Results by title

27 books match the query 'Improvisation'

Sort by

Between the Stage and the Audience

The Theatre of the Oppressed from the Joker’s Perspective

Dana Moree and Líza Urbanová

Karolinum Press, 2025

A guide to “theater of the oppressed” from the perspective of drama leader and audience collaborator—the joker.

What is the theater of the oppressed—the theatrical forms arising in the 1970s that blur the line between performer and spectator? What is its method? How is the performance created and who are its non-actors and non-audiences? These and other questions are answered in Between the Stage and the Audience from the perspective of a “joker,” a guide of theater groups and a presenter of theater performances. This role works both with the group that prepares the theater performance and with the audience itself.

This book is structured according to the joker's dual roles. Descriptions of the various stages of the creation of a performance are interspersed with interviews with theater practitioners as well as specific examples from realized performances. In the second part of the book, six jokers who actively use the method of theater of the oppressed share their experiences and unique adaptations of these theatrical innovations in the Czech context.

[more]

Contingent Encounters

Improvisation in Music and Everyday Life

Dan DiPiero

University of Michigan Press, 2022

Contingent Encounters offers a sustained comparative study of improvisation as it appears between music and everyday life. Drawing on work in musicology, cultural studies, and critical improvisation studies, as well as his own performing experience, Dan DiPiero argues that comparing improvisation across domains calls into question how improvisation is typically recognized. By comparing the music of Eric Dolphy, Norwegian free improvisers, Mr. K, and the Ingrid Laubrock/Kris Davis duo with improvised activities in everyday life (such as walking, baking, working, and listening), DiPiero concludes that improvisation appears as a function of any encounter between subjects, objects, and environments. Bringing contingency into conversation with the utopian strain of critical improvisation studies, DiPiero shows how particular social investments cause improvisation to be associated with relative freedom, risk-taking, and unpredictability in both scholarship and public discourse. Taking seriously the claim that improvisation is the same thing as living, Contingent Encounters overturns long-standing assumptions about the aesthetic and political implications of this notoriously slippery term.

[more]

Funnier

A New Theory for the Practice of Comedy

Anne Libera

Northwestern University Press, 2026

A roadmap for understanding and creating comedy from the visionary Second City comedy director

Great comedy can feel ineffable—and unlearnable. Debunking the myth that “either you are funny, or you aren’t,” Libera breaks the magic of comedy down into an innovative theory and practical toolkit. Developed over the course of thirty years as a director for The Second City and professor of comedy studies in their training center, Libera’s approach is effective across stand-up, sketch, film, and television comedy, as evidenced by her powerhouse students: Amy Poehler, Kristen Schaal, Steven Yeun, and many more of your favorites.

This book starts with a way to think about comedy and then guides you through concrete strategies for making your work smarter, richer, funnier. Libera covers everything from generating material to revising and performing to fostering social connection through comedy. In the book’s final section, Libera draws from her personal life to make a profound case for why future comedy writers should consider the ethics of their art and their responsibility to their fellow human beings in the audience. Readers won’t just be funnier because of this book—they’ll be better people.

[more]

Get Shown the Light

Improvisation and Transcendence in the Music of the Grateful Dead

Michael Kaler

Duke University Press, 2023

Of all the musical developments of rock in the 1960s, one in particular fundamentally changed the music’s structure and listening experience: the incorporation of extended improvisation into live performances. While many bands—including Cream, Pink Floyd, and the Velvet Underground—stretched out their songs with improvisations, no band was more identified with the practice than the Grateful Dead. In Get Shown the Light Michael Kaler examines how the Dead’s dedication to improvisation stemmed from their belief that playing in this manner enabled them to touch upon transcendence. Drawing on band testimonials and analyses of early recordings, Kaler traces how the Dead developed an approach to playing music that they believed would facilitate their spiritual goals. He focuses on the band’s early years, the significance of their playing Ken Kesey’s Acid Test parties, and their evolving exploration of the myriad musical and spiritual possibilities that extended improvisation afforded. Kaler demonstrates that the Grateful Dead developed a radical new way of playing rock music as a means to unleash the spiritual and transformative potential of their music.

