Advantages of Improvisation in the Professional World

INTRODUCTION

Improvisation is a skill most commonly used within music and theater to

spontaneously create material usually within a team or group setting (Vera and

Crossan, 2005, p. 113). This paper will focus on the skills specifically found in

improvisational theater and show how the skills found in improvisational theater can

be used in the professional world.

The first section of the paper deals with the background and skills necessary

within improvisational theatre. The type of theatrical improvisation explained in this

paper will focus on the teamwork as well as the individual aspect of improvisation. I

will explore the skills necessary to improvise with others effectively and how

improvisation helps one as an individual. There will be an explanation of mind and

physical exercises that help an improviser to develop his or her skills. Finally an

explanation of public speaking skills will also be given and how they relate to

improvisation.

The second part of my paper will explain how the skills found in improvisation

are also in the professional world. I will explain how certain skills such as social

relationships, the pressure of time, group skills, confidence, quick-mindedness,

innovation. I will explain how these skills will help one be successful in the

professional world.

In the third section of the paper I will give suggestions of how to implement

theatrical improvisational training. I will give ideas of how to find help within theatrical

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improvisation so that one may find an edge within the professional world (Vera and

Crossan, 2005, p. 129, 204). I will explore how one can practice in personal,

educational, and performance settings.

Lastly, in the conclusion I will summarize my paper and recap the points

found herein and how they relate to skills found in the professional world and how to

train in theatrical improvisation so that one may have a better edge in the

professional world.

IMPROVISATION

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Improvisation is a part of everything that we do, and everyone does it (Ryle,

1976, p. 69). When we wake up in the morning and decide what to wear, what to

eat, how to do our hair, we are improvising. Improvising is the ability to think on

one’s feet and spontaneously act to create an environment or scenario. What most

people don’t realize is that improvisation is a skill that can be utilized for personal

benefit and gain if the skill is nurtured and exercised.

When somebody thinks of improvisation they may think of the popular

comedy show, “Who’s Lines it Anyway?” where a group of four people come

together making ridiculous scenes to make an audience laugh. This is an example of

theatrical improvisation, or people spontaneously acting together to create a

humorous scene. This section of the paper will take a closer look on identifying the

skills that improvisers such as Wayne Brady and Ryan Stiles need to be successful

improvisers.

Skills Required

To be a successful improviser certain skills and rules must be mastered.

Many people think that improvising is a group of people getting together making stuff

up with no rules or planning. Vera and Crossan argue that this type of improvisation

is bound to be very chaotic and unorganized (2005, p. 204). To be successful all

players or people participating in an improvised scene must know the rules and have

certain skills in order to have an effective team scene. These rules and skills include:

scene work, acceptance, confidence, and timing.

Scene work. This is the basic building block of all improvisation. A scene is

more or less a story portrayed by actors. 3-4 players typically play scenes at a time,

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although in improvisation there is no definite rule excluding another player to join in.

Some of the same themes and elements found in stories must also be found in

scenes in order for them to be captivating to an audience. The order of a scene

normally goes: setting, relationship, problem, raising the stakes, and climax.

In a scene the first thing to be conveyed by the player is the setting. The

setting is the scenario or background of the scene. This is usually established by

pantomiming of the first player on stage, or a description found within a dialogue of

two players describing the setting.

Next is the relationship, or how the other players relate to each other. This is

done by implication through physicality between two players, or vocal cues such as

“Hey mom!” or “Looks like another long day at work Jim.”

Next is the problem or conflict. This is what drives the scene and gives it

momentum. Any player within the scene can introduce the problem, or on occasion

the audience suggestion will give the scene a problem or conflict. The problem

affects the protagonist of the scene and continues to affect all players in the scene

until the end of the scene. Without a problem, there is not much of a scene.

Next is the raising the stakes or the heightening of the problem already

established within the scene. This is what complicates the problem and gives the

final push in the scene before the climax. This part of a scene is not always found,

as sometimes the climax is reached or the scene ends before a heightening takes

place; however, a scene with stakes raised almost always makes it more interesting

for the audience.

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The last part of the scene is the button, or climax of the scene. This is what

the MC or director of the scene looks for to end the scene because it allows the

scene to end on a high note and allows the energy to carry over to the next scene.

Throughout the scene the players need to keep in mind how the scene is going to

end and will internally plan for this button moment by recalling the strongest point of

the scene or creating something short and powerful that will cause a large reaction

from the audience.

