A new book by the author of Impro, the classic text on improvisation using techniques which specialise in releasing an individual's potential within the context of group work.
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Book Description
Editorial Reviews
Review
Many of these scribblings are gems... [Johnstone's] discussion... is of enormous value not only for improvisors, but for playwrights trying to bring something new to the stage... This is not to be missed... A display of the fitful fireworks of an original mind. -- Stagebill Theatre
With this in mind, I honour the seminal writing of Keith Johnstone in the field of improvisation and the great care that he has taken to share, teach and explore his Theatresports theories with drama and acting students, practitioners, researchers and audiences worldwide. -- Research in Drama Education
Impro for Storytellers provides the necessary theoretical underpinning to conceptualise and put into practice improvised forms in a manner that will enhance student learning, and facilitate sound drama pedagogy. -- Research in Drama Education
Johnstone's work is as important a contributions to the theatre, actors and drama education as Viola Spolin, Uta Hagen, Gavin Bolton, or Dorothy Heathcote. -- Research in Drama Education
Impro for Storytellers...display(s) the brilliance of Johnstone's writing, and his highly accessible style, formatted in a variety of manners ranging from personal narratives, teacher/student dialogues, directorial rants and reflective musings to strategic lesson planning, rationale and uncomplicated illustrations of numerous actor or student activities. -- Research in Drama Education
The book has the potential to be an invaluable resource for teachers, instructors, or directors who have a desire to expand their own understanding of improvised forms, as well as being a superb primer to help augment the repertoire of the student, actor, or performer. -- Research in Drama Education --This text refers to an alternate Paperback edition.
With this in mind, I honour the seminal writing of Keith Johnstone in the field of improvisation and the great care that he has taken to share, teach and explore his Theatresports theories with drama and acting students, practitioners, researchers and audiences worldwide. -- Research in Drama Education
Impro for Storytellers provides the necessary theoretical underpinning to conceptualise and put into practice improvised forms in a manner that will enhance student learning, and facilitate sound drama pedagogy. -- Research in Drama Education
Johnstone's work is as important a contributions to the theatre, actors and drama education as Viola Spolin, Uta Hagen, Gavin Bolton, or Dorothy Heathcote. -- Research in Drama Education
Impro for Storytellers...display(s) the brilliance of Johnstone's writing, and his highly accessible style, formatted in a variety of manners ranging from personal narratives, teacher/student dialogues, directorial rants and reflective musings to strategic lesson planning, rationale and uncomplicated illustrations of numerous actor or student activities. -- Research in Drama Education
The book has the potential to be an invaluable resource for teachers, instructors, or directors who have a desire to expand their own understanding of improvised forms, as well as being a superb primer to help augment the repertoire of the student, actor, or performer. -- Research in Drama Education --This text refers to an alternate Paperback edition.
About the Author
Keith Johnstone worked at the Royal Court Theatre in the 1960s where he developed his techniques for improvisational work. He now teaches at the University of Calgary.
--This text refers to an alternate
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Most Helpful Customer Reviews
30 of 31 people found the following review helpful:
5.0 out of 5 stars
Handbook for practitioners,
By
This review is from: Impro for Storytellers (Theatre Arts (Routledge Paperback)) (Paperback)
Keith Johnstone's earlier work, IMPRO, has influenced and will continue to influence the way acting and improvisation for the theatre are taught. IMPRO is a book not only about theatre and improv, but about teaching and human interaction, loaded with insights making that book highly suitable for the general reader.This follow-up is more specialized: a handbook for putting IMPRO into practice, including detailed improv structures for performance and for rehearsal, and chapters on how to teach these games. Sample run lists and notes from performances impart Johnstone's experiences, trials and errors over many years teaching in several countries. The book is exhaustive and beautifully written, but for the general reader, IMPRO is more appropriate. One disappointment about the book is some sloppy copy-editing. It is rife with typos, of the sort that are not picked out by a computer spell-checker since the typos form actual words. The title IMPRO FOR STORYTELLERS is, as Tim Sheppard pointed out below, potentially misleading. This is not a book that will help a solo performer generate material, though some of the exercises within can be translated for that purpose. Johnstone's concern is that improv not be restricted to a form of "light entertainment" (think "Who's Line Is It Anyway?"), but as a way of generating narrative and using it to explore human relationships.
23 of 24 people found the following review helpful:
5.0 out of 5 stars
The Second Coming of Keith...,
This review is from: Impro for Storytellers (Theatre Arts (Routledge Paperback)) (Paperback)
This book, in contrast with his last one, is much more linear and down-to-earth, but every bit as powerful. He dives straight into 'how-to' mode, decribing his own version of improv theater. This might be a little tedious for those not interested in licencing a "Theatersports" venue in their own town, but hang in there. He quickly gets to the meat of simply creating good improv, what behaviours and actions get you there, and how to sustain it. This is a book 100% designed to assist the improviser, both the individual, as well as the 'group'. He even goes so far as to provide shortcut lists in the appendix for use in performance! Keith Johnstone is a visonary, and I'm convinced that whatever theater will look like in the coming years, he will have inspired much of it.
