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Improvisation is the process of devising a solution to a requirement by making-do, despite absence of resources that might be expected to produce a solution. In a technical context, this can mean adapting a device for some use other than that which it was designed for, or building a device from unusual components in an ad-hoc fashion. Improvisation in the context of performing arts is spontaneous performance without time for preparation.
Improvisation in engineering is to solve a problem with the tools and materials immediately at hand. Examples of such improvisation was the re-engineering of carbon dioxide scrubbers with the materials on hand during the Apollo 13 space mission, or the use of a knife in place of a screwdriver to turn a screw.
Engineering improvisations may be needed because of emergencies, embargo, obsolescence of a product and the loss of manufacturer support, or just a lack of funding appropriate for a better solution. Users of motor vehicles in parts of Africa develop improvised solutions where it is not feasible to obtain manufacturer-approved spare parts.
Improvisation can be thought of as an "on the spot" or "off the cuff" spontaneous moment of sudden inventiveness that can just come to mind, body and spirit as an inspiration. No preparation or training is needed. However, improvisation in any life or art form, can occur more often if it is practiced as a way of encouraging creative behavior. That practice includes learning to use one's intuition, as well as learning a technical understanding of the necessary skills and concerns within the domain in which one is improvising.
This can be when an individual or group is acting, dancing, singing, playing musical instruments, talking, creating artworks, problem solving, or reacting in the moment and in response to the stimulus of one's immediate environment and inner feelings. This can result in the invention of new thought patterns, new practices, new structures or symbols, and/or new ways to act.
Skills and techniques
The skills of improvisation can apply to many different abilities or forms of communication and expression across all artistic, scientific, physical, cognitive, academic, and non-academic disciplines. For example, improvisation can make a significant contribution in music, dance, cooking, presenting a speech, sales, personal or romantic relationships, sports, flower arranging, martial arts, psychotherapy, and much more.
Techniques of improvisation are widely used in training for performing arts or entertainment; for example, music, theatre and dance. To "extemporize" or "ad lib" is basically the same as improvising. Colloquial terms such as "let's play it by the ear", "take it as it comes", and "make it up as we go along" are all used to describe "improvisation".
The simple act of speaking requires a good deal of improvisation because the mind is addressing its own thought and creating its unrehearsed delivery in words, sounds and gestures, forming unpredictable statements that feed back into the thought process (the performer as listener), creating an enriched process that is not unlike instantaneous composition [with a given set or repertoire of elements].
Where the improvisation is intended to solve a problem on a temporary basis, the "proper" solution being unavailable at the time, it may be known as a stop-gap. This applies to the field of engineering. Another improvisational, group problem-solving technique being used in organizations of all kinds is brainstorming, in which any and all ideas that a group member may have are permitted and encouraged to be expressed, regardless of actual practicality. As in all improvisation, the process of brainstorming opens up the minds of the people involved to new, unexpected and possibly useful ideas. The colloquial term for this is "thinking out-side the box."
Improvisation is usually defined as the composition of music while simultaneously singing or playing an instrument. In other words, the art of improvisation can be understood as composing music "on the fly". Improvisation can take place as a solo performance, or interdependently in ensemble with other players. When done well, it often elicits gratifying emotional responses from the audience. One notable improvisational pianist is Franz Liszt. The origins of Liszt's improvisation in an earlier tradition of playing variations on a theme were mastered and epitomized by Johann Sebastian Bach, Wolfgang Amadeus Mozart, and Ludwig van Beethoven.
Notable improvisational musicians from the modern era include: Keith Jarrett, an improvisational jazz pianist and multi-instrumentalist who has performed many completely improvised concerts all over the world; W.A. Mathieu aka William Allaudin Mathieu, was the musical director for the Second City in Chicago, the first on-going improvisational theater troupe in the United States, and later was musical director for another improv theater, the Committee (improv group), an off-shoot of the Second City in San Francisco. Derek Bailey, an improvisational guitarist, Stephen Nachmanovitch, an improvisational violinist, and Eugene Friesen, an improvisational cellist.
Improvised freestyle rap is commonly practiced as a part of rappers' creative processes, as a "finished product" for release on recordings (when the improvisation is judged good enough), as a spiritual event, as a means of verbal combat in battle rap, and, simply, for fun. It often incorporates insults similar to those in the African-American game the dozens, and complex rhythmic and sometimes melodic forms comparable to those heard in jazz improvisation.