[more]

Improvisation and Social Aesthetics

Georgina Born, Eric Lewis, and Will Straw, editors

Duke University Press, 2017

Addressing a wide range of improvised art and music forms—from jazz and cinema to dance and literature—this volume's contributors locate improvisation as a key site of mediation between the social and the aesthetic. As a catalyst for social experiment and political practice, improvisation aids in the creation, contestation, and codification of social realities and identities. Among other topics, the contributors discuss the social aesthetics of the Association for the Advancement of Creative Musicians, the Feminist Improvising Group, and contemporary Malian music, as well as the virtual sociality of interactive computer music, the significance of "uncreative" improvisation, responses to French New Wave cinema, and the work of figures ranging from bell hooks and Billy Strayhorn to Kenneth Goldsmith. Across its diverse chapters, Improvisation and Social Aesthetics argues that ensemble improvisation is not inherently egalitarian or emancipatory, but offers a potential site for the cultivation of new forms of social relations. It sets out a new conceptualization of the aesthetic as immanently social and political, proposing a new paradigm of improvisation studies that will have reverberations throughout the humanities.

Contributors. Lisa Barg, Georgina Born, David Brackett, Nicholas Cook, Marion Froger, Susan Kozel, Eric Lewis, George E. Lewis, Ingrid Monson, Tracey Nicholls, Winfried Siemerling, Will Straw, Zoë Svendsen, Darren Wershler

[more]

Improvisation for the Theater

A Handbook of Teaching and Directing Techniques

Viola Spolin

Northwestern University Press, 1999

The thoroughly revised third edition of the bible of improvisational theater.

Viola Spolin's improvisational techniques changed the very nature and practice of modern theater. The first two editions of Improvisation for the Theater sold more than 100,000 copies and inspired actors, directors, teachers, and writers in theater, television, film. These techniques have also influenced the fields of education, mental health, social work, and psychology.

The revised edition features:

30 new exercises, including introductions (Slow/Fast/Normal; Extended Sound; Mirror Speech; Unrelated Conversation)
More than 200 updated classic exercises
new section of traditional theater games for warm-up use
“Paul Sills' Sayings of Viola Spolin”
New glossary of side-coaching phrases, with definitions of their meaning and value
Alphabetical list of all games and exercises

[more]

Insubordinate Spaces

Improvisation and Accompaniment for Social Justice

Barbara Tomlinson

Temple University Press, 2019

Insubordinate spaces are places of possibility, products of acts of accompaniment and improvisation that deepen capacities for democratic social change. Barbara Tomlinson and George Lipsitz’s Insubordinate Spaces explores the challenges facing people committed to social justice in an era when social institutions have increasingly been reconfigured to conform to the imperatives of a market society.

In their book, the authors argue that education, the arts, and activism are key terrains of political and ideological conflict. They explore and analyze exemplary projects responding to current social justice issues and crises, from the Idle No More movement launched by Indigenous people in Canada to the performance art of Chingo Bling, Fandango convenings, the installation art of Ramiro Gomez, and the mass protests proclaiming “Black Lives Matter" in Ferguson, MO. Tomlinson and Lipsitz draw on key concepts from struggles to advance ideas about reciprocal recognition and co-creation as components in the construction of new egalitarian and democratic social relations, practices, and institutions.

