[1][2][3] The principle does not forbid disagreements between the improvisers' characters, but states that one should not reject the basic premises introduced by the other person, as this would throw them off and harm the flow of the scene.
To Schwartz, it substantially interferes with the natural flow experience of the group and generally reduces the project of improvisation to "information sharing" and rapid-fire entertainment, led by the wittiest performers, resulting in "uninspired, 'talky' and not very theatrical" work.
According to Schwartz, Spolin's formula contrasts completely with the intellectualization and urgent planning involved under "Yes, and ...": "by sharing a deep non-intellectual connection where mind and body work harmoniously as in play, spontaneity and true improvisation appears."
Participants in an improvisation are encouraged to agree to a proposition, fostering a sense of cooperation[2] rather than shutting down the suggestion and effectively ending the line of communication.
[2] Additionally, and often overlooked, the "And" encourages self-awareness, confidence, and expressive skills which are necessary for setting limits, asking for help, giving feedback, delegating and even the ability to say "No".