whoosh to the left in the same way.
注
1所有的名字都编好了。
工作簿
4.1“砰”一声和“失败弓”
这是一项完整的集体活动，它邀请并鼓励冒险和放弃错误。
在这次演习结束时，参与者将有..。
学会轻柔的专注、倾听和停留在当下；
经历过“失败”的积极结果：可以毫无羞耻地或不需要掩盖错误；
通过在有利环境中犯小错误来管理风险；
·学习了一种缓解压力和焦虑的工具。
操练
1.要求参与者围成一圈。
2.展示“通过欢呼”，面向右边的人，说“呜呜”，并以一种表示能量传递给他们的方式移动你的手。让那个人把它递给他们的邻居，然后重复一遍，直到它完全围绕着圆圈。然后用同样的方式“传递”呼呼到左边。
3. Once the group seems comfortable, introduce Bang. Ask someone on one side of you to pass a Whoosh to you. Once they do this, cross your arms in an “X” across your chest, and say “Bang.” Explain to the group that this means that the Whoosh changes directions. The person who had attempted to pass you the Whoosh then turns back around and passes the Whoosh in the opposite direction.
4. Inevitably, the Whoosh will get stuck, as some participants will Bang on either side of another participant. Use this as a natural point to introduce Pow. Instruct students that whoever “has the Whoosh” can also choose to pass the energy to someone across the circle by making eye contact with that person, clapping their hands together and then immediately pointing at the person while saying “Pow.” Instruct the person receiving the Pow that they can then choose to Whoosh in either direction.
3. 一旦大家都觉得舒服了，就介绍Bang。让坐在你旁边的人给你递一个“嗖”。一旦他们这么做了，你就在胸前交叉双臂成“X”形，然后说“Bang”。向小组解释这意味着“嗖”的一声会改变方向。那个试图把“嗖”传递给你的人又转过身来，朝相反的方向传递了“嗖”。
4. 不可避免地，“嗖”的一声会卡住，因为一些参与者会砰的一声撞到另一个参与者的两侧。使用这一点作为一个自然的点来介绍电源。指导学生，谁“嗖”的一声，谁也可以选择通过与那个人的眼神接触，一起拍手，然后立即指向那个人，同时说“啪”的能量传递给另一个人。指示接受异能的人，他们可以选择向任何一个方向“嗖”的一声。
5. Mid-exercise Debrief
a. Once the group has played for a bit, stop and discuss. Is the group playing with risk? Or are they going slowly to ensure they don’t make mistakes? How can we increase the fun in this game? (Increase speed, commitment, and willingness to make mistakes.)
b. Engage the group in a conversation about the benefits of mistakes. What are the good things about making mistakes? (We learn from them, we can find unexpected gifts, etc.)
c. Teach the group the Failure Bow (see Workbook 3.2). Let them know that at any time, anyone can put their hands in the air, take a bow, and say, “I failed!” When they bow, the entire group will celebrate wildly for them. Demonstrate this, giving everyone an opportunity to practice in pairs or in the group. Ask the group to state a real-life “failure” (as big or as small as they’d like: I failed a quiz, I spilled milk, I forgot to put on deodorant). The group celebrates each failure bow.
6. Play Whoosh Bang Pow again, inviting them to take Failure Bows anytime they feel they’ve made a mistake.
5. 中期演习汇报
一个一旦大家玩了一会儿，就停下来讨论。集团是在玩风险吗？还是说他们走得很慢，以确保不犯错误？怎样才能增加趣味性在这场比赛中？提高速度、承诺和犯错的意愿。
b。让小组参与一个关于错误的好处的对话。犯错的好处是什么？（我们向他们学习，我们可以找到意想不到的礼物，等等）
c。教会团队失败的教训弓（见练习册3.2）让他们知道，在任何时候，任何人都可以举起双手，鞠个躬，然后说，“我失败了！”当他们鞠躬时，整个团队都会疯狂地为他们庆祝。证明这样，每个人都有机会两人一组或小组练习。让小组陈述一个真实的“失败”(无论大小都可以：我的测验失败了，我洒了牛奶，我忘了抹除臭剂）。该小组庆祝每一个失败的鞠躬。
6. 再玩一次“嗖”的一声，邀请他们在任何他们觉得自己犯了一个错误的时候接受失败的鞠躬。
Debrief
• How did willingness to make mistakes change the game?
• How did celebrating your own mistakes (either in the game or a real-life mistake) make you feel?
• How did it feel to witness your colleagues celebrating their failure?
• Anything from this that resonates out in the world for you?
Suggestions
• If a participant excessively uses Bang, this may signal that the participant likes to “block” their peers.
• At times, if the Bangs are so excessive that it slows the exercise down significantly, it may be necessary to create a “Whoosh must make it around circle before Banging it” rule.