The structure of a scene is simply a guideline that improvisers follow to give

order to their performance. In improvisation all rules are allowed to be broken with

the exception of one. In scenes, almost anything goes, but the number one rule that

must be followed is acceptance.

Acceptance. This is a skill that is taught to all beginning improvisers and

continues to be practiced by all improvisers through their improvising careers.

Acceptance is acknowledging and adding on to an idea given by another player. It is

also known as the yes-and principle (Vera and Crossan, 2005, p. 207). This is how

each scene grows and progresses. Without this, the scene has no movement and

quickly becomes stagnant. The opposite of acceptance is negation or denial. This is

the first big no-no taught to all beginning improvisers. Negation is to not accept

someone’s idea and basically communicates to the other players that his or her idea

was not a good one. The fastest way to kill a scene is through denial (Vera and

Crossan, 2005, p. 207).

Confidence. This is a character trait is develops over time but is key in

successful improvisation. The ability to not be afraid to fail, and trust yourself and

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other teammates is crucial for the audience to trust what you and your teammates

are creating for them on stage (Fred Woolley, Personal Interview, June 2011). Just

as a doctor who knows what he or she doing is more easily trusted, the audience

more easily trusts an improviser who exudes confidence. Confidence is gained by

experience and support from fellow players. It is confidence that greases the hinges

of a successful scene and helps with all improvisational skills such as timing.

Timing. This is an essential element in all comedy but especially in

improvisation, because the momentum of a scene must be continuous and flowing in

order to create an effective scene. There are a few basic rules that each improviser

must know to start to master timing.

First, is waiting for a laugh to taper off before starting the next joke. The

audience wants to be able to hear every word spoken by the performers, and they

will often feel interrupted or even cheated if the performer tries to speak while they

are laughing. Second is the rule of three which means that whenever there is an

action repeated, or a rapid sequence of events it can usually last about three times

while still retaining its comedic value. Lastly is measuring the beats or inserting the

joke at the appropriate time. Everyone has internal timing, and when delivering a

joke the beat of the joke has to come at the appropriate moment. Just like an

interesting conversation doesn’t ramble on without pauses and moments of

hesitation, a scene needs moments of silence or beats within the jokes to make it

more interesting.

The meaning of a joke changes depending on the timing. For example look at

how the timing of the following three sentences convey a different meaning and

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evoke a different reaction. 1) I love you. 2) I…love you. 3) I love…you. Timing adds

flavor to verbal wit and richly enhances a scene. Timing is just one of the skills that

are needed to be a successful improviser, but like all other skills there needs to be

careful preparation in order for them to be properly executed within a performance.

Improvisation Preparation

Just as athletes need to train and prepare for their particular sport, it is also

necessary for improvisers to practice their skills and prepare for performances (Vera

and Crossan, 2005 p. 206). This allows the improviser to train so that he or she may

most effectively convey their physical, and mental wit. Warming up is essential while

training as an improviser. Warming up includes practicing the rules and games, and

mental and physical preparation.

Physical warm-ups. Physical exercises or games allow the player to warm

up their bodies and allow their minds to connect with it. These games often require a

lot of movement and thinking that force the mind to make connections with the body

so that it will keep up while the player is performing. These exercises are important

for an improviser because he or she must have his body ready to react to whatever

he or she is thinking at any given moment.

For example, there is a game called Bippety-bippety Bop where players stand

in a circle with one player in the center. The center player will go around the circle

randomly from one player to another yelling, “Bibbety-bippety bop!” to a specific

player. The player has to yell, “Bop!” before the center player finishes saying,

“Bippety-bippety bop!” If the player does not yell, “Bop!” before the center player

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finishes his sentence the player and the center switch places. This is one exercise

that warms-up the body, but there are also necessary mental exercises.

Mental warm-ups. These exercises force the mind to think spontaneously

and creatively on the spot. These exercises include rhyming and word games.

Rhyming games are where a sequence of players has to rhyme off each other

in sequence, sometimes very rapidly such as the game Do-do run-run. Do-do run-

run uses a simple rhyming pattern that rhymes the last word of every phrase. An

example of a rhyming sequence would be, “I knew this guy and his name was bob.

Do-do run-run run do-do run run. He liked to eat corn on the cob. Do-do run-run run

do-do run run. Do-do do-do yeah. He was a part of the mob. Do-do do-do yeah. He

didn’t have a job. Do-do do-do yeah. And he was kind of a slob. Do-do run-run run

do-do run run.

