Impro: Improvisation and the Theatre By Keith Johnstone. 9780413

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Title
Impro: Improvisation and the Theatre
ISBN
9780413464309
Kategorie

Über dieses Produkt

Product Identifiers

Publisher
Bloomsbury Publishing
ISBN-10
041346430X
ISBN-13
9780413464309
eBay Product ID (ePID)
12038282268

Product Key Features

Publication Year
1988
Book Title
Impro: Improvisation and the Theatre : Improvisation and the Theatre
Number of Pages
208 Pages
Language
English
Author
Keith Johnstone
Format
Trade Paperback

Dimensions

Item Height
0.5 in
Item Weight
16.3 Oz
Item Length
8.3 in
Item Width
5.1 in

Additional Product Features

Dewey Edition
19
Dewey Decimal
792/.028
Synopsis
"A hundred practical techniques for encouraging spontaneity and originality by catching the subconscious unawares...;here is an inexhaustible supply of zany suggestions for unfreezing the petrified imagination" (Daily Telegraph), '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 lodestone of the Royal Court Theatre in the late 1950s. As head of the script department, Johnstone played a crucial part in the development of the ''writers'' theatre.'' ''(Irving Wardle) r/>, '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 lodestone of the Royal Court Theatre in the late 1950s. As head of the script department, Johnstone played a crucial part in the development of the ''writers'' theatre...'' ''(Irving Wardle) r/>, 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
LC Classification Number
PN2071.I5

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