Visual & Performing Arts · 7th Grade

Active learning ideas

Building Scenes with 'Yes, And'

Improvisation relies on real-time collaboration, making it the perfect medium for practicing acceptance and building. Students learn that 'Yes, And' is not just a rule but a way to create trust and momentum in any group setting. Active participation helps them experience how immediate acceptance of ideas reduces self-criticism and sparks creativity.

• Common Core State Standards
• NCAS: Creating TH.Cr1.1.7
• NCAS: Performing TH.Pr6.1.7

• 25–35 min
• Pairs → Whole Class
• 4 activities

Activity 01

• Simulation Game
• 30 min · Small Groups

Simulation Game: Story Spine

In small groups, students build a complete story using the Story Spine structure: 'Once upon a time...', 'Every day...', 'Until one day...', 'Because of that...' (repeated 2-3 times), 'Until finally...', 'And ever since then...'. Each student contributes one sentence, beginning each with 'Yes, and...' to the previous. Groups share their completed stories with the class.

Explain how the 'Yes, And' principle fosters collaboration and creativity in improvisation.

Facilitation Tip

During Story Spine, model acceptance by enthusiastically building on students' contributions without hesitation.

What to look for

During a short improvised scene, observe students and note instances of 'Yes, And' and 'blocking'. Provide immediate verbal feedback after the scene, pointing out specific moments: 'I saw you accept Sarah's offer of being a lost tourist and add that you were looking for the museum. That was great 'Yes, And'!' or 'When Mark said he found a treasure map, you ignored it and started talking about the weather. That was blocking.'

• Apply
• Analyze
• Evaluate
• Create
• Social Awareness
• Decision-Making

Activity 02

• Inquiry Circle
• 35 min · Pairs

Inquiry Circle: Block vs. Build

Partners play two versions of the same 60-second scene: once using 'Yes, And' throughout and once deliberately blocking at least two offers. The class observes both versions and identifies the exact moments a block occurred and how the scene's energy and direction changed at those moments. The debrief develops criteria for identifying a block versus a redirect.

Construct a short improvised scene, demonstrating active listening and building on partners' offers.

Facilitation Tip

For Block vs. Build, have students physically stand on different sides of the room to visually separate acts of blocking from acts of building.

What to look for

Students write down one specific example of an 'offer' they made or received in a scene today, and how they responded using 'Yes, And'. If they blocked, they should write how they could have responded with 'Yes, And' instead.

• Analyze
• Evaluate
• Create
• Self-Management
• Self-Awareness

Activity 03

• Think-Pair-Share
• 25 min · Pairs

Think-Pair-Share: What Makes a Good Offer?

Students watch two short improv clips: one where performers make rich, specific offers and one where offers are vague or generic. They discuss with a partner what made specific offers easier to 'Yes, And' and compile a short list of 'offer quality' criteria. This list becomes a class reference tool for improving scene work.

Analyze how accepting and adding to an idea can lead to unexpected narrative developments.

Facilitation Tip

In the Gallery Walk, provide sentence starters on index cards that model 'Yes, And' language to guide students' responses.

What to look for

After a partner exercise, students briefly discuss with their partner: 'What was one thing your partner did well to support your ideas?' and 'What is one suggestion you have for how your partner could build more on your offers in the future?'

• Understand
• Apply
• Analyze
• Self-Awareness
• Relationship Skills

Activity 04

• Gallery Walk
• 30 min · Individual

Gallery Walk: Scene Starters

Post six scene-starter lines around the room. Students rotate, adding a 'Yes, And' response to each starter on sticky notes. After the walk, the class reads the accumulated responses at each station and identifies which ones opened the most narrative possibilities, discussing what made those additions generative versus limiting.

Explain how the 'Yes, And' principle fosters collaboration and creativity in improvisation.

What to look for

During a short improvised scene, observe students and note instances of 'Yes, And' and 'blocking'. Provide immediate verbal feedback after the scene, pointing out specific moments: 'I saw you accept Sarah's offer of being a lost tourist and add that you were looking for the museum. That was great 'Yes, And'!' or 'When Mark said he found a treasure map, you ignored it and started talking about the weather. That was blocking.'

• Understand
• Apply
• Analyze
• Create
• Relationship Skills
• Social Awareness

A few notes on teaching this unit

Teach 'Yes, And' as a physical and emotional habit, not just a verbal response. Emphasize that the first 'Yes' means fully entering the fictional world your partner created. Avoid over-correcting early attempts; instead, let scenes succeed or fail so students feel the difference. Research shows that embodied practice and immediate feedback help students internalize collaboration faster than abstract discussions.

By the end of these activities, students will consistently accept others' offers before adding their own, and they will explain how this builds stronger scenes. They will also recognize blocking in real time and redirect it toward support. Clear evidence includes fluid improvised scenes and thoughtful reflections on collaboration.

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Watch Out for These Misconceptions

• During the Story Spine activity, students might believe 'Yes, And' means they must agree with the story’s direction even if they think it’s unrealistic.

  During the Story Spine activity, stop the scene and ask the group to clarify the fictional reality before continuing. For example, if a student says the character is a dragon and another blocks by saying dragons don’t exist, redirect by asking, 'What kind of world are we in where dragons do exist?' Then model accepting the offer and adding to it.

• During the Block vs. Build exercise, students may think the 'And' must be the most surprising or funny idea they can invent.

  During the Block vs. Build exercise, have students sort their responses into two columns: 'funny' and 'true to the scene.' Ask them to identify which column moves the scene forward more naturally, then practice adding only emotionally true details in their next round.

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Methods used in this brief

• Simulation Game
• Inquiry Circle
• Think-Pair-Share
• Gallery Walk