Academic literature on the topic 'Improvisation (acting)'
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Journal articles on the topic "Improvisation (acting)"
Yucha, C. B. "Understanding physiology by acting out concepts." Advances in Physiology Education 269, no. 6 (December 1995): S50. http://dx.doi.org/10.1152/advances.1995.269.6.s50.
Full textIrianto, Ikhsan Satria, Indra Gunawan, Lusi Handayani, and Tofan Gustyawan. "Abdul Muluk Improvisation Techniques in the Warung Kajang Lako Program on TVRI Jambi." Mudra Jurnal Seni Budaya 39, no. 2 (April 29, 2024): 144–57. http://dx.doi.org/10.31091/mudra.v39i2.2632.
Full textKozodaev, Pavel I., and Ekaterina K. Titova. "Pedagogical factors of formation of improvisational acting skills in amateur theatre." Psychological-Pedagogical Journal GAUDEAMUS, no. 47 (2021): 21–30. http://dx.doi.org/10.20310/1810-231x-2021-20-1(47)-21-30.
Full textVilc, Sonja. "Acting together: The art of collective improvisation in theatre and politics." Filozofija i drustvo 28, no. 1 (2017): 32–40. http://dx.doi.org/10.2298/fid1701032v.
Full textRudland, Oliver. "Co-creating a Brass Band Dance Number for a Large-scale Community Opera Project with the Aid of Improvisatory Techniques: Co-creativity within an Operatic Context." Context, no. 48 (January 31, 2023): 69–81. http://dx.doi.org/10.46580/cx34966.
Full textKovalenko, Yu B. "Composition and improvisation in the aspect of the music infl uence on the expressive structure of the fi lm." Aspects of Historical Musicology 15, no. 15 (September 15, 2019): 60–79. http://dx.doi.org/10.34064/khnum2-15.03.
Full textKeller, Betty, and David E. Kemp. "Improvisation in Creative Drama." Canadian Theatre Review 59 (June 1989): 88. http://dx.doi.org/10.3138/ctr.59.019.
Full textArkadin-Shkolnik, Oleksandr. "Improvisational self-feeling in the upbringing of actor’s and stage directing mastery." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 50, no. 50 (October 3, 2018): 121–35. http://dx.doi.org/10.34064/khnum1-50.09.
Full textKeogh, Kathleen, and Liz Sonenberg. "Designing Multi-Agent System Organisations for Flexible Runtime Behaviour." Applied Sciences 10, no. 15 (August 2, 2020): 5335. http://dx.doi.org/10.3390/app10155335.
Full textHagendoorn, Ivar. "Cognitive Dance Improvisation: How Study of the Motor System Can Inspire Dance (and Vice Versa)." Leonardo 36, no. 3 (June 2003): 221–28. http://dx.doi.org/10.1162/002409403321921442.
Full textDissertations / Theses on the topic "Improvisation (acting)"
Frey, Connie Jean. "Improvisation, ? motions for living texts." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp02/NQ32709.pdf.
Full textCalburn, Caroline. "A critical documentation of Mavis Taylor's teaching of improvisation." Master's thesis, University of Cape Town, 1994. http://hdl.handle.net/11427/13849.
Full textThis study documents Mavis Taylor's teaching of Improvisation at the University of Cape Town and provides a critical analysis of the improvisational methods she uses in the training of actors. It places her teaching within the wider field of improvisation understanding the importance of knowledge of 'self for the craft of acting. There is discussion around the role of the imagination and spontaneity in actor-training, and debate is raised regarding the concepts and practice of sensory and emotional memory training. The significance of teaching structure and form as a method for students to manipulate the medium of improvisation is argued, proposing that the creation of alternative meanings and 'realities' is the essence of acting.
Skordis, Ranza (Ranza Nora-J). "Improvisation and playmaking : a look at some improvisation techniques and their applications during the directing process." Thesis, Stellenbosch : Stellenbosch University, 2003. http://hdl.handle.net/10019.1/53461.
Full textENGLISH ABSTRACT: In this thesis the author investigates aspects of the use of improvisation and improvisational methods, techniques and exercises by modem practitioners. The study commences with a look at the beginnings of modem improvisation in the nineteenth century, when improvisation was used only tentatively by performers as a preproduction aid to the exploration of character and personal response. In more recent times the process has become one of collaboration and research; as a means of selfdiscovery, as a means of text creation and as a vehicle for finding a 'voice' for the silent majority within a particular community or society. This study also traces the use of improvisation in South Africa where the improvisational process has been incorporated into democratic and collaborative forms like workshop theatre and workers' theatre, and serves as a useful method of political investigation and conscientisation. The study will also briefly touch what on is now termed 'theatre-fordevelopment', since its practitioners make extensive use of improvisational techniques, and its techniques are allied to those of workers' and workshop theatre. The final chapter provides an application of the theories discussed in the bulk of the study in a brief discussion of the author's own attempts at utilising improvisation as a directing and scriptwriting tool in a student production.
