Improvisational theatre

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Improvisational Theatre (also known as improv or impro) is a form of theatre in which the actors perform spontaneously, without a script. 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, which might go somewhat towards explaining why the overwhelming majority of improvisational theatre is comedic, not dramatic. Dramatic improv is used by many companies and artists as a means of generating text and 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 found used in actor training as well. Modern improvisational comedy, as it is practiced in the West, falls generally into two categories: shortform and longform.

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Improv process

Improvisational theatre allows an active relationship with the audience often absent from scripted theatre. Frequently improv groups will solicit suggestions from the audience as a source of inspiration, a way of getting the audience excited and involved, and as a means of proving that the performance is not scripted, a charge often aimed at the masters of the art, whose performances seem so effortless and detailed that those new to improv are convinced it must have been planned. Much of this success can be attributed to the level of cooperation and agreement these improvisers bring to the stage.

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 -- this is known as gagging -- 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.

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Improv troupes

See List of improvisational theatre companies

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Well-known improv actors

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 longform 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 shortform improvisational theatre.

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.

Mick Napier co-founded The Annoyance Theater in Chicago. The Annoyance improv style empowers the individual improviser. A large goal of an improv scene according to the Annoyance is to "take care of yourself first." Other influential Annoyance improvisers include Susan Messing, Joe Bill, and Mark Sutton.

When The Upright Citizens Brigade - Amy Poehler, Ian Roberts, Matt Besser and Matt Walsh - moved to New York City in 1996, they noticed the absence of "Chicago-style" longform improv in the city. Soon their classes and shows became so popular, they were able to open their own theatre in 1999. The Upright Citizens Brigade Theatre has built a reputation for itself as a comedy theatre and the house style of improv became almost synonymous "New York longform."

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

Angela McMahon founded Chemically Imbalanced Comedy[1] in Chicago in Sept 2000. They showcase all things comedy including improv, sketch, plays, and original work. They host an annual comedy festival called Snubfest [2]

A more comprehensive view of Improvisational Theater Can be found on the Improv Wiki [3]

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See also

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External links

fr:Improvisation théâtrale it:Improvvisazione teatrale nl:Improvisatietheater ja:インプロ sl:Improvizacijsko gledališče sv:Improvisationsteater

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