The popularity of television shows like “Who’s Line is it Anyway” and the growing number of improv-based comedy clubs has brought theatrical improvisation into the mainstream. What used to be a collection of party games and acting exercises has become a legitimate form of entertainment all its own. There’s even a sub-genre of interactive murder mysteries involving audience participation and continuous improvisation within a loosely defined framework or scenario. Why should an aspiring actor seek training in improvisational technique? First of all, there’s no substitute for scene study as the primary means of teaching actors how to understand the various components of a play and how to make them all work together. But improv can spark creativity and imagination, teach actors to listen while onstage, help them develop deeper, more interesting characters, and broaden the variety of choices at their disposal. Besides, improv is fun. As a director, I’ve used three types of audition techniques: cold readings from the script, having the actors present prepared monologues, and using improvisation to see how free and flexible the actors are. Watching the cast play together in improv reveals a lot about the likely dynamics of their interaction onstage and behind the scenes. Is a person shy and inhibited? Is another person hogging all the attention? Who is generous and willing to share the spotlight? Who knows how to move the improv along, and who is just going for cheap laughs? This kind of information is as good as gold to a director, and improv instantly reveals it. This is especially important for ensemble shows. I’ve also used improv to help actors develop character relationships. If two actors are playing characters with a history, I might have them improvise a scene from their “past.” Then, when they play the written scene, they’ll have a “memory” of what came before. If there is a significant passage of time between scenes or acts, I use improv to fill in the missing months or years. As a playwright, I’ve used actors trained in improv to help develop scripts. My play “Dr. Goose” (published by Encore Performance Publishing) was almost entirely developed in a workshop setting, where I presented characters and a situation, and the actors brought them to life. I recorded and transcribed the sessions, then edited and shaped it all into a polished script. It was a wonderful experience of collaboration, and the actors enjoyed having input into the writing process. There are even times when improvisation is appropriate during a performance. If something unexpected happens, whether it’s a missed entrance, a dropped line or a wardrobe malfunction, an actor trained in improv, who can think on his or her feet, can get the audience through the disruption without the whole thing falling apart. And if the show requires audience participation, as many children’s shows do, the actors will have to be ready for all kinds of “unscripted moments” and responses. Pioneer Drama Services offers a number of resources for helping actors learn improvisational technique. | 
