In the classroom, students regularly practice theatrical improvisation with warm-up exercises ( Appendix 1) and scene-building games ( Appendix 2). Students should stand up and fully mobilize their bodies. Organizational improvisation occurred in the practical activities of organization and management of the EAF. The practice goes from the classroom to the external environment, integrating the practice of theatrical improvisation in the classroom into the practice of organizational improvisation in the event. Then, when theater is integrated into teaching, the logic of practice that com­monly governs theater culture begins to permeate the culture of management education. The logic of theater practice produces a learning practice that is very complex, as it influences the students’ body, senses, and emotional practice. Theater provides an integral involvement between the objective of the improvisation exercise, the body, the senses, and the emotions (CoEst# H-Exp#6).

In the theatrical logic of practice, it is first necessary to do something and, then, reflect on what happened, since what moves the theatrical scene is the action (Obs-Exp#4). In teaching and learning of organizational improvisation, practice becomes a predominant logic. The students - used to reading and discussing theoretical texts, sitting in front of the teacher - report a cultural shock when they are under the logic of theater. They confront the logic of theory-reflection with the logic of learning something by practice, involving the body more intensely and broadly (Obs-Exp#4). In their previous traditional teaching and learning experiences, students report that the possibilities of experiencing the present time in a practical activity that mobilizes the body and stimulates interactions, sensations, and transformations were rare (Obs-Exp#3). Practice adds dimensions beyond mental activity.

Indeed, the practice involves the body’s synapses, moving the body and mind, instigating different emotions and sensations. As practice became routine in classes, in each class, students learned by practicing, interacting, and feeling different experiences (Obs-Exp#4). The logic of practice stimulates sensations as it unfolds the possibility of feeling. The image of a runaway train is suitable to explain the students’ feelings when practicing theatrical improvisation (Obs-Exp#2). For artists, this is the energy of creation that materializes an aesthetic concern (CoEst#F-Exp#4).

Narrative is commonly associated with the speech, but, in theatrical improvisation, the individuals do not speak only with their voice, but with their body. Narrative requires organizing ideas, events, and actions in a sequence so that stories are told in a meaningful and engaging way. In theater, narrative requires an integration between voice, body, and mind that guarantees strength and precision to what is being done in practice (Obs-Exp#1). During theatrical improvisations, the narrative is always stimulated and performed in real time, with the actions being performed almost at the same time as they are created (DbEstB-Exp#2). For improvisation to happen, it is essential to accept the situation and be positive. The basic rule for theatrical improvisation is positivity, since, based on the acceptance of an idea or proposal, associations become possible and this acceptance is translated into the collective construction of narratives. Denial causes blocks and impediments to the association of ideas and the improvisation sequence (Obs-Exp#1). Theatrical practice strengthens the collective narrative that explains the complementary relationship between planning and improvisation. When the action is devoid of planning, one can only rely on luck (CoEst#H-Exp#6).

Narrative is as essential in the practice of theatrical improvisation as in the practice of learning organizational improvisation. The theatrical practice provides an exercise in narrative practice that offers a collective dynamic of cooperation. When there is not a good integration between the students and what they need to do, a competitive and defensive narrative emerges (Obs-Exp#2). Some mistaken competitive postures appear in the sense of defending themselves from something (Obs-Exp#2). Considering and respecting the existence of the other in the organizational environment develops a sense of team perception and cooperation that can be observed in the positive and collective construction of the narrative. It is a counterpoint to the idea of dispute, affecting the perception of oneself in front of the other. This expands the ability to learn in environments that respect diversity and cooperation (Obs-Exp#2) and that are the cornerstones of organizational improvisation.

In theatrical and organizational improvisation, the practice of a narrative based on the denial of the contribution of others harms the creative process that underlies improvisation (CoEst#G-Exp#6). The spirit of cooperation arises from the acceptance of the problem and its incorporation as an initial idea for transformation (Obs-Exp#2). It is necessary to face the problem in a positive way, solving it creatively and seizing the moment to build individual and collective trust. During theatrical and organizational improvi­sation, competition should be against time and not between people (CoEst#G-Exp#6). Cooperation guarantees the complementarity of actions and thoughts that culminates in the creation and exhibition of different and surprising narratives. This is the way to increase the repertoire of solutions to deal with future unforeseen situations, whether in the personal, professional, or collective journey (Obs-Exp#2).