14 of 14 people found the following review helpful:
5.0 out of 5 stars
Whatever your interest, this book is right for you - buy it!,
By Tim Sheppard (Bristol, England) - See all my reviews
This review is from: Impro for Storytellers (Theatre Arts (Routledge Paperback)) (Paperback)
Not many practical manuals are also fun to just read, but this one is - funny, incisive, witty, philosophical and more. It is tremendously useful in many ways. I'm involved in applying impro, but not for Theatre Sports or comedy impro, yet this book is invaluable. My only annoyance is that it should be called Storytelling for Improvisors instead. If you are a storyteller hoping to learn how to improvise stories, this book will not address that directly for you, although if you absorb all the insight you'll get a lot of practical help. Johnstone's comments and analysis are very thought provoking, and reveal a great deal about human nature and the way our minds (and inhibitions) work. Any psychologist could learn a lot here too. If you are after a bumper book of games, go no further - this details a large number, but also with expert advice on how to teach and run the games, including warnings about all the variations that don't work.
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Inside This Book
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First Sentence:
Theatresports was inspired by pro-wrestling, a family entertainment where Terrible Turks mangled defrocked Priests while mums and dads yelled insults, and grannies staggered forward waving their handbags (years passed before I learned that some of the more berserk grannies were paid stooges). Read the first page Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
filler games, penalty basket, mimed object, public improvisation, kinetic dance, emotional sounds, mimes opening, audience volunteers, weak judges, boring scenes, blind offers, status transactions, tight eyes Key Phrases - Capitalized Phrases (CAPs): (learn more)
Theatre Machine, Loose Moose, Red Riding Hood, Danish Game, Gorilla Theatre, Fat Cats, Fast-Food Stanislavsky, Moving Bodies, No-Block Theatresports, Regular Match, Frank Quimby, Viola Spolin, William Gaskill, Easter Bunny, Fast-Food Laban, Great Moose, Guess the Situation, Making Faces Game, Derek Flores, Invisibility Game, Joan Rivers, Royal Court Theatre Studio, Sammy the Goldfish, San Francisco New!
Concordance | Text Stats Browse Sample Pages:
Front Cover | Table of Contents | First Pages | Index | Back Cover | Surprise Me!
Theatresports was inspired by pro-wrestling, a family entertainment where Terrible Turks mangled defrocked Priests while mums and dads yelled insults, and grannies staggered forward waving their handbags (years passed before I learned that some of the more berserk grannies were paid stooges). Read the first page Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
filler games, penalty basket, mimed object, public improvisation, kinetic dance, emotional sounds, mimes opening, audience volunteers, weak judges, boring scenes, blind offers, status transactions, tight eyes Key Phrases - Capitalized Phrases (CAPs): (learn more)
Theatre Machine, Loose Moose, Red Riding Hood, Danish Game, Gorilla Theatre, Fat Cats, Fast-Food Stanislavsky, Moving Bodies, No-Block Theatresports, Regular Match, Frank Quimby, Viola Spolin, William Gaskill, Easter Bunny, Fast-Food Laban, Great Moose, Guess the Situation, Making Faces Game, Derek Flores, Invisibility Game, Joan Rivers, Royal Court Theatre Studio, Sammy the Goldfish, San Francisco New!
Concordance | Text Stats Browse Sample Pages:
Front Cover | Table of Contents | First Pages | Index | Back Cover | Surprise Me!
Citations (learn more)
This book cites 8
books:
See all 8 books this book cites
21
books
cite this book:
See all 21 books citing this book
- Theatre Machine by A. Viola on page 183, and page 190
- Enter Talking by Joan Rivers on page 30, and page 338
- Seven Samurai: The Ultimate Film Guide by Akira Kurosawa on page 161
- The Natural Way to Draw by Kimon Nicolaides on page 74
- Inner Tennis Revised by W. Timothy Gallwey on page 74
See all 8 books this book cites
- New Theatre Quarterly 71: Volume 18, Part 3 (v. 18) by Clive Barker on page 30, and page 31
- Brand New Brand Thinking: Brought to Life by 11 Experts Who Do by Mark Earls on page 183, and page 184
- Drama and Theatre Studies by Sally Mackey on page 50, and page 135
- Scriptwriting for the Screen (Media Skills) by Charlie Moritz on page 72, and Back Matter
- Scriptwriting for the Screen (Media Skills) by Charlie Moritz on page 72, and Back Matter
See all 21 books citing this book
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