[more]

Intents and Purposes

Philosophy and the Aesthetics of Improvisation

Eric Lewis

University of Michigan Press, 2019

How do we define improvised music? What is the relationship of highly improvised performances to the work they are performances of? How do we decide what are the important parts of an improvised musical work? In Intents and Purposes, Eric Lewis uses a series of case studies to challenge assumptions about what defines a musical work and musical performance, seeking to go beyond philosophical and aesthetic templates from Western classical music to foreground the distinctive practices and aesthetics of jazz. Pushing aside the assumption that composition and improvisation are different (or even opposed) musical practices, Lewis’s philosophically informed approach revisits key topics in musical ontology, such as how to define the triangle of composer-performer-listener, and the status of live performances in relation to scores and recordings. Drawing on critical race theory, feminist theory, new musicology, sociology, cognitive science, and genre theory, Lewis opens up new questions about agency in performance, as well as new ways of considering the historical relationships between improvisational practices with roots in different cultural frameworks. By showing how jazz can be both art, idea, and action all at the same time, Lewis offers a new way of seeing any improvised musical performance in a new culturally and aesthetically rich context.

[more]

Mask Improvisation for Actor Training and Performance

The Compelling Image

Sears Eldredge

Northwestern University Press, 1996

Because mask improvisation work is relatively new in American theater training, this book is designed not only to acquaint readers with the theory of mask improvisation but to instruct them in the techniques of method as well.

Featuring dozens of improvisational exercises in the innovative spirit of Viola Spolin, and supplemented with practical appendices on mask design and construction, forms and checklists, and other classroom materials, this book is an invaluable tool for teacher and student alike, as well as compelling reading for anyone interested in acquiring a deeper understanding of masks as agents of transformation, creativity, and performance.

[more]

Mbira's Restless Dance

An Archive of Improvisation

Paul F. Berliner and Cosmas Magaya

University of Chicago Press, 2020

Growing out of the collaborative research of an American ethnomusicologist and Zimbabwean musician, Paul F. Berliner and Cosmas Magaya’s Mbira’s Restless Dance documents the repertory for a keyboard instrument known generally as mbira. At the heart of this work lies the analysis of the improvisatory processes that propel mbira music’s magnificent creativity.

Mbira’s Restless Dance is written to be played. This two-volume, spiral-bound set features musical transcriptions of thirty-nine compositions and variations, annotated with the master player’s advice on technique and performance, his notes and observations, and commentary by Berliner. Enhanced with extensive website audiovisuals, Mbira’s Restless Dance is in effect a series of masterclasses with Magaya, suitable for experienced mbira players and those learning the fundamentals.

Together with Berliner's The Art of Mbira, in which he provides an indispensable historical and cultural guide to mbira in a changing world, Mbira's Restless Dance breaks new ground in the depth and specificity of its exploration of an African musical tradition, and in the entwining of the authors’ collaborative voices. It is a testament to the powerful relationship between music and social life—and the rewards of lifelong musical study, performance, and friendship.

[more]

Negotiated Moments

Improvisation, Sound, and Subjectivity

Gillian Siddall and Ellen Waterman, editors

Duke University Press, 2016

The contributors to Negotiated Moments explore how subjectivity is formed and expressed through musical improvisation, tracing the ways the transmission and reception of sound occur within and between bodies in real and virtual time and across memory, history, and space. They place the gendered, sexed, raced, classed, disabled, and technologized body at the center of critical improvisation studies and move beyond the field's tendency toward celebrating improvisation's utopian and democratic ideals by highlighting the improvisation of marginalized subjects. Rejecting a singular theory of improvisational agency, the contributors show how improvisation helps people gain hard-won and highly contingent agency. Essays include analyses of the role of the body and technology in performance, improvisation's ability to disrupt power relations, Pauline Oliveros's ideas about listening, flautist Nicole Mitchell's compositions based on Octavia Butler's science fiction, and an interview with Judith Butler about the relationship between her work and improvisation. The contributors' close attention to improvisation provides a touchstone for examining subjectivities and offers ways to hear the full spectrum of ideas that sound out from and resonate within and across bodies.