Word games are where you have a sequence of players relating words in

sequence, also sometimes very rapidly. For example the game categories is where

players get in a circle and decide a topic and as fast as they can go around the circle

and say the first thing that pops into their minds while thinking of the topic. These

exercises are key in preparing an improviser to perform because the successful

improviser must be able to think very quickly without a strained effort on his or her

brain.

Game Practice. Although the scenes and jokes within improvisation shows

are completely made up, the games that are played are very well practiced. The

structure of games are practiced repeatedly within practice so that the beat or flow of

a game can be prepared properly so that when a suggestion from the audience is

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given all the improvisers know the rules and structure of the game so that an

organized product may be performed.

Practice is also a time for players to explore new characters or ideas for

scenes. Although no two improvisation shows will be the same; recurring themes,

characters and ideas will pop up again from time to time. Improvisers will sometimes

have go-to characters that they will use frequently that they developed in practice.

Improvisers often use their memories while creating a scene. Often this will be done

without conscience effort of the improviser due to the fact that he or she will do it so

often. Moorman and Miner describe this skill as “procedural memory” or the

automatic access of skills unconsciously pulled from memory (1998, p. 708).

Practice also helps improvisers to develop public speaking skills.

Public Speaking Skills

Jerry Seinfeld said, “According to most studies, people's number one fear is

public speaking. Number two is death. Death is number two. Does that sound right?

This means to the average person, if you go to a funeral, you're better off in the

casket than doing the eulogy.” (1998) The ability to speak in public is essential to

improvisation because not only does one need the confidence to communicate with

a large group of people but also to connect with them. The energy and dynamic of a

show is dependent on the improviser’s ability to speak publicly. Improvisers who

successfully connect with the audience gain their trust and allow them to feel

comfortable enough to laugh.

This is most important for the MC of a show. In the beginning of a show he

will do warm-ups with the audience to help them to get their energy up and get ready

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for the performers to make them laugh. The MC will set the tempo and energy of the

entire performance, he and she can single handedly make or break a show.

IMPROVISATION IN THE PROFESSIONAL WORLD

Moorman and Miner define Improvisation in the professional world as: “the

degree to which composition and execution converge in time”(1998 p. 698). There is

a great need to improvise in professional situations where results are demanded

everyday from superiors. Someone trying to succeed in the professional world has to

engage many obstacles that can be overcome with improvisation from time

constraints, to different relationship struggles. Some scholars say that even ethnic

challenges in the professional world can be overcome with improvisation (Rice, 1985

p. 285). In this section of the paper I will discuss how improvisation can be used in

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the professional world as pertaining to relationships, pressure of time, group skills,

confidence, quick-mindedness, the yes-and principle, and innovation.

Social Relationships

The most successful interactions in the professional world are built upon

social relationships. People who know more about each other have a better idea of

other’s preferences. When one interacts with someone he or she is close to the

intentions are more easily read between the two parties and transactions are more

smoothly made. McGinn and Keros explain that friendships promote trust, making

exchanges more straightforward and “increase the likelihood of agreement.” (2002,

p. 446). These friendships can not only help grease the hinges on business

transactions, but can help build bonds and connections that people in the

professional world need for referrals and references. Relationships are especially

important while dealing with others when deadlines are concerned.

The Pressure of Time

Scholars explain, “Improvisation is a time-based phenomena.” In the

professional world there are many deadlines that one must meet in order to

successfully produce in time what is required. Researchers have found that the use

of improvisational processes can help individuals and organizations cope with the

demands of time in the professional world (Crossan, Pina e Cunha, Vera, and

Cunha, 2005 p. 129). People in the professional world are constantly relying on

others to meet deadlines, and need constant updates of information, improvisational

skills focus on the needs of what needs to happen now (Vera and Crossan, 2005 p.

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208). Split-second decisions need to be made in the professional that sometimes

don’t allot much time for planning. It’s in these situations where the thinking on one’s

feet can be beneficial. Part of improvising with time constraints, one needs to be

able to execute plans simply and effectively to others so that plans can be carried

out in short periods of time.

Group Skills.

An individual as well as in groups can perform improvisation (Moorman and

Miner, 1998 p. 703). Improvisation is as much a group skill as it is an individual one

in the professional as most tasks that need to be done involve more than one

person. People in the professional world have to find a way to smoothly work with

others, so that the maximum and most efficient work can be done.

