Keith Johnstone’s Impro: The Art of Spontaneous Performance

Impro by Keith Johnstone: Quick Answer

• Impro by Keith Johnstone provides a foundational framework for spontaneous performance, stressing acceptance, status dynamics, and the removal of self-judgment.
• It offers practical exercises and theoretical insights to boost confidence and creativity in improvisational scenarios.
• This book is essential for performers and professionals aiming to enhance their adaptability and quick thinking.

Who This Is For

• Individuals in acting, comedy, or theatrical improvisation seeking a deeper understanding of their craft.
• Professionals in any field who want to improve their ability to think critically and respond effectively in unpredictable situations.

What to Check First

• Your current comfort with spontaneity: Assess your tendency to embrace the unexpected versus your reliance on pre-planned actions.
• Your grasp of “status” in social dynamics: Johnstone’s work extensively uses the concept of status, which may require initial clarification.
• Your openness to embracing mistakes: The book promotes the idea that errors are opportunities for creative growth, a mindset shift to consider.
• Your existing knowledge of improvisation theory: While accessible, prior familiarity with basic improv concepts can aid comprehension.

Step-by-Step Plan: Implementing Improvisational Principles

This plan outlines how to approach the principles presented in Impro by Keith Johnstone for practical application.

1. Understand the Core Tenet: Acceptance.

• Action: Practice the “Yes, and…” principle by accepting external stimuli and internal impulses without immediate critique.
• What to look for: An increased capacity to build upon existing ideas and a reduction in internal resistance. Observe how this practice diminishes self-judgment.
• Mistake: Treating “Yes, and…” as a literal phrase to be uttered, rather than a mindset of openness and contribution. This can lead to forced agreement and a lack of genuine engagement.

2. Explore Status Dynamics.

• Action: Engage in exercises that deliberately shift between high and low status characters, both individually and with a partner.
• What to look for: A heightened awareness of how perceived status influences behavior, communication, and decision-making in interactions. Notice the physical and vocal cues associated with each status level.
• Mistake: Confusing “high status” with arrogance or “low status” with weakness. Johnstone emphasizes that status is a fluid social construct within a scene, not an inherent personal trait.

3. Eliminate Self-Censorship.

• Action: Participate in free-association exercises or brainstorming sessions where all ideas are recorded without critique.
• What to look for: A reduction in the internal monologue that questions the validity or quality of your thoughts. Observe an increase in the quantity and diversity of ideas generated.
• Mistake: Believing that eliminating self-censorship means acting without any regard for the context or narrative of a performance. It is about deferring judgment, not abandoning all standards.

4. Embrace “Games” Over “Scenes.”

• Action: Focus on the inherent rules and objectives of improv games, rather than striving for narrative realism in every instance.
• What to look for: A greater sense of playfulness and freedom. Notice how focusing on game mechanics can unlock creativity and reduce performance anxiety.
• Mistake: Over-analyzing the “meaning” or “plot” of an improv game, thereby stifling the spontaneous flow and fun.

5. Develop the “Yes, Let’s” Attitude.

• Action: Consciously apply this principle to collaborative projects or group problem-solving.
• What to look for: An environment where ideas are readily welcomed and built upon, fostering a sense of shared ownership and progress.
• Mistake: Interpreting “Yes, let’s” as passive agreement to any proposal without considering feasibility or alignment with overall goals. It requires active contribution, not just assent.

Impro: Improvisation and the Theatre

• Audible Audiobook
• Keith Johnstone (Author) - William Reay (Narrator)
• English (Publication Language)
• 09/02/2024 (Publication Date) - Echo Point Books & Media, LLC (Publisher)

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Understanding Impro by Keith Johnstone

Keith Johnstone’s seminal work, Impro: Improvisation and the Theatre, first published in 1979, offers a comprehensive philosophical and practical approach to spontaneous performance. Johnstone, a seasoned drama teacher, developed his theories through extensive work with the Royal Court Theatre in London and later at the University of Calgary. The book transcends a simple acting manual, delving into human psychology, creativity, and the nature of spontaneous interaction.

Johnstone argues that societal conditioning and the fear of judgment lead individuals to suppress their natural impulses and creativity. Improvisation, as he defines it, serves as a method to reclaim this spontaneity by fostering environments where individuals feel secure to explore, experiment, and accept failure without severe repercussions. Key principles discussed include “acceptance” (the “Yes, and…” concept), “status,” and the vital role of “play” in creative endeavors. The book is structured around his observations and experiences, integrating theoretical insights with anecdotal evidence from his workshops and performances.