问询
·犯错的意愿如何改变了游戏？
·庆祝自己的错误(无论是在游戏中还是在现实生活中的错误)会给你什么感觉？
·目睹你的同事们庆祝他们的失败是什么感觉？
·有什么能让你在这个世界上产生共鸣的吗？
建议
·如果参与者过度使用Bang，这可能意味着参与者喜欢“阻止”同龄人。
·有时，如果班加西太过分，以至于它大大减缓了锻炼的速度，那么也许有必要创造一种“在敲打它之前必须绕圈转”的规则。
• Celebrating failure can be a difficult concept for some to grasp— especially for those who struggle with rigidity. However, most participants are thrilled to be celebrated in their mistakes, and teaching the Failure Bow provides a framework for diffusing worries about making a mistake.
• If a participant won’t identify a real-life mistake to use, just ask: “Is it okay if we just celebrate and applaud you?”
• “Failure” can feel like a loaded word. However, saying “I failed!” with enthusiasm creates an opportunity for reframing: “I failed and made a mistake, and I learned from it, and I am still okay and awesome!”
• Review how making a mistake––even to the point of utterly failing–– doesn’t make us failures. Alternatively, a “lighter” word, such as “oops” or “uh-oh,” may be used. It is impactful, however, to give participants an opportunity to reclaim the powerful and loaded language of “failure.”
·庆祝失败对一些人来说是一个很难理解的概念，特别是对那些与僵化作斗争的人。然而，大多数参与者都很高兴在他们的错误中得到庆祝，并从失败中吸取教训。鞠躬提供了一个框架来分散对犯错的担忧。
·如果一个参与者不愿意找出一个现实生活中的错误来使用，只需要问：“我们只是为你庆祝和鼓掌可以吗？”
· “失败”可能是一个沉重的词。然而，热情地说“我失败了！”创造了一个重塑的机会：“我失败了，犯了错误，但我从中吸取了教训，我仍然很好，很棒！”
·回顾犯了一个错误——即使是完全失败的地步——也不会让我们成为失败者。或者，一个“较轻”的词，如“哎呀”或“呃—天啊“可使用。这是有影响的，但是，给与会者一个机会，收回强大的和加载的语言“失败”。
Connections: Whoosh Bang Pow is another version of Zip Zap Zop and Zip Zap Boing. All versions of this exercise can teach students the concepts of accepting and building on offers (Yes, And), redirecting offers (Yes, But), and blocking offers (No). For example, a “Whoosh” is a Yes, And because it accepts the offer and keeps the energy moving quickly in the same direction; whereas a “Pow” accepts then redirects the offer across the circle, which tends to slow the momentum a bit. Finally, a “Bang” is a block because it does not accept the “Whoosh” at all.
4.2 The Cycle of Deep Yes, And!
This exercise uses pairs to demonstrate the power of Yes, And in co-creating
scenes.
At the end of this exercise, participants will have ...
• experienced how to Yes, And in scene work;
• understood how and why Yes, And is such a powerful concept; and
• understood the larger framework of Yes, And so it may be internalized and used in scene work and in life.
连接数：嗖嗖砰电是另一个版本的邮编zap zop和邮编zap波音公司。这个练习的所有版本都可以教给学生接受和建立在offer上的概念（是，和），重定向优惠（是，但是），并阻止提供（不）。如，“嗖”的一声是一个是的，因为它接受了提议并保持能量在同一个方向上快速移动；而“Pow”接受了提议，然后重新定向穿过圆圈，这往往会稍微减缓动量。最后，“砰”的一声是块，因为它根本不接受“嗖”的一声。
4.2深层的循环是的，还有！
这个练习使用配对来演示Yes，而在共同创造
场景
本练习结束时，参与者将有...
·经验丰富的如何是的，和现场工作；
·理解“是的，并且”是一个非常强大的概念；
·理解“是”的更大框架因此，它可以内化并应用于现场工作和生活中。
Running the Exercise
1. Ask participants to sit as an audience, except two who are told to plan a party by making offers that provide details about the party (e.g. “We should have balloons at the party”). Label them Player A and Player B.
2. Round One: Player B is told secretly to respond by beginning every sentence with “No, we should ...”
3. For each of the following four rounds assign two new players. Continue to secretly give Player B their prompts.
a. Round Two: Player B starts every sentence with “Yes, or ...”
b. Round Three: Player B starts every sentence with “Yes, but ...”
c. Round Four: Player B starts every sentence with “Yes, and ...”
d. Round Five: Player B starts every sentence with just “Yes!”
Debrief 1
• Which party do you want to attend? Why?
