Improvisation Starters Revised And Expanded Edition

Fill Your Performance with Spontaneity and Energy Improvisation is an essential and invaluable technique for the actor's repertoire: It asks you to think beyond a script--and its memorized lines, movements, and facial expressions--to deliver a performance filled with honesty, insight, nuance, and verisimilitude. Improvisation Starters Revised and Expanded provides more than 1,000 brand-new scene scenarios that will help you: • Depict conflict by focusing on differing beliefs, motivations, and needs • Use contrasts to show the clash of personalities and emotions • Creatively incorporate props and specific lines of dialogue within an improvised scene • Explore character relationships with various locations • Take on the role of inanimate objects and animals From the classroom to the community theater group--and even in business, language, and technology classes--improvisation is the perfect tool for thinking critically, communicating clearly, building self-confidence, and developing interpersonal skills. With this revised edition of Improvisation Starters, you'll bring new vitality to the stage or set--and have fun in the process!

Most beginning actors assume that rehearsing a play or scene involves taking home the script, memorizing lines, and rehearsing scenes over and over until everything—timing, movement, facial expression—is perfect. But that's only partially correct. One missing element in that approach is improvisation, an invaluable technique that can be used in acting classes and in rehearsals for school, amateur and professional productions. Most teachers and directors realize that value of improvisation as a regular part of their classes or rehearsals, but many find it difficult to come up with fresh ideas on a daily basis. The nine hundred improvisation ideas in this book should provide enough material to last for years. What the book includes can be applied to many theater situations. For example, there are many improvisation starters for character conflicts—teen/parent, peer relationships, love relationships, co-workers, doctor/patient, brother/sister, and more; solo improvisations; physical positions (for one or two players); lines of dialogue; and reactions to environment. The author also has included a section suggesting a variety of improvisations for the production of Romeo and Juliet.

Executives from The Second City—the world’s premier comedy theater and school of improvisation—reveal improvisational techniques that can help any organization develop innovators, encourage adaptable leaders, and build transformational businesses. For more than fifty years, The Second City comedy theater in Chicago has been a training ground for some of the best comic minds in the industry—including John Belushi, Bill Murray, Gilda Radner, Mike Myers, Steve Carell, Stephen Colbert, and Tina Fey. But it also provides one-of-a-kind leadership training to cutting-edge companies, nonprofits, and public sector organizations—all aimed at increasing creativity, collaboration, and teamwork. The rules for leadership and teamwork have changed, and the skills that got professionals ahead a generation ago don’t work anymore. Now The Second City provides a new toolkit individuals and organizations can use to thrive in a world increasingly shaped by speed, social communication, and decentralization. Based on eight principles of improvisation, Yes, And helps to develop these skills and foster them in high-potential leaders and their teams, including: Mastering the ability to co-create in an ensemble Fostering a “yes, and” approach to work Embracing failure to accelerate high performance Leading by listening and by learning to follow Innovating by making something out of nothing Yes, And is a must-read for professionals and organizations, helping to develop the invaluable leadership skills needed to succeed today.

Expanding the Space for Improvisation Pedagogy in Music is a critical, research-based anthology exploring improvisation in music pedagogy. The book broadens the understanding of the potentials and possibilities for improvisation in a variety of music education contexts and stimulates the development of knowledge and reflection on improvisation. The book critically examines the challenges, cultural values, aims and methods involved in improvisation pedagogy. Written by international contributors representing a variety of musical genres and research methodologies, it takes a transdisciplinary approach and outlines a way ahead for improvisation pedagogy and research, by providing a space for the exchange of knowledge and critique. This book will be of great interest to scholars, researchers, and postgraduate students in the fields of arts education, music education, improvisation, music psychology, musicology, ethnomusicology, artistic research and community music. It will also appeal to music educators on all levels in the field of music education and music psychology.

A handbook of essentialcomedy skills, useful for all performers!

V. 1. Cognitions -- v. 2. Critical theories

Improvisation informs a vast array of human activity, from creative practices in art, dance, music, and literature to everyday conversation and the relationships to natural and built environments that surround and sustain us. The two volumes of the Oxford Handbook of Critical Improvisation Studies gather scholarship on improvisation from an immense range of perspectives, with contributions from more than sixty scholars working in architecture, anthropology, art history, computer science, cognitive science, cultural studies, dance, economics, education, ethnomusicology, film, gender studies, history, linguistics, literary theory, musicology, neuroscience, new media, organizational science, performance studies, philosophy, popular music studies, psychology, science and technology studies, sociology, and sound art, among others.