Improv 4 Actors Types & Uses of Improv

Modern improvisational comedy, as it is practiced in the West, falls generally into two categories: Short-form and Long-form. Short-form improv consists of short scenes usually constructed from a predetermined game, structure, or idea and driven by an audience suggestion. Short-form improv consists of short scenes usually constructed from a predetermined game, structure, or idea and driven by an audience suggestion. Many short-form games were first created by Viola Spolin based on her training from Neva Boyd. Many short-form games were first created by Viola Spolin based on her training from Neva Boyd. The short-form improv comedy television series Whose Line Is It Anyway? has familiarized American and British viewers with short-form. The short-form improv comedy television series Whose Line Is It Anyway? has familiarized American and British viewers with short-form. Long-form improv performers create shows in which short scenes are often interrelated by story, characters, or themes. Long-form improv performers create shows in which short scenes are often interrelated by story, characters, or themes. Long-form shows may take the form of an existing type of theatre, for example a full-length play or Broadway-style musical such as Spontaneous Broadway. Long-form shows may take the form of an existing type of theatre, for example a full-length play or Broadway-style musical such as Spontaneous Broadway. Long-form improvisation is especially performed in Chicago, New York City, San Francisco, Seattle and The Harold, developed by ImprovOlympic, or IO, co-founder Del Close. Many such long- form structures now exist. Long-form improvisation is especially performed in Chicago, New York City, San Francisco, Seattle and The Harold, developed by ImprovOlympic, or IO, co-founder Del Close. Many such long- form structures now exist. Viola Spolin

Improv in Film and T.V. Many directors have made use of improvisation in the creation of both main-stream and experimental films. Many silent filmmakers such as Charlie Chaplin and Buster Keaton used improvisation in the making of their films, developing their gags while filming and altering the plot to fit. The Marx Brothers were notorious for deviating from the script they were given, their ad-libs often becoming part of the standard routine and making their way into their films. Many people, however, make a distinction between ad-libbing and improvising. Many directors have made use of improvisation in the creation of both main-stream and experimental films. Many silent filmmakers such as Charlie Chaplin and Buster Keaton used improvisation in the making of their films, developing their gags while filming and altering the plot to fit. The Marx Brothers were notorious for deviating from the script they were given, their ad-libs often becoming part of the standard routine and making their way into their films. Many people, however, make a distinction between ad-libbing and improvising. The British director Mike Leigh makes extensive use of improvisation in the creation of his films, including improvising important moments in the characters lives that will not even appear in the film. The British director Mike Leigh makes extensive use of improvisation in the creation of his films, including improvising important moments in the characters lives that will not even appear in the film. This Is Spinal Tap and other mockumentary films of director Christopher Guest are created with a mix of scripted and unscripted material and Blue in the Face is a 1995 comedy directed by Wayne Wang and Paul Auster created in part by the improvisations filmed during the production of their movie Smoke. This Is Spinal Tap and other mockumentary films of director Christopher Guest are created with a mix of scripted and unscripted material and Blue in the Face is a 1995 comedy directed by Wayne Wang and Paul Auster created in part by the improvisations filmed during the production of their movie Smoke.

Improv comedy techniques have also been used in television and stand-up comedy, in hit shows such as Saturday Night Live, SCTV, and the recent HBO television show Curb Your Enthusiasm created by Larry David Improv comedy techniques have also been used in television and stand-up comedy, in hit shows such as Saturday Night Live, SCTV, and the recent HBO television show Curb Your Enthusiasm created by Larry David Whose Line Is It Anyway Nick Cannon's improv comedy show Wild 'N Out, and Thank God You're Here. In Canada, the long-running series Train 48 was improvised from scripts which contained a minimal outline of each scene. Whose Line Is It Anyway Nick Cannon's improv comedy show Wild 'N Out, and Thank God You're Here. In Canada, the long-running series Train 48 was improvised from scripts which contained a minimal outline of each scene. The American show Reno 911! also contained improvised dialogue based on a plot outline. The American show Reno 911! also contained improvised dialogue based on a plot outline.

Improv Process In order for an improvised scene to be successful, the improvisers involved must work together responsively to define the parameters and action of the scene, in a process of co-creation. With each spoken word or action in the scene, an improviser 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. In order for an improvised scene to be successful, the improvisers involved must work together responsively to define the parameters and action of the scene, in a process of co-creation. With each spoken word or action in the scene, an improviser 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 improvisers to accept the offers that their fellow performers make; to not do so is known as blocking, negation, or denial, 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. These activities are also known as endowment. It is the responsibility of the other improvisers to accept the offers that their fellow performers make; to not do so is known as blocking, negation, or denial, 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. 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. 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.

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. Every new piece of information added helps the improvisers to refine their characters and progress the action of the scene. 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. Every new piece of information added helps the improvisers to refine their characters and progress the action of the scene. The unscripted nature of improv also implies no predetermined knowledge about the props that might be useful in a scene. 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. In improv, this is more commonly known as 'space object work' or 'space work', not 'mime'. And the props and locations created by this technique, as 'space objects'. 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. In improv, this is more commonly known as 'space object work' or 'space work', not 'mime'. And the props and locations created by this technique, as 'space objects'. As with all improv offers, improvisers 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. As with all improv offers, improvisers 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.

To Be Continued… Because improvisers 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 improviser 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 improvisers must therefore attempt to act according to the objectives that they believe their character seeks.