Improvisation in

Different Artforms
Learning Outcomes
1. define improvisation;
2. utilize the body as the basic tool in expression and
communication;
3. strengthen one’s initiative and artistic sensibilities;
4. develop multifarious skills in presenting play creatively and
scientifically and
5. conduct research of any environmental problems and issues a
core ideas and bases of theatrical presentation.
Improvisation
- consists of creating a piece of performance art and performing it in
front of
a crowd spontaneously on the stop.
- (also known as improv, impro or impromptu) has been component
of
performance since the beginnings of Ancient Greek theatre with the
improvisations be the leaders of the dithyrambs ( Brockett, 13 in
Scott,
2014). Possibly, improvisation found its way into earlier ritual dramas
as in
the case of Ancient Egypt, where sacred texts were incorporated into
such
performances while still relying on myths that “were quite flexible
Improvisation Techniques
- Akin to those of stage play and any theatrical
presentations,
improvisation is categorized into music, dance,
theater and problem
solving.
1. Improvised Music
- Music in theater can be voice, music or sound effects. In most
cases, sound in theater operates as an auxiliary that heightens the
effect of
emphasizes this message of the story as John A. Leonard points out
in his
book Theatre Sound (Leonard, 2001)

2. Improvised Dance
- It is the process of spontaneously creating a movement
Development of movement material is facilitated through a variety of
creative explorations including body mapping through levels, shape
and
3. Improvised Design
- It has something to do with the visual arts used as background
of the entire milieu of the presentation: lighting, backdrop, props and
costumes.

4. Improvised Theater/Drama
- It involves the spot of role-playing and exchanging dialog in
which most of all of what is performed is unplanned or unscripted:
created
spontaneously by the performers.
5. Improvised Problem Solving
This challenges a performer to provide on-the-spot dialog and
conversation as the situation and interaction gap arise leaving it a
silent
lull. This might be the failure of one performer to do the task on
stage
and you find a way to cover it up before the audience.
 Types of Improvisational Theater

• Comedy
• Non-Comedy
• Experimental
• Dramatic
• Narrative-Based
Contact Body Improvisation
 5 Rhythms of Contact Body
Improvisation
1. Flowing
We physically practice the art of being fluid in our bodies. It
is the impulse to follow the flow of one's energy, to be true to
oneself, listen and attend to one's needs, be receptive to one's inner and
outer world.
2. Staccato
We physically practice the power of masculine energy. It
is percussive and strong and promotes connection with the rest of the
world, Staccato is the gateway to the heart. It shows us how to step
out into the world connected to our feet and feelings. It is the part of
us that stands up for what we care about and who/what we love.
3. Chaos
We physically practice releasing our bodies. We let go of the
head, spine, hips, feet and move faster than we can think. Chaos breaks
us free from our illusions. It takes us on a journey from 'I can't' to ']
will'.
4. Lyrical
We practice how to break out of destructive patterns and
surrender to the depths of the fluid, creative repetitions of our soulful
selves. Lyrical is expansive and connects us to our humanity, timeless
rhythms, repetitions, patterns and cycles.
5. Stillness
Being still and doing nothing are different. Stillness
moves, both within and all around us.
 MEDICINE MANDALA
Gabrielle Ruth & Rhythm Map
Such medicine mandala is a series of maps that explores the terrain of the
inner und outer worlds of individuals, their relationships to others and the space
around them. The maps offer a soul journey by exploring embodiment, emotions,
the life cycle, the psyche and the archetypes. The rhythms offer understanding of
people's innate powers - being, Joving, knowing, seeing and healing (Map of the
Rhythm, 2018).
Sound Improvisation
Musical/Sound Improvisation (also known as musical

extemporization) is the creative activity of immediate ("in the

moment") musical composition, which combines performance with

communication of emotions and instrumental technique as well as

spontaneous response to other musicians.

 11 Tips of Sound Improvisation
(Michael Gallant 2012)
1. Believe that you can improvise and you have the ability to
make music in your own creative way.