In the practice of theatrical improvisation, synergies happen when we are positive and embrace imperfection. It is necessary to be connected with the present time, stimulating the full presence of body and mind (Obs-Exp#6). Through creative narrative, it is possible to illustrate the overconfidence that neglects planning - the excessive caution that prevents people from taking risks and taking more significant steps - and the positive inexperience that allows concentration and involvement (CoEst#H-Exp#6).

Theatrical improvisation games are initially presented as games, but, then, they reveal a potential that not every student knew they had. Students are constantly surprised throughout the learning process (Obs-Exp#4). Playing is a little-explored field of learning in the organizational environment, but it is revealing in the actions and involvement of students. The game is firstly related to the rules. Every game has rules that guarantee the organi­zation and autonomy of everyone in that defined period of time. Thus, everyone knows their limits and their companions (Obs-Exp#2) of improvisation.

In the organizational world, knowing the rules is the same as knowing the planning and the limits (CoEst#A-Esp#6). Lack of knowledge of limits causes rework and fatigue. As improvisation is a deviation from the path, planning is the limit of this path, thus knowing it is essential. So, before deviating from the path, knowing the established paths (improvisation) is also necessary (Obs-Exp#2). Rules are the necessary limits for creativity to act, as it is a response of the body when a limit presents itself and requires transposition (Obs-Exp#4).

The rules guarantee justice in a game and knowledge of them is what validates the freedom to play. The real freedom is to know and relate to the rules (Obs-Exp#4). Being able to respond to a practice of theatrical improvi­sation characterizes an exercise of freedom, in which the answer provided will be a synthesis between the question and the student’s ability to reflect and to bring an answer almost at the same time the question is asked (Note-Exp#2). Students highlight, both orally and in writing, the positive perception of freedom related to creativity (Obs-Exp#1-6).

Providing an inviting environment where students feel free to awaken and exercise creativity is a challenge in the classroom that already presupposes, on the part of students, a fear of what will be done in the curricular component (Obs-Exp#4). In this context, playing helps in the contact with the other and assimilating the rules for building the courage to expose oneself without searching for right and wrong (Obs-Exp#2).

Theatrical improvisation reveals that the classroom is a piece of the world composed of different people who bring a lot of information about their lives and how did they develop up to that moment (Obs-Exp#1). When practicing theatrical improvisation, we transform the reported actions into sensations not only perceived by the mind, but represented with the body, in its internal exercise of annulling movement and action (Obs-Exp#2). This bodily activity helps to break down prejudices based on reflections on the events experienced and observed (Obs-Exp#1). The theater artist uses the transforming power of art as an interactive and resistant practice and as a means of individual, collective, and cultural change. The consequences achieved are perceived by the body, with each new experience of emotional involvement. This is exactly what guarantees new possibilities: theater is open enough to relate to other practices and trigger synergies and entropies that complement each other.

Teamwork does not happen simply. The issues that arise from it reflect the lack of the habit of making decisions and aiming in the classroom. This happens because there is already a marked understanding in the body that establishes that the teacher is the one who makes the decisions and, when the student is invited to be the protagonist of their learning, they need to develop a relationship with the present time different from the one they knew. This causes a significant impact (Obs-Exp#4). The absence of practice in people’s lives makes them need a guide. In the practice of the curricular component, this was evident (Obs-Exp#4). The search for experimentation with organizational improvisation provided an exercise of autonomy and concentration on the activity to be performed. The cycle of organizational improvisation was continuous: plan, execute, improvise, replan, rerun, improvise, and constantly evaluate the work and the improvisations practiced. Regardless of whether the planning was coherent or not, it was necessary to have a full focus on the practice (Obs-Exp#2).

Some students present a visible disarticulation with their own bodies, whether in the perception of the physical abilities they have - speed, rhythm, and reflex, as well as in the interactions with the colleague - strength, connection, or acceptance. Most of them are young and sedentary (Obs-Exp#2). The student quickly understands that improvising is not just doing something randomly. One must be prepared to improvise. Regardless of the professional area, usually, there is a predefined plan of action, and, when there is an unforeseen situation, the improvisation must take place. All body parts must be interconnected to accomplish the improvisation (CoEst#I-Exp#6). Practicing requires optimism, positivity, and a sense of security (CoEst#F-Exp#6), habits that can be learned and practiced.

