Improvisational theatre

Improvisational Theatre (also known as improv or impro) is a form of theatre in which the actors perform spontaneously, without a script. Improvisation has been employed in live theatre at least since 16th century Commedia Dell'arte. Modern improvisation began in the classroom with the theatre games of Viola Spolin and Keith Johnstone in the 1950s, then evolved quickly to become an independent artform worthy of presentation before a paying audience.

In all forms of improvisation, the actors invent/discover the dialogue and action as they perform. The unpredictable nature of such a performance lends itself naturally to comedy, and the majority of improvisational theatre is comedic, not dramatic. Dramatic improvisation is used by many companies and artists as a means of generating content for later performance. This is sometimes referred to as "organic" theatre, and is especially favored by creators of political theatre, experimental theatre, and practitioners of drama therapy. Improvisation is often used in actor training. Modern improvisational comedy, as it is practiced in the West, falls generally into two categories: short form and long form.

Improv process

Improvisational theatre allows an interactive relationship with the audience. Improv groups frequently solicit suggestions from the audience as a source of inspiration, a way of getting the audience involved, and as a means of proving that the performance is not scripted. That charge is sometimes aimed at the masters of the art, whose performances can seem so detailed that viewers may suspect the scenes were planned.

In order for an improvised scene to be successful, the actors involved must work together responsively to define the parameters and action of the scene. With each spoken word or action in the scene, an actor makes an offer, meaning that he or she defines some element of the reality of the scene. This might include giving another character a name, identifying a relationship, location, or using mime to define the physical environment. These activities are also known as endowment. It is the responsibility of the other actors to accept the offers that their fellow performers make; to not do so is known as blocking, which usually prevents the scene from developing. Some performers may deliberately block (or otherwise break out of character) for comedic effect but this generally prevents the scene from advancing and is frowned upon by many improvisers. Accepting an offer is usually accompanied by adding a new offer, often building on the earlier one; this is a process improvisers refer to as "Yes, And..." and is considered the cornerstone of improvisational technique. For example, an improv scene might begin with these lines.

Adam: I'm proud of all the work you've done here on the farm, Junior.

Bill: Yes, and I'm proud of you for giving up the moonshine, Pa.

The unscripted nature of improv also implies no predetermined knowledge about the props that might be useful in a scene. Improv companies may have at their disposal some number of readily accessible props that can be called upon at a moment's notice, but many improvisers eschew props in favor of the infinite possibilities available through mime. As with all improv offers, actors are encouraged to respect the validity and continuity of the imaginary environment defined by themselves and their fellow performers; this means, for example, taking care not to walk through the table or "miraculously" survive multiple bullet wounds from another improviser's gun.

Because improv actors may be required to play a variety of roles without preparation, they need to be able to construct characters quickly with physicality, gestures, accents, voice changes, or other techniques as demanded by the situation. The actor may be called upon to play a character of a different age or sex. Character motivations are an important part of successful improv scenes, and improv actors must therefore attempt to act according to the objectives that they believe their character seeks.

Many improvisational actors also work as scripted actors, and "improv" techniques are often taught in standard acting classes. The basic skills of listening, clarity, confidence, and performing without thinking are considered important skills for actors to develop.

Improv Penalties

Within some circles of competition, a referee is called upon to keep improv scenes in check. The referee, although allowed to stop play for his own independent reasons, is generally required to call a penalty for the actions he finds questionable. Some well-known penalties include:

Blocking: Blocking is the practice of refusing another actor's offer or dismissing the traits another actor has assigned you. This penalty is normally called to restore the flow of the scene. Examples of blocking include:

A: Uncle Fred, how are you?

B: I am not your uncle Fred.

A: Well, I suppose you're right. Would you like to look in the treasure chest I just found?

B: No, I do not want to look in that treasure chest.

Blocking is generally discouraged by one's fellow improvisers, but an improviser is often undeservingly encouraged because the audience automatically laughs at this refusal. The penalty often results in slightly lower scores for a team.

Waffling: Waffling is a penalty called when an improviser or a group of improvisers fail to move a scene towards action. A scene with waffling is usually unappealling to the audience because of this lack of action. An example of a scene full of waffling is something like this:

A: Good afternoon, Jim. Your jeans look pretty worn. You wanna go get some new ones?