Contributors. George Blake, David Borgo, Judith Butler, Rebecca Caines, Louise Campbell, Illa Carrillo Rodríguez, Berenice Corti, Andrew Raffo Dewar, Nina Eidsheim, Tomie Hahn, Jaclyn Heyen, Christine Sun Kim, Catherine Lee, Andra McCartney, Tracy McMullen, Kevin McNeilly, Leaf Miller, Jovana Milovic, François Mouillot, Pauline Oliveros, Jason Robinson, Neil Rolnick, Simon Rose, Gillian Siddall, Julie Dawn Smith, Jesse Stewart, Clara Tomaz, Sherrie Tucker, Lindsay Vogt, Zachary Wallmark, Ellen Waterman, David Whalen, Pete Williams, Deborah Wong, Mandy-Suzanne Wong

[more]

Playing for Keeps

Improvisation in the Aftermath

Daniel Fischlin and Eric Porter

Duke University Press, 2020

The contributors to Playing for Keeps examine the ways in which musical improvisation can serve as a method for negotiating violence, trauma, systemic inequality, and the aftermaths of war and colonialism. Outlining the relation of improvisatory practices to local and global power structures, they show how in sites as varied as South Africa, Canada, Egypt, the United States, and the Canary Islands, improvisation provides the means for its participants to address the past and imagine the future. In addition to essays, the volume features a poem by saxophonist Matana Roberts, an interview with pianist Vijay Iyer about his work with U.S. veterans of color, and drawings by artist Randy DuBurke that chart Nina Simone's politicization. Throughout, the contributors illustrate how improvisation functions as a model for political, cultural, and ethical dialogue and action that can foster the creation of alternate modes of being and knowing in the world.

Contributors. Randy DuBurke, Rana El Kadi, Kevin Fellezs, Daniel Fischlin, Kate Galloway, Reem Abdul Hadi, Vijay Iyer, Mark Lomanno, Moshe Morad, Eric Porter, Sara Ramshaw, Matana Roberts, Darci Sprengel, Paul Stapleton, Odeh Turjman, Stephanie Vos

[more]

Singing Sappho

Improvisation and Authority in Nineteenth-Century Italian Opera

Melina Esse

University of Chicago Press, 2021

From the theatrical stage to the literary salon, the figure of Sappho—the ancient poet and inspiring icon of feminine creativity—played a major role in the intertwining histories of improvisation, text, and performance throughout the nineteenth century. Exploring the connections between operatic and poetic improvisation in Italy and beyond, Singing Sappho combines earwitness accounts of famous female improviser-virtuosi with erudite analysis of musical and literary practices. Melina Esse demonstrates that performance played a much larger role in conceptions of musical authorship than previously recognized, arguing that discourses of spontaneity—specifically those surrounding the improvvisatrice, or female poetic improviser—were paradoxically used to carve out a new authority for opera composers just as improvisation itself was falling into decline. With this novel and nuanced book, Esse persuasively reclaims the agency of performers and their crucial role in constituting Italian opera as a genre in the nineteenth century.

[more]

Situating Writing Processes

Physicality, Improvisation, and the Teaching of Writing

Hannah Rule

University Press of Colorado, 2020

What should it mean today to "teach writing as a process"? In Situating Writing Processes, Hannah J. Rule takes stock of this familiar commonplace in composition studies, arguing for a renewed understanding of process that emphasizes situatedness. To situate processes is to physically locate them: to observe the infinite ways they are shaped by particular bodies and affects, environments and spaces, others near and distant, and various tools or objects. When we call attention to the physical, material, and located dimensions of processes, we foreground the differences, contingencies, and lived experiences of composing. Doing so is critical, Rule argues, to finally letting go of discrete skills and instead teaching writing as experience in seeing and responding to ranging constraints immediate and distant, material and social. Situating processes ultimately emphasizes vulnerability: how all writing involves risk, uncertainty, and the possibility of failure, as processes are susceptible to the participation and control of forces on ranging scales and always in excess of the writer alone. Accounting for context, difference, and improvisation, Situating Writing Processes helps writing teachers and scholars freshly reimagine the histories and potential of an enduring concept.