运行练习
1. 要求参与者作为听众坐着，除了两个人，他们被告知通过提供关于聚会的细节来策划聚会（例如“我们应该在派对上放气球”）。分别标记为参与人A和B
2. 第一回合：玩家B被秘密告知每句话的开头都是“不，我们应该”
3. 在接下来的四个回合中，每一轮分配两名新玩家。继续秘密地给参与者B提示。
一个第二轮：玩家B每句话的开头都是“是的，或者……”
b。第三轮：玩家B每句话的开头都是“是的，但是”
c。第四回合：玩家B每句话的开头都是“是的，还有”
d。第五轮：玩家B以“Yes！”开始每句话。
汇报1
·你想参加哪一个聚会？为什么呢？
• What did you notice about each of the parties? Which parties were planned? Generally, participants will make the following assessments, but they sometimes require structured support as this exercise is processed:
• No, We Should Party: No plans are made, ends in an argument/disagreement
• Yes, Or Party: No plans are made. Many options generated, but no forward movement
• Yes, But Party: Ends in argument, very much like “No, we should ...”
• Yes, And Party: Results in an actual plan (even if wacky), and ideas are connected. (Ask: Why did this party actually get planned? How did that happen?)
• Yes! Party: Sometimes results in a plan, but Player A does all the work and receives no support. Sometimes goes nowhere because Player A feels extensive pressure to create everything independently and runs out of steam. (Ask: Even though we are saying “Yes!” here, why is this not enough? Even though we are not saying “No,” why is this unhelpful?)
·你注意到了每一方的什么？计划了哪些派对？一般来说，参与者将进行以下评估，但在进行这项工作时，他们有时需要结构化的支持：
·不，我们应该聚会：没有计划，以争论/分歧结束
·是的，或党：没有计划。产生了许多备选方案，但没有取得进展
·是的，但是聚会：以争论结束，很像“不，我们应该……”
·是的，和当事人：结果是一个实际的计划（即使是古怪的），想法是相互联系的。（问：为什么要策划这个派对？怎么会这样？
· 是的！缔约方：有时会产生一个计划，但是玩家A做了所有的工作，却没有得到任何支持。有时候会毫无进展，因为玩家A感受到了独立创造一切的巨大压力，筋疲力尽。（问：虽然我们在说“是！”为什么这还不够即使我们没有说“不”，为什么这是无益的？）
·• How does this relate to improv?
• We are making things up together. We need to be able to build on each other’s ideas, say “yes” to each other, and make each other look good. Because we are creating things together on the spot, we need to be able to join our ideas with other people’s ideas to make something together.
Debrief 2
Now that the group understands the basics of Yes, And, explore what it means to truly Yes, And each other. Draw the Cycle of Deep Yes, And on a board (Figure 4.3). Start first with Yes, And then Offer, Awareness, Acceptance, and Addition, in order. After each new word, draw the connecting arrow(s) and describe in the following ways:
• Offer: An offer in improvisation is anything a player says or does (see Appendix A).
• Awareness: The first step of accepting an offer is having awareness that an offer has been made. If we aren’t paying attention, we will miss all offers.
• Acceptance: The next step in Yes, And-ing is to accept the offer. This doesn’t mean that you always must say “yes” to every offer. But, you must accept the reality offered by the other player. For example, note the differences between Player A saying, “Here is a glass of milk,” and Player B saying, “No, thank you, I’d prefer coffee today,” vs. “That isn’t milk.” The second response doesn’t accept the spirit of Player A’s offer and creates difficulty in moving forward with the scene.
·这和即兴表演有什么关系？
·我们在一起编故事。我们需要能够建立在彼此的想法，说“是”对方，让对方看起来不错。因为我们是在现场一起创造东西，我们需要能够把我们的想法和其他人的想法结合起来，一起创造一些东西。
汇报2
既然大家都了解了“是”的基本知识而且，探索什么它的意思是要真正是的，还有彼此。画出循环深是的，和一个板上（图4.3）。开始首先是“是的，然后依次是提供、意识、接受和增加。在每个生词后面画上连接箭头，用以下方式描述：
·提供的服务：在即兴演奏中，提议是指演奏者所说或所做的任何事情（见附录A）。
·意识：接受要约的第一步是意识到要约已经发出。如果我们不注意，我们将错过所有的机会。
·验收：“Yes,And-ing”的下一步是接受对方的提议。这并不意味着你必须对每一个提议都说“是”。但是，你必须接受其他玩家提供的现实。例如，请注意参与者A说“这里有一杯牛奶”和参与者B说“不，谢谢，我今天更喜欢咖啡”和“那不是牛奶”之间的区别。第二个回应没有接受玩家A提议的精神，给场景的推进制造了困难。
• Addition: The next phase of Yes, And-ing is to add on to the offer the other person made. In the scenario above, this could be saying, “Ah, thank you, I love milk,” or “No, thank you. No milk today, Jonathan.”