The Foundation of Spontaneity in Impro by Keith Johnstone

The core of Johnstone’s philosophy centers on creating conditions conducive to spontaneity. He contends that conventional educational and performance structures often impede natural creative expression by prioritizing correctness and control. Impro by Keith Johnstone challenges these norms by advocating for an environment of trust and non-judgment, enabling individuals to access their subconscious, react authentically, and freely build upon ideas. The book systematically dissects the psychological barriers that inhibit spontaneity, providing actionable techniques for overcoming them.

The concept of “status” is particularly significant. Johnstone observes that much of social interaction is governed by perceptions of status, and understanding these dynamics is crucial for effective improvisation. By exploring and manipulating status within a scene, performers can unlock richer character development and more dynamic interactions. This is not about dominance but about comprehending how power and influence are communicated and perceived. The book provides exercises designed to make these often-unconscious dynamics explicit and manageable for performers.

Failure Mode: The Over-Reliance on “Rules”

A common failure mode when engaging with Impro by Keith Johnstone is the tendency to treat improvisational games and principles as rigid rules to be mastered, rather than as tools for exploration. This often manifests as performers becoming overly concerned with “doing it right” or adhering to a perceived correct procedure, which paradoxically stifles the very spontaneity the book aims to foster.

Detection:

• Observe a performer who hesitates before speaking, appearing to calculate the “correct” response based on game mechanics rather than reacting organically.
• Notice an absence of genuine playfulness; the performance feels more like a test or an exercise than a creative exploration.
• Identify instances where a performer overrides a scene partner’s contribution because it doesn’t fit a preconceived notion of how the game should proceed.

Correction:

• Reframe improv games as “experiments” or “playgrounds” designed to explore specific principles (e.g., listening, quick thinking, collaboration).
• Prioritize the spirit of acceptance (“Yes, and…”) and partnership over strict adherence to game structures.
• Focus on the purpose behind each exercise—to build confidence, encourage risk-taking, and foster connection—rather than the outcome of the game itself.

Expert Tips

• Tip: Practice active listening by focusing solely on your scene partner’s words and actions.
• Actionable Step: In your next conversation or improv scene, consciously refrain from planning your response while the other person is speaking.
• Common Mistake to Avoid: Thinking about what you will say next, rather than truly absorbing what is being offered.

• Tip: Embrace “failure” as a generative force.
• Actionable Step: When a mistake occurs in an improv scene, immediately find a way to incorporate it into the narrative, treating it as a new piece of information.
• Common Mistake to Avoid: Trying to ignore or correct mistakes, which breaks the flow and indicates a fear of not being “perfect.”

• Tip: Experiment with status shifts deliberately.
• Actionable Step: Choose a simple scene and play it twice: once with characters in a clear high-status dynamic, and again with the same characters in a low-status dynamic.
• Common Mistake to Avoid: Equating high status with being loud or aggressive, and low status with being timid or apologetic. Focus on the subtle power dynamics.

Common Myths

• Myth: Improvisation is solely about being funny.
• Evidence-Based Rebuttal: While humor frequently emerges in improvisation, Keith Johnstone’s primary objective, as outlined in his work, is spontaneous creation, storytelling, and the exploration of human interaction. Humor is a potential byproduct, not the sole aim. An exclusive focus on humor can lead to forced jokes and a lack of genuine scene development.

• Myth: Natural wit or talent is a prerequisite for improvisation.
• Evidence-Based Rebuttal: Johnstone’s approach emphasizes that improvisational skills are developed through practice and the creation of a supportive environment. The principles he advocates, such as acceptance and reducing self-judgment, are designed to unlock latent creativity in anyone, irrespective of perceived innate talent. The focus is on process and mindset, not pre-existing skill.

• Myth: Improvisation is inherently chaotic and lacks structure.
• Evidence-Based Rebuttal: Johnstone himself utilizes and advocates for improvisational “games,” which possess inherent structures and rules. These structures are not restrictive but rather serve as frameworks to facilitate specific improvisational skills and encourage creative exploration within defined parameters. The perceived chaos typically resides in the generated content, not the underlying process.

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