A few pianists[who?] have given modern recitals of improvisation in the baroque style. There have also been a few other exceptional improvised solo piano concerts[who?] in Stuttgart, Southern Germany in the 1990s.
In the realm of silent film music, there are also a small number of musicians whose work has been recognized as exceptional by critics, scholars and audiences alike; these include Neil Brand and John Sweeney, among others who are all performers at "Le Giornate del Cinema Muto", the annual conference on silent film in Pordenone, Italy. Their performances must match the style and pacing of those films which they accompany and the knowledge of a wide range of musical styles is required, as well as the stamina to play for films which occasionally run more than three hours in length, without a pause.
Improvisational comedy is a theater art performed throughout the world and has had on-again, off-again status throughout history.
Some of the more famous improv theaters and training centers in the world include: i.O. (formerly ImprovOlympic) in Chicago and Los Angeles, The Second City in Chicago and Toronto, The Players Workshop in Chicago, National Comedy Theatre in San Diego, New York and Phoenix, Upright Citizens Brigade, The Peoples Improv Theater, the Groundlings, BATS Improv (Bay Area Theatre Sports) in San Francisco, Wing-It Productions in Seattle, Philly Improv Theater in Philadelphia, Brave New Workshop in Minneapolis, ComedySportz in Milwaukee, and Theatresports in Calgary, Canada.
There are also many well known university improv teams, including Theatre Strike Force at the University of Florida, Gigglepants at the University of Texas at Austin, and Erasable Inc. at the University of Maryland. Improvisation found a home at universities. The origins of the Second City was the Compass Players, an off-shoot of theater programs at the University of Chicago in the 50's. Later, once improv had been established as an art form, improv groups sprung up on college campuses, starting in the 80's where crowds were easy to find and teams could perform frequently. Now an improv group is a common staple of college extra curricular activities.
Notable pioneers in the field of improvisation, comedic or otherwise, include Viola Spolin, Paul Sills, David Shepherd, Del Close, Josephine Forsberg, Gary Austin, Martin de Maat, and Keith Johnstone. Notable performers include: Paul Merton, Stephen Colbert, Steve Carell, Bill Murray, Harold Ramis, Robert Townsend, Colin Mochrie, Ryan Stiles, Ross Noble, Wayne Brady, Jonathan Winters, TJ Jagodowski, and David Pasquesi.
Dance improvisation as a choreographic tool: Improvisation is used as a choreographic tool in dance composition. Experimenting with the concepts of shape, space, time, and energy while moving without inhibition or cognitive thinking can create unique and innovative movement designs, spatial configuration, dynamics, and unpredictable rhythms. Improvisation without inhibition allows the choreographer to connect to their deepest creative self, which in turn clears the way for pure invention.
Contact improvisation: a form developed in 1973, that is now practiced around the world. Contact improvisation originated from the movement studies of Steve Paxton in the 1970s and developed through the continued exploration of the Judson Dance Theater. It is a dance form based on weight sharing, partnering, playing with weight, exploring negative space and unpredictable outcomes.
Traditional epic poetry included improvisation moments where the reciter flattered the audience (especially the authorities) or to substitute a forgotten passage. There are also societies that value improvised poetry as a genre, often as a debate or "poetic joust", where improvisators compete for public approval. Some of these impromptu poems are later recorded in paper or transmitted orally.
Some of these forms also include humour. But Michel Ducom established himself within Bordeaux poetical improvisation movement in the 1990s but has since composed and performed with a wide range of poets working in diverse poetical areas (Bernat Manciet, Serge Pey, Méryl Marchetti…). The emergence of poetical improvisation, like previous developments in French poetry, was largely tied to the free jazz experience.
Sculpture often relies on the enlargement of a small model or maquette to create the final work in a chosen material. Where the material is plastic such as clay, a working structure or armature often needs to be built to allow the pre-determined design to be realized. Alan Thornhill's method for working with clay abandons the maquette, seeing it as ultimately deadening to creativity. Without the restrictions of the armature, a clay matrix of elements allows that when recognisable forms start to emerge, they can be essentially disregarded by turning the work, allowing for infinite possibility and the chance for the unforeseen to emerge more powerfully at a later stage.
Moving from adding and taking away to purely reductive working, the architectural considerations of turning the work are eased considerably but continued removal of material through the rejection of forms deemed too obvious can mean one ends up with nothing. Former pupil Jon Edgar uses Thornhill's method as a creative extension to direct carving in stone and wood.
