Improvisational TheatreEdit
Improvisational theatre, or improv, is a live performance form in which most or all of what unfolds on stage is created in the moment by the performers. Rather than following a pre-written script, actors rely on quick thinking, mutual support, and a shared sense of storytelling to build scenes, characters, and narratives. Improv is a collaborative art that emphasizes listening, adaptability, and a strong sense of ensemble. It spans comedy, drama, and experimental forms, and it often invites audience participation through suggestions or direct involvement. theatre improvisation
From its broad tradition of live performance, improv has evolved into distinct schools, formats, and networks around the world. Proponents emphasize technique, discipline, and the craft of making something compelling out of nothing. Critics and observers alike note that the form is inherently democratic: success depends on how well a team coordinates in the moment, rather than how loudly a single performer can push a scripted joke. As it has grown, improv has also become a resource for training in communication, collaboration, and quick problem solving beyond the stage. Viola Spolin Keith Johnstone Del Close The Second City
History
Improv has roots that reach back to traditional street performances and early forms of theatre where dialogue and action emerged from performers' quick responses to audience cues. In the 20th century, two figures in particular helped crystallize modern improvisation. Viola Spolin developed a system of theater games designed to train spontaneous acting and creative collaboration, a method that became foundational in many drama curricula and professional ensembles alike. Her work emphasized play, observation, and immediate response as the engine of onstage scenes. Viola Spolin
In parallel, in North America and the United Kingdom, other innovators pursued more formalized performance structures. Keith Johnstone’s work in the United Kingdom introduced a freer, more theatrical approach that valued risk-taking, storytelling, and the exhilaration of improvisation as a performative discipline. His ideas helped diversify the styles of improv beyond straightforward comedy. Keith Johnstone
Del Close, a pivotal figure in Chicago’s theatre culture, helped develop and codify long-form improvisation, a form that extends past quick-fire games into extended scenes with evolving character arcs. Close’s collaborations, especially with Charna Halpern, contributed to the emergence of enduring training models and long-running companies that defined much of modern improv practice. Del Close Charna Halpern The Harold
The Second City, founded in Chicago, became a major incubator for professional improv talents and ensemble work, shaping the professional pathways for many performers who later popularized the form on television and in film. Regional schools and theaters such as the Groundlings in Los Angeles and the Upright Citizens Brigade have carried forward these traditions, offering training and producing work that continues to influence the international scene. The Second City Groundlings Upright Citizens Brigade
In the late 20th and early 21st centuries, improv gained wide public visibility through television programs like Whose Line Is It Anyway? and through dedicated festivals, schools, and streaming performances. The platforming of improv in media helped popularize both short-form games and long-form narrative formats, expanding the audience and creating new professional opportunities for performers. Whose Line Is It Anyway? short-form improv long-form improv
Techniques and formats
Improv operates through a range of formats, with short-form and long-form being the two broad categories. Short-form improv comprises quick, self-contained games or sketches often driven by audience suggestions, while long-form improv builds a more extended, cohesive narrative over multiple scenes and characters. A core technique across both forms is “Yes, and”—the practice of accepting a scene partner’s premise and adding information to move the scene forward. This principle, along with active listening, shared responsibility, and clear communication, underpins successful onstage collaboration. Yes, and short-form improv long-form improv
Scenes typically begin with a prompt from the audience or a director, and performers must quickly establish premise, characters, and stakes. In many schools and companies, a regular training cycle emphasizes exercises that cultivate spontaneity, trust, and the ability to recover from mistakes with composure. The Harold, a well-known long-form format, demonstrates how a group can create recurring thematic beats that interweave multiple narrative threads into a unified performance. The Harold Theatre Games improvisation
Beyond games and formats, improv places a premium on ensemble culture: performers must be ready to support one another, including stepping out when necessary to foreground a partner’s idea or to steer a scene away from dead ends. The craft also includes practical considerations such as stage presence, blocking, and pacing, which help keep an audience engaged even in unscripted situations. Ensemble Theatre
Schools, companies, and infrastructure
Several institutions became synonymous with professional improv training and performance. The Second City established a model for resident ensembles, touring productions, and touring schools that trained generations of performers who later shaped mainstream comedy and theatre. The Groundlings developed a distinctive style that influenced many cast members who moved into television sketch work. The Upright Citizens Brigade (UCB) built a modern training ecosystem with theaters, schools, and punk-rock energy aimed at elevating improvisational storytelling in both comedy and more narrative forms. These organizations, among others, have helped democratize access to improv training and created career pathways for writers and performers. The Second City Groundlings Upright Citizens Brigade
In many regions, improv training now sits alongside traditional theatre programs, with university courses, community programs, and professional studios offering structured curricula. The emphasis on practical performance—audience feedback, rehearsal discipline, and iterative improvement—has made improv a versatile training ground for communication, teamwork, and creative problem solving in diverse settings. Viola Spolin Keith Johnstone
Practice, culture, and controversy
Proponents of improv argue that the form’s strength lies in its emphasis on practical performance, adaptability, and the ability to craft meaningful scenes from audience input and real-time collaboration. In this view, improv is not about pushing a fixed political or cultural agenda on stage; it is about telling engaging stories through disciplined play, attentive listening, and the commitment to “make your partner look good.” This outlook stresses merit, preparation, and the capacity to entertain across a wide range of audiences. Yes, and Harold
Debates within the scene often orbit questions of inclusivity, representation, and the appropriate balance between tradition and evolving social norms. On one side, there are calls for more deliberate and visible inclusion of performers and perspectives that reflect broader communities, along with topics that resonate with contemporary audiences. On the other side, critics argue that an overemphasis on identity-based content can constrain risk-taking and reduce the universality of humor if not integrated with craft and storytelling skill. From the traditionalist standpoint, the core objective remains to entertain and to tell human stories with clarity and wit, using the performers’ abilities to navigate unexpected turns rather than prioritizing any single cultural or political message. Critics of “identity-first” approaches often frame their arguments around the idea that strong comedic work emerges from character, situation, and timing rather than from category-based expectations. They may contend that tight writing, strong character work, and audience rapport—rather than a fixed agenda—drive the most durable and repeatable success for improvisers. Still, many practitioners insist that inclusion and sensitivity can coexist with high standards of technique and craft. The Harold The Second City Groundlings Upright Citizens Brigade
In the contemporary era, improv has grappled with how to handle sensitive topics, representation, and cultural critique on stage and in training spaces. Advocates of broader representation argue that improv should reflect the diversity of audiences and the complexity of real life, while critics of changes in emphasis suggest that creativity and performance quality should be the primary criteria for merit, with content judged on storytelling strength and dramatic or comedic payoff rather than ideological conformity. The discussion often centers on balance: how to welcome new voices and experiences without compromising the craft, how to use humor to illuminate human flaws without predefining outcomes, and how to maintain a space where performers feel free to take risks and grow. Diversity in theatre Notions of political correctness in art Veering from convention in improv