AFRIKAANSE OPSOMMING: In hierdie tesis ondersoek die outeur die gebruik van improvisasie en die verskillende metodes, tegnieke en praktiese toepassings daarvan deur moderne praktisyns. Die tesis begin deur te kyk na die oorsprong van moderne improvisasie in die 1ge eeu toe imporvisasie slegs tentatief deur akteurs gebruik is om vóór die produksiefase as 'n hulpmiddel te dien om 'n karakter en persoonlike reaksies te ondersoek. Die proses het onlangs tot een van samewerking en navorsing verander; as 'n methode tot selfontdekking, 'n hulpmiddel by teks-skepping en as 'n medium om 'n "stem te vind" vir die 'stille meerderheid' binne 'n gegewe gemeenskap of samelewing. Hierdie studie ondersoek ook die gebruik van improvisasie in Suid Afrika waar die improvisasieproses in demokratiese en spanwerk vorme soos bv. werkswinkelteater en werkersteater geïnkorporeer is, waar hulle as uiters nuttige vorme van politieke ondersoek en -bewusmaking dien. Die studie raak ook vlugtig aan 'teater-virontwikkeling', aangesien die praktisyns daarvan grootliks gebruik maak van improvisasie-tegnieke en die tegnieke wat hulle gebruik redelike ooreenstem met dié van werkswinkelteater en werkersteater. Die finale hoofstuk verskaf 'n toepassing van die verskeie teorieë wat in die hoofgedeelte van die tesis bespreek word, in 'n kort bespreking van die outeur se eie pogings om improvisasie as 'n regie- en teksskeppingsinstrument in 'n studenteproduksie, te gebruik.
Fortier, Brad. "Long Form Improvisation - Creating Spontaneous Communities Through Collaborative Comedic Performance." PDXScholar, 2008. https://pdxscholar.library.pdx.edu/open_access_etds/32.
Full textGarrett, Yanis. "Offer, Accept, Block, Yield: the poetics of open scene additive improvisation." Faculty of Education and Social Work, 2006. http://hdl.handle.net/2123/1901.
Full textThis single case study examines the way that Johnstone’s (1981) Impro ‘Poetics’ are being used in the contemporary practice of Open Scene Additive Improvisation (OSAI). Johnstone’s Poetics have become a ubiquitous part of contemporary drama improvisation parlance, yet they have never themselves been the subject of any academic examination. This study attempts to fill that void by looking at their use in Open Scene Impro, the purest form of theatre improvisation (since OSAI relies on no structures other than the audience suggestion around which to improvise a ‘Scene’.) To do this, the research analysed seven OSAI Scenes performed by 3 undergraduate student improvisers at the University of Sydney in July 2003, and looked at the ways in which the actions that Johnstone’s Poetics describe are actually being used. Looking closely at Scene segments, the study identifies a number of features: the ways that Offers are used to initiate, re-initiate, confirm or redirect meaning across five identified fields; the ways that Accepts temper these meanings; the productive use of Blocking in a Scene; and many other functions. It was also found that in-Scene negotiations about definition of situation became a subtextually enmeshed part of the Scene’s meaning (often in Phases of improvisers’ conflicting Endowments), while the predictive and framing control of narrative-indexing Offers ensured that character roles became defined early on in all Scenes. Overall, the study’s analysis dissects each of the Poetics to show that improvisers use them for a number of major purposes crucial for the reality, forward-movement and coherence of a Scene to obtain. The study concludes by elucidating how the nine main Poetics (Offer, Endow, Justify, Advance, Extend, Reincorporate, Accept, Block and Yield) serve these purposes. These purposes are then abstracted into the TOE Model, which in turn forms the basis of a proposed dynamic and holistic model for understanding OSAI at each moment of its (re-)creation. The ultimate aim, beyond the reach of the present study, is to be able to understand an Open Scene’s every moment, and each moment’s reference historically backwards, and, to some degree, predictively forwards in time. To this end, the fundamental dynamic of contextualised giving and receiving in OSAI is morphed into a Taoist energetic model, a “Tao of Impro”, along with the notion, derived from Mandelbrot, of ‘cybernetic semantic iteration’, by which information seems to get processed in Open Scenes. The educational implications of these models are then sketched, and future directions for research in OSAI pointed to.
Henry, Meghann Elise. "Devising dramaturgy an investigation into the art of dramatic composition when devising theatre for young audiences /." Orlando, Fla. : University of Central Florida, 2008. http://purl.fcla.edu/fcla/etd/CFE0002157.