The director Mike Leigh uses lengthy improvisations developed over a period of weeks to build characters and story lines for his films. He starts with some sketch ideas of how he thinks things might develop but does not reveal all his intentions with the cast who discover their fate and act out their responses as their destinies are gradually revealed, including significant aspects of their lives which will not subsequently be shown onscreen. The final filming draws on dialogue and actions that have been recorded during the improvisation period.
The film company ACT 2 CAM uses improvisation to create the characters, contexts and plot for their films. Improvisation also forms a large part of the final filmed product.
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Improvisation was originally rarely used on dramatic television. A major exception was the situation comedy Mork and Mindy where star Robin Williams, famed for this kind of performing, was allotted specific sections in each episode where he was allowed to perform freely.
In the 1990s, a TV show called Whose Line Is It Anyway? popularized shortform comedic improvisation; the original version aired on British television, but it was later revived and popularized in the United States, with Drew Carey as its host. With improvisation becoming a more common aspect of television, there have been television shows which have garnered great success by utilizing partial improvisation to create longer-form programs with more dramatic flavor while some shows are completely improvised in terms of lines, including: The Office, Parks and Recreation, Curb Your Enthusiasm, Significant Others, The Loop, Sons & Daughters, 10 Items or Less, Dog Bites Man, Halfway Home, Reno 911!,The League, Free Ride, Campus Ladies, Lovespring International, Players, and After Lately.
In Canada, the Global Television soap opera Train 48, based on the Australian series Going Home, uses a form of structured improvisation, in which actors improvise dialog from written plot outlines. Australia's Thank God You're Here is a game show where celebrities are put into scenes they know nothing about and have to improvise.
Improvisational writing is an exercise that imposes limitations on a writer such as a time limit, word limit, a specific topic, or rules on what can be written. This forces the writer to work within stream of consciousness and write without judgment of the work they produce. This technique is used for a variety of reasons, such as to bypass writer's block, improve creativity, strengthen one's writing instinct and enhance one's flexibility in writing.
Some improvisational writing is collaborative, focusing on an almost dadaist form of collaborative fiction. This can take a variety of forms, from as basic as passing a notebook around a circle of writers with each writing a sentence, to coded environments that focus on collaborative novel-writing, like OtherSpace.
"Improvised shield" JTF-GTMO authorities report was used to attack guards on May 18, 2006.
Improvised weapons are often used by guerrillas, insurgents and criminals as conventional weapons may be unavailable. Such weapons vary in sophistication from simple sharpened sticks, to petrol bombs and homemade napalm, to IEDs and makeshift bomber aircraft. Weapons are also improvised by regular military organizations and formations as "stop-gap" measures when purpose-built equipment is either not on hand or is simply not yet available.
- The Speech Chain: The Physics and Biology of Spoken Language (paperback), Peter B. Denes and Elliot N. Pinson. 1966. Worth Publishers; Second Edition (February 15, 1993).
- Alan Thornhill on the tradition of pre-conceiving sculpture 1989 studio archive footage, YouTube
- Film: Spirit in Mass – Journey into Sculpture (2007)
- Harrigan, Pat (2002). First person: new media as story, performance, and game. MIT Press. p. 21. ISBN 978-0-262-23232-6.
- Platt, Wes (2002). OtherSpace: End of the World, Arcs IV-V. iUniverse. pp. ix–x. ISBN 978-0595230464.
- Abbot, John. 2009. Improvisation in Rehearsal. Nick Hern Books. ISBN 978-1-85459-523-2.
- Abbot, John. 2007. The Improvisation Book. Nick Hern Books. ISBN 978-1-85459-961-2.
- Harrigan, Pat. 2002. First Person: New Media as Story, Performance and Game. MIT Press. ISBN 978-0-262-23232-6.
- Johnston, Chris. 2006. The Improvisation Game: Discovering the Secrets of Spontaneous Performance. Nick Hern Books. ISBN 978-1-85459-668-0.
- Madson, Patricia Ryan. 2005. "Improv Wisdom: Don't Prepare, Just Show Up". Bell Tower Books. ISBN 1-4000-8188-2.
- Nachmanovitch, Stephen. 1990. Free Play: Improvisation in Life and Art. Penguin/Tarcher. ISBN 0-87477-578-7 (cloth); ISBN 0-87477-631-7 (pbk).end
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|Library resources about
- Improvisation at DMOZ
- Critical studies in improvisation
- "Improvising Synesthesia: Comprovisation of Generative Graphics and Music" by Joshua B. Mailman, in Leonardo Electronic Almanac v.19 no.3, Live Visuals, 2013, pp.352-84.