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 the year of Look Back in Anger in 1956. A few years later he was himself Associate Artistic Director, in particular helping to run the writers' group. The 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 ...
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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 the year of Look Back in Anger in 1956. A few years later he was himself Associate Artistic Director, in particular helping to run the writers' group. The 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 a fascinating exploration of the nature of spontaneous creativity.If teachers were honoured in the British theatre along-side directors, designers and playwrights, Keith Johnstone would be as familiar a name as are those of Jocelyn Herbert, Edward Bond and other young talents who were drawn to the great
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As New. Book Thin octavo, softcover, fine in black pictorial wraps. as new. 208 pp. The book sets out the specific techniques and exercises which Johnstone has himself found most useful and most stimulating. The result is a fascinating exploration of the nature of spontaneous creativity." If teachers were honored in the British theatre along-side directors, designers and playwrights, Keith Johnstone would be a familiar name. Keith's ideas about improvisation, behavior and performance appeal to a wide variety of groups. from Actors to Psychotherapists, to film, business and research.
Beyond being the most important work on improvisation I know of, this book is wonderful just for the many insights it provides into the human heart. I originally borrowed it from the library, read it carefully and took copious notes - then realized I wanted my own copy for future reference and rereading. I don't do this with many books, so this says a lot about how much this work has to offer. One of J's most important lessons: Don't try to be funny - be real. This makes a big difference in the quality of your and your students' work. Trying to be funny often makes you do silly things that end up meaningless in terms of human experience; playing it straight leads you to real situations that engage us because they are the things we must all contend with in our own everyday lives. I have found this approach extremely useful in my English classes in Taiwan, and have gotten very positive student feedback on it.
Another related book you may want to consider is: Improv Wisdom: Don't Prepare, Just Show Up, by Patricia Ryan Madson. Madson offers a predigested and highly practical approach to Johnstonian improvisation, which she goes on to apply to everyday living. But start with the Johnstone, and read it very carefully - you will be richly repaid for the time and effort you invest.
tulla
Apr 1, 2010
Wow!
Wow! This book drew me into the world and possibilities of improvisation, of life in general. I'd been uninterested in improvisation, resistant to it, till I took a class. The teacher recommended this book. I found myself underlining, looking up references, reflecting. The book is full of practical information for would-be improvisers. In addition it challenges the reader to experience life and all the arts in new and more attentive ways.