[more]

Sound Changes

Improvisation and Transcultural Difference

Daniel Fischlin and Eric Porter, Editors

University of Michigan Press, 2021

Sound Changes responds to a need in improvisation studies for more work that addresses the diversity of global improvisatory practices and argues that by beginning to understand the particular, material experiences of sonic realities that are different from our own, we can address the host of other factors that are imparted or sublimated in performance. These factors range from the intimate affect associated with a particular performer’s capacity to generate a distinctive “voicing,” or the addition of an unexpected sonic intervention only possible with one particular configuration of players in a specific space and time. Through a series of case studies drawn from Africa, Asia, the Americas, and Oceania, Sound Changes offers readers an introduction to a range of musical expressions across the globe in which improvisation plays a key role and the book demonstrates that improvisation is a vital site for the production of emergent social relationships and meanings. As it does this work, Sound Changes situates the increasingly transcultural dimensions of improvised music in relation to emergent networks and technologies, changing patterns of migration and immigration, shifts in the political economy of music, and other social, cultural, and economic factors.

Improvisation studies is a recently developed, but growing, interdisciplinary field of study. The discipline—which has only truly come into focus in the early part of the twenty-first century—has been building a lexicon of key terms and developing assumptions about core practices. Yet, the full breadth of improvisatory practices has remained a vexed, if not impossibly ambitious, subject of study. This volume offers a step forward in the movement away from critical tendencies that tend to homogenize and reduce practices and vocabularies in the name of the familiar.

[more]

The Comic Mask in the Commedia dell'Arte

Actor Training, Improvisation, and the Poetics of Survival

Antonio Fava

Northwestern University Press, 2007

Winner, 2007 University & College Designers Association Design Award

Nobody says Shakespeare is dead, Antonio Fava tells us, but Commedia, they say, is dead. Why? Because clearly, he goes on, we have Shakespeare's texts, but nobody knows what to do with the improvisation that is the basis of the Commedia dell'Arte, despite massive documentation. This book by Fava, one of the few living master teachers of Commedia dell'Arte, is the first aesthetic and methodological study of the traditional Italian theater form--the first to describe, in a precise and practical way, what Commedia is and what it should be.

The mask--as object, symbol, character, theatrical practice, even spectacle itself--is the central metaphor around which Fava builds his discussion of structure, themes, characters, and methods. Drawing on twenty years of research conducted through his work as performer, director, mask maker, and scholar, he offers extensive practical, philosophical, and technical guidelines to performing the stock characters of Commedia, observing its structure, extracting its poetics, exploring its themes, and using the mask. A densely layered text combining historical fact, personal experience, philosophical speculation, and passionate opinion, and including copious illustrations--period drawings, prints, and color photographs of leather Commedia masks made by Fava himself--The Comic Mask in the Commedia dell'Arte is a rich work of singular insight into one of the world's most venerable forms of theater.

[more]

The Culture of Spontaneity

Improvisation and the Arts in Postwar America

Daniel Belgrad

University of Chicago Press, 1998

The Culture of Spontaneity is the first comprehensive history of the postwar avant-garde, integrating such diverse moments in American culture as abstract expressionism, bebop jazz, gestalt therapy, Black Mountain College, Jungian psychology, beat poetry, experimental dance, Zen Buddhism, Alfred North Whitehead's cosmology, and the antinuclear movement. Daniel Belgrad shows how a startling variety of artistic movements actually had one unifying theme: spontaneous improvisation.

"A compelling narrative, putting living flesh on shorthand intuitions that connect North Beach to Black Mountain College, Fenollosa to Pollock, Jackson Lears's No Place of Grace to Todd Gitlin's The Sixties."—Joel Smith, Boston Review

"An invaluable introduction to postwar modernism across the arts."—Thomas Augst, Boston Book Review

"Belgrad's extensive probing of the artists and movements with their profound sociological roots is timely as well as comprehensive....A major contribution for serious scholars."—Choice

[more]

The Fierce Urgency of Now

Improvisation, Rights, and the Ethics of Cocreation

Daniel Fischlin, Ajay Heble, and George Lipsitz

Duke University Press, 2013

The Fierce Urgency of Now links musical improvisation to struggles for social change, focusing on the connections between the improvisation associated with jazz and the dynamics of human rights struggles and discourses. The authors acknowledge that at first glance improvisation and rights seem to belong to incommensurable areas of human endeavor. Improvisation connotes practices that are spontaneous, personal, local, immediate, expressive, ephemeral, and even accidental, while rights refer to formal standards of acceptable human conduct, rules that are permanent, impersonal, universal, abstract, and inflexible. Yet the authors not only suggest that improvisation and rights can be connected; they insist that they must be connected.

