By Jeanne Leep (auth.)
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Additional info for Theatrical Improvisation: Short Form, Long Form, and Sketch-Based Improv
He describes this in the moments just before a show, “The smell of popcorn tells you that you’re in the presence of something populist” (Storytellers 2). Theatresports remains a populist performance venue driven by the audience/actor relationship and spontaneous results of that relationship. Johnstone’s work, however, differs from his pro-wrestling inspiration in that it does more than entertain and engage the audience. While professional wrestling’s goals lie in financial gain, the foundation of Johnstone’s Theatresports philosophy grew from a desire for creative and spontaneous thinking to take root in the minds of the masses.
Chapter 3 will look at long form with a focus on long form improv companies to identify principles of long form. Chapter 4 identifies the principles of sketch-based improvisation using The Second City of Chicago and Detroit to explore this format. Chapter 5 looks at new trends in improvisation in performance that grow from the branches of short form, long form, and sketch-based improvisation. Finally, Chapter 6 examines teaching performance improvisation in an academic setting as well as creating a campus performance group that may well operate outside the traditional theatre department.
More is required of an actor than simply knowing the lines in order to achieve greatness. Likewise, improvisers must get beyond the basics of the rules to excel on stage. The crucial tools an actor brings to the stage of mind, body, and voice and must be trained and honed for performance. While there are several rules to improv, just knowing them in theory cannot transform a novice improviser into an expert. Second City improviser Kiff VandenHeuvel explains: My professor Sun Dun Yee in mathematics used to teach the game go.
Theatrical Improvisation: Short Form, Long Form, and Sketch-Based Improv by Jeanne Leep (auth.)