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Impro (Performance Books): Improvisation and…
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Impro (Performance Books): Improvisation and the Theatre (Performance… (urspr publ 1979; utgåvan 2007)

av Keith Johnstone (Författare)

MedlemmarRecensionerPopularitetGenomsnittligt betygOmnämnanden
593630,271 (4.23)5
Keith Johnstone's involvement with the theatre began when George Devine and Tony Richardson, artistic directors of the Royal Court Theatre, commissioned a play from him. This was in 1956. A few years later he was himself Associate Artistic Director, working as a play-reader and director, in particular helping to run the Writers' Group. The improvisatory techniques and exercises evolved there to foster spontaneity and narrative skills were developed further in the actors' studio then in demonstrations to schools and colleges and ultimately in the founding of a company of performers, called The Theatre Machine. Divided into four sections, 'Status', 'Spontaneity', 'Narrative Skills', and 'Masks and Trance', arranged more or less in the order a group might approach them, the book sets out the specific techniques and exercises which Johnstone has himself found most useful and most stimulating. The result is both an ideas book and a fascinating exploration of the nature of spontaneous creativity.… (mer)
Medlem:Ennayc01
Titel:Impro (Performance Books): Improvisation and the Theatre (Performance Books)
Författare:Keith Johnstone (Författare)
Info:Methuen Drama (2007), Edition: 1st, 208 pages
Samlingar:Ditt bibliotek
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Taggar:Ingen/inga

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Impro : improvisation och teater av Keith Johnstone (1979)

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This book is oddly popular in my non-theatrical circles, so I figured I'd give it a go. The first half is a man talking about the improv games he teaches and what they can teach about about interpersonal relationships. A lot of his message is that beginning improvisers need to be protected from themselves; that they need to be given permission to fail in order to take chances and become better. I find myself thinking about this a lot now that he's mentioned it.

The other big takeaway was in status games, and we as humans are incapable of doing things that are status-neutral. Everything we say and every action we take confers status, and by being cognizant of this we can use it to our advantage. Status isn't something we have; it's something we carve out when we need it. Most people have a preferred status that they play at, and it takes practice to get people to be able to play different statuses.

And then the last half is about letting gods into your soul or something. It mentions "possession cults" a little too often for comfort. ( )
  isovector | Dec 13, 2020 |
A great book that hasn't dated. It has great improvisation games and the author is the real inventor of theatresports when he went to live in Vancouver. The mask stuff is still a great introduction to mask work and the devising theatre descriptions are still priceless. ( )
  Mark.Eckersley | Dec 26, 2011 |
Amazing--teaches much more than just improv. ( )
  Hanuman2 | Dec 19, 2007 |
I found tons of interesting and useful information in this book not only about improv and acting, but social situations and interacting with others. I would recommend this book to teachers especially. Johnstone goes into detail about the problems he finds in the way teachers interact with their students and the harm it causes the children. Highly recommended.
  meta87 | May 3, 2007 |
A beautiful, funny and amazing book about behavioural patterns and how to break them. Deep insight into human values and behaviour. ( )
  hohlwelt | Aug 16, 2006 |
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Wikipedia på engelska (5)

Keith Johnstone's involvement with the theatre began when George Devine and Tony Richardson, artistic directors of the Royal Court Theatre, commissioned a play from him. This was in 1956. A few years later he was himself Associate Artistic Director, working as a play-reader and director, in particular helping to run the Writers' Group. The improvisatory techniques and exercises evolved there to foster spontaneity and narrative skills were developed further in the actors' studio then in demonstrations to schools and colleges and ultimately in the founding of a company of performers, called The Theatre Machine. Divided into four sections, 'Status', 'Spontaneity', 'Narrative Skills', and 'Masks and Trance', arranged more or less in the order a group might approach them, the book sets out the specific techniques and exercises which Johnstone has himself found most useful and most stimulating. The result is both an ideas book and a fascinating exploration of the nature of spontaneous creativity.

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