Improvisation in Drama, Second Edition

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ISBN: 9781403936707 | 1403936706
Cover: Paperback
Copyright: 10/15/2007

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Improvisation in Drama was the first book to offer a unified view of work central to most drama training. This new edition includes extended coverage of practitioners to include Boal, Meisner, Michael Chekhov and Jonathan Fox; updated assessments of Keith Johnstone, Eugenio Barba, Dario Fo, Jerzy Grotowski and Jacques Lecoq; extended coverage of women practitioners, non-western theatre, developments in "long form" improvisation and live-action role play; and more practical examples with fuller descriptions.

Acknowledgements	p. x
Introduction	p. 1
Definitions and attitudes	p. 3
Early history: shamans, clowns and actors	p. 5
Who? Major Practitioners of Improvisation
Introduction	p. 15
Improvisation in Traditional Drama	p. 17
The principle of improvisation	p. 17
Precursors: Stanislavsky, Meyerhold and Chekov	p. 20
France	p. 25
Jacques Copeau and Suzanne Bing	p. 25
Improvisation and 'traditional' theatre training	p. 35
Britain	p. 39
Mike Leigh	p. 39
USA	p. 44
New York Giants	p. 44
Lee Strasberg	p. 47
Chicago Bears	p. 49
Audience-led impro	p. 58
Improvising musical theatre	p. 60
Improvisation in Non-Western Drama	p. 63
Japan, China and Bali	p. 63
Proto-drama: the Gimi of Papua New Guinea	p. 66
Orta oyunu and ru-howzi: improvisation in the context of Islam	p. 69
West African 'concert party' and South African theatre	p. 74
Improvisation in Alternative Drama	p. 80
Roddy Maude-Roxby/Theatre Machine	p. 80
Jacques Lecoq and the semiotics of clowning	p. 84
Le Theatre du Soleil	p. 93
Dario Fo and Franca Rame	p. 95
Beyond Drama - 'Paratheatre'	p. 103
Jerzy Grotowski	p. 103
Jakob Moreno: Stegreiftheater and psychodrama	p. 110
Jonathan Fox and Jo Salas: Playback Theatre	p. 114
Augusto Boal	p. 115
What? The Practice of Improvisation: Improvisation Exercises
Introduction	p. 121
Preparation	p. 123
Relaxation	p. 123
Games	p. 124
Balance and 'body/think'	p. 126
Space and movement	p. 129
Concentration and attention	p. 130
Impulses and directions	p. 132
Working Together	p. 137
Trust and respect	p. 137
Making a machine	p. 138
Showing and telling	p. 140
Entrances and exits	p. 141
Meetings and greetings	p. 142
Blocking	p. 143
Moving towards Performance	p. 146
Senses	p. 146
Tenses	p. 148
Status	p. 152
Masks	p. 154
Applied Improvisation Work	p. 167
Who/where/what	p. 167
Objectives and resistances	p. 169
Point of concentration (focus)	p. 170
Memory	p. 172
'Set'	p. 173
Character	p. 174
Narrative as generative structure	p. 176
Sample sequences	p. 179
Why? The Meaning(s) of Improvisation: Towards a Poetics
Introduction	p. 187
Enriching the Communication of Meaning	p. 189
Implications of psychodramatic and paratheatrical approaches	p. 189
The censor's nightmare	p. 191
La disponibilite	p. 196
Transformation and the plural self	p. 198
Meaning and Performance	p. 207
Meaning as performance (or vice versa): the place of the improvisatory	p. 207
Texts, signs and meaning	p. 209
Improvisation and writing	p. 211
Co-creativity	p. 217
New combinations; saying 'yes', hearing 'no'	p. 219
Notes	p. 222
Bibliography	p. 231
Index of Selected Games and Exercises	p. 255
General Index	p. 257
Table of Contents provided by Ingram. All Rights Reserved.

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Improvisation in Drama, Second Edition

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