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Keith Johnstone
Presented in the form of practical experiences, this book contains a wealth of concepts and techniques that enhance the quality of improvisational work. Each of the sections—Status, Spontaneity, Narrative Skills, and Masks and Trance—is rich with examples that bring the techniques to life.
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any performance that involves spontaneous creation
Whether playing a blue-sky story or working from a scenario, interactive performance is built on the things that spects say and do. Since there’s no way to predict every offer that a spect might make, inter-actors always need the ability to improvise.
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Viola Spolin
A vast reference work that focuses on freeing the natural ability to play and perform through the use of improvisational theatre games. Also includes sections on coaching improvisation and working with children.
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Jo Salas
Presents the history, techniques, and principals of the interactive form, Playback Theatre, developed by Jonathon Fox, in which stories told by the audience are “played back” by improvisational performers. Includes chapters on ritual, use of music, and conducting.
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Once in a while you may need to address spects as themselves, not their characters, while still maintaining the fiction. These are times for in-and-out-of-story communication which addresses both the spect and the spect’s character. Your words make sense within the fiction, while also communicating something in real-life. There are three situations where this type of communication is useful.
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getting stuck in thinking while playing
Spontaneous play involves a degree of thinking. However, when the process of thinking impedes your creative flow, it becomes a problem. Getting stuck in thinking is known as “being in your head.” When you’re in your head, you’re no longer present or responsive to the present moment. It impedes the sense of flow, which puts you even deeper in your head, creating a vicious cycle.
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