Improvisation is the creation and development of new, unexpected, and productive cocreative relations among people. It cultivates the capacity to discern elements of possibility, potential, hope, and promise where none are readily apparent. Improvisers work with the tools they have in the arenas that are open to them. Proceeding without a written score or script, they collaborate to envision and enact something new, to enrich their experience in the world by acting on it and changing it. By analyzing the dynamics of particular artistic improvisations, mostly by contemporary American jazz musicians, the authors reveal improvisation as a viable and urgently needed model for social change. In the process, they rethink politics, music, and the connections between them.

[more]

The Lived Experience of Improvisation

In Music, Learning and Life

Simon Rose

Intellect Books, 2017

Improvisation is crucial to a wide range of artistic activities—most prominently, perhaps, in music, but extending to other fields of experience such as literature and pedagogy. Yet it gets short shrift in both appreciation and analysis of art within education. This is in no small part due to our tendency to view the world in fixed categories and structures that belie our ability to generate creative, groundbreaking responses within and between those structures.
The Lived Experience of Improvisation draws on an analysis of interviews with highly regarded improvisers, including Roscoe Mitchell, Pauline Oliveros, and George Lewis. Simon Rose also exploits his own experience as a musician and teacher, making a compelling case for bringing back improvisation from the margins. He argues that improvisation is a pervasive aspect of being human and that it should be at the heart of our teaching and understanding of the world.

[more]

The Mee-Ow Show at 50

From Cultural Rebellion to Comedy Institution

Joseph B. Radding and Paul W. Warshauer

Northwestern University Press, 2025

The fifty-year history of the Mee-Ow Show at Northwestern University and its influence on contemporary comedy

In the fall of 1973, two students at Northwestern University resolved to create something on stage that was wholly their own. Soon, they would be joined by a cohort of performers, musicians, and staff, and the resulting production would go on to launch the careers of scores of entertainment professionals, including some of the most well-known and awarded names in comedy today. This book is not only an account of the rebellious fifty-year history of the Mee-Ow Show, now the longest-running student sketch comedy and improv show in the country, but also its far-reaching influence. The storied group’s alumni include such household names as Craig Bierko, Ana Gasteyer, Julia Louis-Dreyfus, John Cameron Mitchell, Dermot Mulroney, Seth Meyers, and Kristen Schaal.

Based on more than a hundred new interviews with group members, presenting their words alongside never-before-published photographs and ephemera, The Mee-Ow Show at 50 provides a chronicle of the last half-century of the American undergraduate experience—and reveals how, from New York to Los Angeles, contemporary comedy can trace its roots to an upstart student production in Evanston, Illinois.

[more]

The Philosophy of Improvisation

Gary Peters

University of Chicago Press, 2009

Improvisation is usually either lionized as an ecstatic experience of being in the moment or disparaged as the thoughtless recycling of clichés. Eschewing both of these orthodoxies, The Philosophy of Improvisation ranges across the arts—from music to theater, dance to comedy—and considers the improvised dimension of philosophy itself in order to elaborate an innovative concept of improvisation.

Gary Peters turns to many of the major thinkers within continental philosophy—including Heidegger, Nietzsche, Adorno, Kant, Benjamin, and Deleuze—offering readings of their reflections on improvisation and exploring improvisational elements within their thinking. Peters’s wry, humorous style offers an antidote to the frequently overheated celebration of freedom and community that characterizes most writing on the subject. Expanding the field of what counts as improvisation, The Philosophy of Improvisation will be welcomed by anyone striving to comprehend the creative process.