2. Play along with records.

3. Mess with the melody to come up with your own.

4. Mess with the rhythm to emphasize uniqueness and

distinction.

5. Learn Music Theory.

6. Try reacting and responding what's around you.

8. Don't judge yourself in the moment.

9. Review after the fact and make self-evaluation.

10. Say something which you think contributing.

11. Keep learning.

Theater Improvisation
Improvisational theater, or improv, consists of a comedic,
poignant, or dramatic stage performance, usually with a
wide cast of actors and actresses. First started its
influence during the 16th, 17th and 186 centuries in Italy.
 Five Distinctive Approaches to
Improvisation By: Karen Erickson

1. Basic Performance Improvisation

This type of improvisation is used to introduce
improvisation to students, of to create comedy
sketches which will be performed for a formal or
informal audience.
2. Devised Theater
This type of improvisation is used to create
langer works of original theater. This work can be
used for classroom sharing or can grow into
3. Applied Theater

This type of improvisation is not focused on

entertainment, but rather facilitates the exploration
of an idea, theme, conflict, or question by a group of
people.

4. Drama in the Classroom (Creative Drama)

Whenever students are acting a story without a

script, or making up their own stories based on
history, science, or a favorite book, they are
5. Improvisation as Scripted Theater Rehearsal

This type of improvisation is used by stage directors

to illuminate a character's backstory of the hidden
subtext in a script. This improvisational technique
can help students dig deeper into their character
traits and motivations, understand the impact of
setting and environment, uncover the meaning of
plot points, or build relationships among characters
in a play.
Solving Improvisational Challenges

A. Identifying the Pivotal Word

Formulating your own language unprepared is nerve wracking.

It is not only about what to say but more on how to say it to be
understood. This is the common problem on stage, If an actor
is saying a sentence or phrase and there's no commitment in
how he or she is saying it, then chances are they're not sure
what that text means or why it is being said.

(e.g.By the way, well well well ..., as a matter of fact, wait wait
wait .... hmmwwwww. anyway, I think .... I awe sorry, Rather !!
mean .,)
B. Recovering Language Sensibility

The use of language requires one to be sensitive

enough when speaking particularly in large

diverse audiences. Some language may give

offenses to cultural minorities, gender, religion,

physical challenges. Therefore, one actor or

presenter in play commits mistakes that offends

How to fill in the gap with these intentionally or
unintentionally thrown troublesome languages?

1. Change the topic and shift to another one provided that the flow of
the story continues its main point.

2. Use euphemism. This refers to mild expressions that replace the

harsh ones: e.g. love making instead of sex, pregnancy termination
instead of abortion, less-fortunate instead of poor, etc.

3. Apologize right away but in creative way than in formal one.

4. Make the offensive statements to positive one. For example: You

mention about same-sex marriage that is disgusting. You may turn it
to another statement by saying: "Disgusting ... disgusting if there is no
real love between the two of them but same-sex marriage with love is
C. Controlling the Trouble Step

It has something to do with body contact or in dance

movement in group synchrony (dance in unison), group
randomly (dance in unison but of different steps), partner
(dance in pair), or individual (dance alone) Trouble step
says more on dancing on the floor with others, and you
find yourself hemmed in.
How to fill in the gap with this challenge?

1. Do not laugh because of mistakes. However, if you

can't dare to laugh, make certain that you laugh for
a purpose in creative fashion that relates to the story
by animating your facial expressions.

2. Find stronger movement that brings your partner

to follow you in synchronized movements.

3. Regain composure and graces with your moves.

D. Going to the Extreme

Is a scene totally frenetic, being played low key, very

intensely angry, broad slapstick, or being played in some
other type of definable and describable manner? If that's
the case, find a moment in the scene where you feel it is
becoming false, stale, or ineffective and have the actors
go to the opposite end of the spectrum utilizing a new
emotion, intensity, tempo, rhythm, pace, etc.
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