B: Sure, I should buy some jeans.

A: Yeah, let's go get those jeans.

B: Which store should we go to?

A: I don't know, Charlie. What do you think?

This scene of waffling would usually continue on in this manner with the audience constantly waiting for them to eventually get the jeans. The scene is boring and needs to move along. Thus, waffling. This foul constantly bothers improv audiences and brings about reduced scores for a team.

Groaners: To commit the foul known as a groaner, one must tell a joke, usually involving a pun, that instead of resulting in the audience's laughter, brings groaning from the majority of the audience. An example usually is something unbearable like this:

A: I just got a new cow, honey!

B: I can't believe you! You are udderly obsessed with cows...

The audience, at this point, groans in frustration. Upon being called for this foul, the perpetrator must go to his knees and beg the audience for forgiveness. The audience then accepts his apology by clapping. Although the foul can result in reduced scores, it usually doesn't upon a team's first offense of the competition.

Brown Bag: A brown bag is arguably the most serious foul an improviser can commit. A brown bag is called if an improviser does or says something highly offensive or obscene. Examples include scenes that express racism, use profanity, or offend audience members in another way. The offender is required to wear a paper bag over his head for the duration of the scene and usually must be guided by his fellow improvisers.

Although these fouls are recognized by many improvisers, the informal nature of improv means that you can make your own fouls up or get rid of them altogether.

Improv troupes

See List of improvisational theatre companies

Well-known improv artists

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 inventor of Story Theater, and Del Close, founder of ImprovOlympic (along with Charna Halpern) and creator of the long form improv known as The Harold.

Keith Johnstone authored Impro and Impro for Storytellers and developed the international formats Theatresports, Micetro Impro, Gorilla Theatre and the Life Game.

Dick Chudnow founded ComedySportz dealing specifically with competitive short form improvisational theatre.

The Groundlings is a popular and influential improv theatre and training center in Los Angeles, California.

Jonathan Fox founded Playback Theatre, a community based form with links to oral storytelling and psychodrama.

David Shepherd, with Paul Sills, founded the Compass Theatre in Chicago. Shepherd was intent on developing a true "people's Theatre", and hoped to bring political drama to the stockyards. The Compass went on to play in numerous forms and companies, in a number of cities including NY and Hyannis, after the founding of The Second City. A number of Compass members were also founding members of The Second City. In the 1970's, Shepherd began experimenting with group-creatied videos. He is the author of "That Movie In Your Head", about these efforts.

Robert Wells founded Chicken Lips Comedy Company and the World Humor Organization (WHO) which provides top class short form improv. Based in Denver at the Avenue Theater.

A more comprehensive view of Improvisational Theater Can be found on the Improv Wiki [1]

External links

*The CIN Wiki A Wiki dedicated to improvisational theater, hosted by The Chicago Improv Network message boards.
*The San Francisco Improv Alliance San Francisco California's Resource for improvisational theater
*The German improv-wiki A Wiki dedicated to improvisational theater, in German.
*The ISFP Players Handbook A 140+ page Improv Handbook. Includes Hundreds of games, Advice for directors and performers, and long lists of ask-fors, emotions, film & theater styles, etc.
* How to Be a Better Improviser: an excellent primer on some of the basic precepts ("ground rules") of improv, by improviser and professor Dan Goldstein.
* Improv Encyclopedia encyclopedia of over 500 improv games, techniques and terminology.
* The Improv Wiki discusses techniques for performing and learning improv.
* Improvland webpage about improvisational theatre, with articles, resources, message boards and an international links section to the groups around the world.
* YesAnd.com features improv news, resources and message boards.
* The Improv Resource Center is a community site for dedicated improvisers in Chicago, New York and other parts of the United States.
* Improstival France International Improvisation Festival in Paris
* Les Improvisades France Students and workers meet in improsessions in France
* Impromania France Dance Music and Theater Improvisation Festival in Paris
* Brest France
* IMPROVment - CWRU improv troupe
* Improvvisazione teatrale italiana
* Chemically Imbalanced Comedy Chicago
* Long Form Improv: The Heist. A full length improv performance based off of the Long Form technique.

Improvisational theatre: Encyclopedia BETA