Improvisation and the Theatre - Practical Guide to Spontaneity

Our review of Impro: Improvisation and the Theatre finds it essential for actors, directors, and teachers seeking practical methods to build spontaneity and storycraft on stage. Keith Johnstone presents a clear lineage from his Royal Court Theatre work to classroom practice, so the single biggest reason to buy is the book's focused, usable training material that evolved from real rehearsal rooms and a company of performers. This review highlights how the book balances exercises and theatrical theory to help readers develop improvisational skills rather than academic abstraction.

Key Features

• Historical context: Johnstone traces the exercises back to his time at the Royal Court Theatre, grounding the methods in professional theatre practice.
• Practical exercises: The book presents drills and activities that foster spontaneity and narrative building for performers and teachers to use immediately.
• Structured approach: Divided into four sections, the sequence guides a group from status work toward narrative skills and then masks and trance exercises.
• Teaching focus: Material evolved from running a Writers' Group and an actors' studio, offering techniques suitable for classroom and rehearsal environments.
• Insight into human behavior: Observations on creativity and interaction help performers understand why exercises work, not just how to do them.

Who It's For

The book is best for actors, theatre teachers, and workshop leaders who want a practical manual for training spontaneity, status relationships, and storytelling in ensemble work. Its roots in the Royal Court and Theatre Machine give it particular value for professionals and educators seeking tested exercises rather than purely theoretical texts.

Those looking for a heavily illustrated or academic textbook on performance theory may want to complement this with other references, since Impro focuses on exercises, commentary, and demonstrations rather than exhaustive scholarly analysis.

Pros & Cons

Pros

• Clear, usable exercises derived from actual rehearsal and teaching experience.
• Well organised into sections that a teacher or group can follow step by step.
• Valuable insights into creativity and human interaction that inform practice.

Cons

• The book is more practical than scholarly, so readers seeking deep academic theory may find it limited.

Specifications

Title	Impro: Improvisation and the Theatre
Author	Keith Johnstone
Structure	Four sections: Status; Spontaneity; Narrative Skills; Masks and Trance
Origins	Developed from Royal Court Theatre work and an actors' studio
Intended use	Training exercises for actors, teachers, and workshops
Key themes	Spontaneity, status, narrative development, masks

Our Verdict

Impro is a practical, well organised resource for anyone teaching or practicing improvisation and ensemble work; its exercises and theatre-rooted insights make it good value for performers who want usable methods to build spontaneity and narrative skills.

Frequently Asked Questions

Does this book include exercises I can use in class?
Yes, it is built around practical drills and demonstrations developed in studios and workshops that teachers can apply directly.

Is this a theoretical textbook?
No, the emphasis is on practical technique and demonstrations rather than academic theory.

Who developed these methods?
Keith Johnstone evolved the material during his work at the Royal Court Theatre, actors' studio sessions, and with a company called The Theatre Machine.