Beliefs, blocks, happiness, and doubt are not only noticeable from what is said, but are ingrained into the body and reflected in the way students deal with the events that arise. A previous tension already exists even before starting any activity, whether practical or theoretical (Obs-Exp#5). There is a big gap between what we want to do and what we do. And this can be evidenced by the distance between students and their bodies (Obs-Exp#2), which is reduced by the practice of theatrical improvisation.

Theater is a powerful articulator for the appropriation of mechanisms of the body itself. However, sometimes, the practices inhibit participation. Some students reported trauma from previous experiences (DbEstL-Exp#1) and difficulty in accepting theatrical dynamics in the classroom due to shame (DbEstC-Exp#5). Conducting the EAF was the turning point for many students as they challenged their personal limits (Obs-Exp#2). Some students even experience a certain panic when they needed to interact with a classmate in order to carry out an activity in the classroom (DbEstC-Exp#2).

The conductor of the work must not give vent to this feeling that may arise, as it is a defense. In one narrative, a student said she has never felt so embarrassed as when she was doing the warm-up exercises in which everyone had to make faces at each other. It was a playful dynamic of disinhibition. The room was easily driven by laughter, which cause a change in the environment and relationships. So she described what she felt physically: goosebumps, dry throat, and a desire to run away. Then, she reported the joy of having gone through that experience and freeing herself from the shame of being in front of her classmates (DbEstD-Exp#2). Individuals who have little habit of exposing themselves in front of others or those who are not prepared for this are usually ashamed (Obs-Exp#6).

Shame can be induced by ridicule, insults, or public exposure of a person or group’s vulnerability or weakness. It provokes a sense of diminished human dignity. Trying to avoid this condition, people often miss important expe­riences and learning (Obs-Exp#3). The practical work highlights the significance of providing a moment of prominence. At the university, the type of class in which the student goes unnoticed is common, encouraging shyness for several consecutive semesters. This fuels the students’ shame in exposing ideas and desires (DbEstC-Exp#2). Shame is an emotion perceived by the body. Feeling secure in front of the other, without worrying about what the other is thinking about them, makes the individual take risks and build from ones’ ideas, responding creatively to external stimuli (CoEstH-Exp#5).

The fear of making mistakes in theatrical improvisation appeared several times and, in some moments, it was possible to talk about this subject. The speech was always about overcoming fear (Obs-Exp#4). It is necessary to take advantage of the play environment that theater brings up to involve the students and encourage them to take risks. The arts are not part of the complete educational process, leaving a painful gap in integral education, because every time someone has to expose themselves, they face difficulties due to the fear of making mistakes (Obs-Exp#2). The fear of making mistakes, speaking, and acting, the concern with one’s gaze, the difficulty of listening, accepting proposals, and being positive are the biggest obstacles to the practice of organizational improvisation (Obs-Exp#5).

Assuming that you made a mistake or that you failed at a certain point in the process constitutes an experience of freedom and a bridge to the understanding that mistakes lead to different situations, and that it is possible to learn from them and also take advantage of them (Obs-Exp#2). The error causes failures in communication and understanding. This entails little recognition of the small daily achievements, in addition to making it difficult to take regular advantage of the classes, due to the excessive distrust of what the experimentation will lead to.

Theatrical improvisation involves the students with themselves and requires an exercise of full presence between body and mind. It is very common for students to use the classroom to think about other things. The exercise of organizational improvisation represents a shock for students who have already internalized a course culture. Other curricular components begin with milder activities, with their work intensified during the semester. In the practice of executing an EAF and organizational improvisation, the student begins to have an accelerated dynamic in the classroom and outside(DbEstG-Exp#2). The curricular component affects the students when they realize that they must be present from the very first moment (Obs-Exp#4).

Dispersal is often involuntary and happens as a daily habit (CoEstI-Exp#4). Many thoughts and feelings compose the emotional state when the student is in the classroom (Obs-Exp#4). It is very common that, at the beginning of classes after a vacation, the topics discussed are about the progress of activities and assessments. In this case, some students were shocked when faced with a practical activity (CoEst#G-Exp#6). They were those who showed a certain nostalgia for curricular components that provide written content and that demand knowledge through a written test (DbEstK-Exp#1) as a way to ensure low commitment (Obs-Exp#1).