·补充内容：“是的，还有”的下一个阶段是对别人的提议进行补充。在上面的场景中，这可能是在说，“啊，谢谢你，我喜欢牛奶，”或“不，谢谢你。今天没有牛奶，乔纳森。“
Discuss how each of these steps is important. What happens if we skip being aware? What happens in life sometimes in the “space” between becoming aware and acceptance? What happens if we are aware of someone else’s offer/idea, but we negate it with our own offer/idea? What is the feeling when an offer/idea is not accepted (blocked)? How does the story/situation change and build when an offer is built upon?
Connections: This exercise is rooted in Keith Johnstone’s offer/block/accept exercises found in both Impro ( 1979) and Improfor Storytellers ( 1999).
讨论这些步骤的重要性。如果我们跳过觉知，会发生什么？有时候，在意识到和接受之间的“空间”里，生活中会发生什么？如果我们知道别人的提议/想法，但我们用自己的提议/想法来否定它，会发生什么？当一个提议/想法不被接受（阻止）时是什么感觉？当一个提议建立在这个基础上时，故事/情况是如何改变和建立的？
连接数：这个练习植根于Keith Johnstone的报价/阻挡/接受练习，在Impro（1979）和Improfor Storytellers（1999）中都可以找到。
4.3 New Choice
This exercise rewards flexibility and spontaneity by challenging players to remake verbal and physical offers in a variety of ways.
At the end of this exercise, participants will have ...
• developed more flexibility, spontaneity, and risk-taking;
• less attachment to their own predetermined story lines and agendas; and
• greater openness to experiencing new outcomes and turns in the road.
4.3新选择
这个练习奖励灵活性和自发性，通过挑战球员以各种方式重新做出口头和身体报价。
本练习结束时，参与者将有...
发展了更多的灵活性、自发性和冒险性；
·减少对自己预先设定的故事情节和议程的执着；
·更开放地体验新的结果和道路上的转折。
Running the Exercise
1. Ask two participants to start a scene. At any point, you can ring a bell and say, “New choice!” indicating the player should “take back” what they just said or did and make a new offer. Continue to call for new choices until you are satisfied. When you stop ringing the bell, the scene continues as though the most recent offer were the only one made. For example:
a. Player A: Hello grandma! (Ding! “New choice!”)
b. Player A: ’Sup grandma! (Ding! “New choice!”)
c. Player A: Hi Grandma, it is me, your most favorite grandchild. I am here to pet your canary. (No ding.)
d. Player B: Well, great to see you. Here is the bird.
2. Remember, physical offers can also be “dinged.”
运行练习
1. 请两名参与者开始一个场景。在任何时候，你都可以摇铃说：“新的选择！”表示玩家应该“收回”他们刚才说的话或做的事，并提出新的报价。继续呼吁新的选择，直到你满意为止。当你停止摇铃时，场景继续，就好像最近的报价是唯一的报价。举个例子：
一个玩家A：奶奶好！（叮啊！“新的选择！”)
b。运动员A：“奶奶好！”（叮啊！“新的选择！”)
c。玩家A：嗨，奶奶，是我，您最喜欢的孙子。我是来照顾你的金丝雀的。（没有叮的一声。）
d。游戏者B：很高兴见到你。这是一只鸟。
2. 请记住，物理报价也可以“dinged”。
Debrief
• What did it feel like to keep getting interrupted by the “ding”?
• What was your reaction when you had to “give up” your first offer? How did that change ifyou got “dinged” on your second and third offers as well?
• What did you observe in your partner when they got “dinged?”
• How was it easy/hard to come up with new choices?
Suggestions
问询
·被“叮当”打断是什么感觉？
·当你不得不“放弃”你的第一个提议时，你的反应是什么？如果你的第二次和第三次邀请也遭到了“抨击”，那么这种情况又是如何改变的呢？
·当你的伴侣被“诅咒”时，你在他们身上观察到了什么？
·想出新的选择是多么容易难？
建议
This exercise can be challenging for some. If participants get stuck, side- coach with “New emotion!” or “New gesture!” or “New topic !” or offer another adjustment (verbal or physical) you would like participants to explore.
The group may also stand in a circle and play New Choice together. For example, everyone is told, “Greet your mom.” When you say, “New choice!” everyone greets again in a different way.
Connections: Also called Quick Change on the TV show Whose Line Is It Anyway? and Ding Game (Fotis and O’Hara 2016).
这个练习对一些人来说是很有挑战性的。如果参与者被困，边教练用“新情感！”或者“新姿态！”或者“新话题！”或者提供另一个你希望参与者去探索的调整(语言或身体)。
这群人也可以站在一个圆圈里一起玩“新选择”。例如，每个人都被告知，“问候你的妈妈。”当你说，“新的选择！”每个人都以不同的方式再次问候。
连接：在电视节目中也叫“快速改变”，它到底是谁的台词？和“丁游戏”(Fotis和O‘Hara 2016)。
