Improvisation Startersby Philip Bernardi
Most beginning actors assume that rehearsing a play or scene involves taking home the script, memorizing lines, and rehearsing scenes over and over until everythingtiming, movement, facial expressionis perfect. But that's only partially correct. One missing element in that approach is improvisation, an invaluable technique that can be used in acting
Most beginning actors assume that rehearsing a play or scene involves taking home the script, memorizing lines, and rehearsing scenes over and over until everythingtiming, movement, facial expressionis perfect. But that's only partially correct. One missing element in that approach is improvisation, an invaluable technique that can be used in acting classes and in rehearsals for school, amateur and professional productions.
Most teachers and directors realize that value of improvisation as a regular part of their classes or rehearsals, but many find it difficult to come up with fresh ideas on a daily basis. The nine hundred improvisation ideas in this book should provide enough material to last for years.
What the book includes can be applied to many theater situations. For example, there are many improvisation starters for character conflictsteen/parent, peer relationships, love relationships, co-workers, doctor/patient, brother/sister, and more; solo improvisations; physical positions (for one or two players); lines of dialogue; and reactions to environment. The author also has included a section suggesting a variety of improvisations for the production of Romeo and Juliet.
- F+W Media
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- 5.96(w) x 9.04(h) x 0.48(d)
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I was a horrible improv actor, and after reading this book i soon shot to the top of my improv class! Philip Bernardi is a complete genious!!!!!!
Philip Bernardi has written one great book. This is truly a great one for Improv-lovers!!
In my twenty-one years as a teacher of theater, I have found few books as valuable as this one. The book provides hundreds of interesting and challenging improvisation situations which have functioned to tap the most creative impulses my students have to offer. The situations have inspired my student actors to explore complexities of character conflict and motivational objectives that they don't often realize exist. I also found the chapter on using improvisation in play direction very worthwhile. I now use the author's suggestions during rehearsals for every play I direct, and my actors benefit greatly. No collection of books on acting, directing, or teaching theater is complete without this one. I give it my highest recommendation.