Full textMaples, Carol J. "Giving voice the use of interactive theatre as professional development in higher education to reduce alienation of marginalized groups /." Diss., Columbia, Mo. : University of Missouri-Columbia, 2008. http://hdl.handle.net/10355/5506.
Full textThe entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on June 9, 2009) Vita. Includes bibliographical references.
Foley, Damian T. "Fleshing out the fictive soul: A screen actor’s personalisation of characterisation through collaborative subtextual improvisation." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2022. https://ro.ecu.edu.au/theses/2600.
Full textCharton, Hervé. "L'improvisation théâtrale "libre" : genèse, histoire et pratique d'un concept rare. Du Théâtre-Création (Lausanne, 1968-1975) à aujourd'hui. Étude appuyée par un laboratoire de recherche-action." Thesis, Paris 3, 2013. http://www.theses.fr/2013PA030158.
Full textWe want to think of free-improvisation in theater in a continuity with traditional theatre. Theatrical improvisation has indeed grown over the last forty years as a separate field, with its ownrules and history. By dedicating ourselves to free-improvisation, we concentrate on an improvisation that does not involve a preconceived overall structure, or formal or stylistic rules, which leaves improvisers with the responsibility to decide them on the spot. Whereas common in music and dance, free-improvisation is rare or occasional in theatre. It is approached through the notion of actor-creator, as it was defined by Alain Knapp and the Théâtre-Création. This group (Lausanne,1968-1975 ) was one of the first in Europe to perform improvised plays on themes proposed by the audience. Drawing a lot from Brecht, Alain Knapp’s actor-creator has a creative autonomy and pay great detail to the way his artistic acts are inscribed in a given background and history.This distinguishes him from contemporary improvisers. Back to the present, we renew the notion of actor-creator through performativity. A set of experiments and a laboratory focused on Mary Overlie’s Viewpoints allow us to develop a practical approach to improvisation as a study of a context through a repertoire. Finally, having explained which idea of liberty is at work in free-improvisationand how to recognize it, we describe a continuum that connects it to set performances
Yamamoto, Ruth H. "Serious Fun: The Perceived Influences of Improvisational Acting on Community College Students." ScholarWorks, 2015. https://scholarworks.waldenu.edu/dissertations/1453.
Full textBooks on the topic "Improvisation (acting)"
Frost, Anthony. Improvisation in drama. New York: St. Martin's Press, 1990.
Find full textFrost, Anthony. Improvisation in drama. Basingstoke, Hampshire: Macmillan, 1990.
Find full textHenderson, Cynthia. The actor's landscape: A little book of exercises and other explorations for the actor's work. 2nd ed. Nevada City, Calif: Gateways Books & Tapes, 2009.
Find full textPaul, Clemens, ed. The actor's book of improvisation. New York, N.Y., U.S.A: Penguin Books, 1991.
Find full textNapier, Mick. Behind the scenes: Improvising long form. Englewood, CO: Meriwether Publishing, 2015.
Find full textJohnstone, Keith. Impro: Improvisation and the theatre. London: Methuen, 1989.
Find full textSchotz, Amiel. Theatre games and beyond: A creative approach for performers. Colorado Springs, Colo: Meriwether Pub., 1998.
Find full textRebecca, Stockley, and Belt Lynda, eds. Acting through improv: Improv through theatresports : a curriculum to improve acting skills. Seattle, Wash: Thespis Productions, 1995.
Find full textTarlington, Carole. Building plays: Simple playbuilding techniques at work. Portsmouth, NH: Heinemann, 1995.
Find full text1962-, Bartula Malgorzata, and Schroer Stefan 1970-, eds. On improvisation: Nine conversations with Roberto Ciulli. Bruxelles: P.I.E-Peter Lang, 2003.
Find full textBook chapters on the topic "Improvisation (acting)"
Lutterbie, John. "Improvisation." In Toward a General Theory of Acting, 161–79. New York: Palgrave Macmillan US, 2011. http://dx.doi.org/10.1057/9780230119468_6.
Full textKrasner, David. "Improvisation and Jazz Acting." In An Actor’s Craft, 132–48. London: Macmillan Education UK, 2012. http://dx.doi.org/10.1007/978-0-230-35772-3_8.
Full textBarton-Farcas, Stephanie. "The Callback. The Cold Read. The Screen Test. Improvisation." In Acting & Auditioning for the 21st Century, 99–104. New York, NY : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781351131551-11.
Full textSaint-Germier, Pierre, and Clément Canonne. "Improvisation, Actions, and Processes." In The Routledge Handbook of Philosophy and Improvisation in the Arts, 114–28. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003179443-10.