[more]

The Principles of Comedy Improv

Truths, Tales, and How to Improvise

Tom Blank

University of Iowa Press, 2023

The Principles of Comedy Improv is an authoritative handbook for beginners and experts alike. More than just entertainment, improv’s tenets enable you to change every moment of your life. Your guide is Tom Blank, who crystallizes two decades of experience to convey improv in unparalleled scope, depth, and fun.

[more]

The Second City Almanac of Improvisation

Anne Libera and Second City, Inc.

Northwestern University Press, 2004

It all began in a converted Chinese laundry on Chicago's north side on a cold December night in 1959. No one could have known that by the next century, The Second City would have established itself as the premier comedy institution in the world. Taking its act north, The Second City would build a second permanent home in Toronto where it would create the Emmy-Award winning television series "SCTV." Pioneering the use of improvisation in developing talent and creating satiric revue comedy, The Second City has become - in the words of the New York Times - "A Comedy Empire."

The Second City Almanac of Improvisation - like the theatre itself - is a collection of diverse ideas, viewpoints, and memories, written by a vast array of teachers, actors, and directors who all got their start at the legendary comedy theatre. Fred Willard recalls his introduction to The Second City style in the mid-Sixties; Tim Kazurinsky gives a hilarious visual demonstration on the art of object work; "Saturday Night Live" star Tina Fey talks about re-improvising material as a mode of writing revue comedy; noted director Mick Napier takes on the thorny debate between long-form improvisation and short-form improvisation. Anne Libera guides the reader through each essay by providing a road map for understanding how The Second City method of improv-based comedy has become the industry standard.

Mike Nichols, Elaine May, Alan Arkin, Joan Rivers, Robert Klein, Peter Boyle, Harold Ramis, John Belushi, Dan Aykroyd, Bill Murray, John Candy, Martin Short, Gilda Radner, George Wendt, Jim Belushi, Bonnie Hunt, Mike Myers, Ryan Stiles, Rachel Dratch, Nia Vardalos - no other theatre can boast an alumni list of this magnitude. The Second City Almanac of Improvisation provides practical instruction, personal details, and inspiration to both improvisers and their fans.

[more]

Theater Games for Rehearsal

A Director's Handbook, Updated Edition

Viola Spolin with a foreword by Rob Reiner

Northwestern University Press, 2010

An updated edition of a key reference text by “the high priestess of improvisational theater”

A major force in the development of American theater, Viola Spolin devised pedagogical techniques that have influenced and inspired legions of actors, improvisers, and directors. Theater Games for Rehearsal: A Director's Handbook, first published in 1985, is a practical application of Spolin's famous method that guides directors and their companies step-by-step through all phases of the rehearsal period.

In Theater Games for Rehearsal, Spolin shows in easy-to-follow detail how her techniques can be used for a variety of theater needs, from selecting performance material, casting, and building a harmonious company to warming up actors, creating stage space, and overcoming opening-night jitters. This new edition, edited by Carol Bleackley Sills, incorporates Spolin's wished-for updates: four important exercises have been added, and instructions presenting her improvisational approach have been clarified throughout. Sidecoaching instructions and game evaluations are boxed and highlighted for on-the-spot reading by the director during rehearsal.

With these additions and improvements, Theater Games for Rehearsal: A Director's Handbook brings Spolin's ideas to a new generation with greater accessibility and excitement. Featuring a new foreword by renowned film director Rob Reiner, the updated edition is mandatory for any theater bookshelf.

[more]

Theater Games for the Classroom

A Teacher's Handbook

Viola Spolin

Northwestern University Press, 1986

The most comprehensive theater instruction guide for all types of students

This best-selling book by Viola Spolin offers the most comprehensive theater instruction for all types of students, from small children to young adults. It includes over 130 theater games, plus exercises and instructional strategies. First developed by Spolin, the originator of modern improvisational theater techniques, these games have been tried and tested for over fifty years.

[more]