Full textBeisbart, Claus. "Improvisation and Action Theory." In The Routledge Handbook of Philosophy and Improvisation in the Arts, 100–113. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003179443-9.
Full textBagnoli, Carla. "The Springs of Action in Butō Improvisation." In The Routledge Handbook of Philosophy and Improvisation in the Arts, 488–501. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003179443-39.
Full textFoster, Sandra, Paul J. Lloyd, and Sara Kamin. "Mental preparation, memorization, and improvisation." In Performance psychology in action: A casebook for working with athletes, performing artists, business leaders, and professionals in high-risk occupations., 77–97. Washington: American Psychological Association, 2009. http://dx.doi.org/10.1037/11876-004.
Full textCorcoran, Sean. "Improvisation, Community Music, and Cultural Sustainability: An Action Research Study." In Visions of Sustainability for Arts Education, 23–30. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-16-6174-7_4.
Full textKlesen, Martin, Janek Szatkowski, and Niels Lehmann. "A Dramatised Actant Model for Interactive Improvisational Plays." In Intelligent Virtual Agents, 181–94. Berlin, Heidelberg: Springer Berlin Heidelberg, 2001. http://dx.doi.org/10.1007/3-540-44812-8_15.
Full textMills, Roger. "Intercultural Tele-Improvisatory Performance in Action." In Tele-Improvisation: Intercultural Interaction in the Online Global Music Jam Session, 83–117. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-319-71039-6_4.
Full textConference papers on the topic "Improvisation (acting)"
Medler, Ben, and Brian Magerko. "The implications of improvisational acting and role-playing on design methodologies." In the 28th international conference. New York, New York, USA: ACM Press, 2010. http://dx.doi.org/10.1145/1753326.1753398.
Full textLim, Gi Hyun, and Il Hong Suh. "Improvisational goal-oriented action recommendation under incomplete knowledge base." In 2012 IEEE International Conference on Robotics and Automation (ICRA). IEEE, 2012. http://dx.doi.org/10.1109/icra.2012.6224755.
Full textVarbanov, Ilia, and Georgi Brestnichki. "STUDY OF COORDINATION ABILITIES AND THEIR RELATIONSHIP TO ANTICIPATION IN ATHLETES." In INTERNATIONAL SCIENTIFIC CONGRESS “APPLIED SPORTS SCIENCES”. Scientific Publishing House NSA Press, 2022. http://dx.doi.org/10.37393/icass2022/04.
Full textSoares, Klisman Mateus de Andrade, Maria Gabriela de Almeida Pinto, Tauane Barbosa Dos Santos, Débora De Gois Santos, Denise Conceição De Gois Santos Michelan, and Paulo Ricardo Ramos Santos. "Aplicação do kit completo para minimizar a interrupção do fluxo de trabalho: making-do e trabalho inacabado." In XI SIMPÓSIO BRASILEIRO DE GESTÃO E ECONOMIA DA CONSTRUÇÃO. Antac, 2021. http://dx.doi.org/10.46421/sibragec.v11i00.11.
Full textLim, Gi Hyun, Il Hong Suh, and Luis Seabra Lopes. "The Representation of Weighted Action-Coupled Semantic Network and Spreading Activation Model for Improvisational Action." In 2013 IEEE International Conference on Systems, Man and Cybernetics (SMC 2013). IEEE, 2013. http://dx.doi.org/10.1109/smc.2013.692.
Full textPushkina, Valentina, Svetlana Razmahova, Dilbar Borisovets, Irina Gernet, and Tatyana Shirokova. "Use of Speech Exercises at Correction of Rigidity Level in Students." In The Public/Private in Modern Civilization, the 22nd Russian Scientific-Practical Conference (with international participation) (Yekaterinburg, April 16-17, 2020). Liberal Arts University – University for Humanities, Yekaterinburg, 2020. http://dx.doi.org/10.35853/ufh-public/private-2020-74.
Full textVyshpinska, Yaryna. "Formation of Creative Personality of Students Majoring in «Preschool Education» in the Process of Studying the Methods of Musical Education." In ATEE 2020 - Winter Conference. Teacher Education for Promoting Well-Being in School. LUMEN Publishing, 2021. http://dx.doi.org/10.18662/lumproc/atee2020/38.
Full textReports on the topic "Improvisation (acting)"
Schell, Laurie. Introduction to Case-making and Systems Change in Arts & Cultural Education. Creative Generation, February 2022. http://dx.doi.org/10.51163/creative-gen009.
Full textIlgenfritz, Pedro. Guide Me Without Touching My Hand: Reflections on the Dramaturgical Development of the Devised-theatre Show One by One. Unitec ePress, December 2016. http://dx.doi.org/10.34074/ocds.038.
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