According to McGinn and Keros different parties must work together to

determine guidelines then follow them together. These guidelines act as rules that

allow others to improvise their own ideas cohesively with others because there is a

general agreement on boundaries. Parties improvising cooperatively rather than

competitively will share more information one with another. “As the level of

cooperation in the improvisation rises, the likelihood of agreement increases.” (2003

p. 444-445). Cooperation is most effective when different parties accept the ideas of

others and add to them. Vera and Crossan define this as the yes and principle, when

incorporated correctly, allows more to be done and an equivalent level of respect

given to all ideas and parties. The yes-and principle led to the extremely successful

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invention of the Post-it Note (2005 p. 207-208). Within groups and all improvisation

in the professional world one is most successful when one has confidence.

Confidence

Taking advantage of opportunities requires the proper timing. One must have

the confidence to seize the moment as it arises. McGinn and Keros explain, “In the

initial moments of a negotiation, all the structural, cognitive, and social factors

surrounding the negotiation come together and must be integrated quickly if a

successful improvisation is to take place” (2003, p. 460). Opportunities come and go

quickly, if one is not confident or quick enough one can miss the chance of a lifetime.

Quick-Mindedness

Professional improvisers need to be able to react quickly to even the shortest

prompt, likewise in the professional world people need to settle in quickly to their

surrounding and adapt to the guidelines of a specific situation (McGinn and Keros,

2002 p. 461). When problem solving quick solutions are needed to assure minimal

damage because some problems grow worse over time if not handled quickly.

Quick-mindedness also helps those in unfamiliar environments. When

someone is introduced to a new setting they often don’t have a lot of time to

acclimatize before they are required to act. Vera and Crossan explain that those who

use the skills of improvisation learn to use their environment and use whatever is at

their disposal (2005 p. 207). This allows there to be an environment where one is

comfortable to innovate.

Innovation

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Improvisation is a form of innovation because it involves varying degrees of

creation and design (Moorman and Miner, 1998 p. 706). The entire art requires

originality and uniqueness. Crossan and other researchers have found that

improvisation can be used as creative process to create something new and original

(2005 p. 131). One type of innovation is described as “discovery improvisation”

where uncertainty, not time, is the issue. When groups or individuals who have

frustrated themselves by too few or too many interpretation decide to act create as

they go along (2005 p. 133). Vera and Crossan suggest that those improvising as a

group and share a collective mind, there will be better coordination when trying to

come up with something new (2005 p. 206) It is important for one trying to innovate

to be “in the moment.” Paying attention to what is going around is necessary when

looking for new opportunities, if one is not paying attention or focusing on their next

move opportunities can be lost (2005 p. 208) Innovation is does not always mean

that the product will be purely original. Often new ideas are a mixture of old ones

combined with original creativity. The ability to incorporate old memories to create

new ideas allows teams in the professional world to be more innovative (2005 p.

209). Each of these skills can aid in the success of anyone in the business world, but

in order for it to happen one has to implement the training found in this paper.

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IMPLEMENTATION

“Training in improvisation needs to start by developing an understanding of

what improvisation is and positioning it as a legitimate and even recommended

choice when facing circumstances of urgency, ambiguity, and uncertainty (Vera and

Crossan, 2005 p. 209). Since everyone in one way or another improvises anyone

can start improvising training. I will discuss three possible ways to pursue obtaining

improvisation skills: personal improvisation practice, educational practice, and

performance improvisation.

Personal Improvisational Practice

Improvisation doesn’t need any specific time or place in order for it to occur.

Improvisation can happen anywhere and anytime from personal conduct to

interaction with others. JR Timothy, an improviser at BYU-Idaho who has been

performing for 3 years, when asked how to gain these skills said, “Live in real life

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and be actively engaged in everything you do. Do as many things possible, read as

many books as you can, watch more movies than you know what to do with and

have an opinion about all that you do” (Personal Interview, June, 2011).

Improvisation can be a mental state where you are constantly thinking about

outcomes in different situations.

Another way to practice improvisation individually is to interact with others in

everyday life. Ben Hopkins, an improvisation teacher at BYU-Idaho who has been

doing improvisation for 15 years said, “Learn everyone’s name that you come into

contact with. As for collaboration, it requires dropping of ego. Finding unusual ways

of agreeing with others during conversations can help.” (Personal Interview, June,

2011). Improvisation has to begin on a personal level that one will choose to actively

improvise and want to learn more.

Educational Improvisation

Improvisation is a large enough art that classes and workshops can be found

almost anywhere. Some require a fee when professional improvisers teach, but it is

not uncommon to find amateur improvisers who hold workshops and classes locally.

A lot of education comes from watching those who know how to do it. There

are television shows such as, “Whos Line is it Anyway?” and “Improviganza” that

have superb improvisers to learn from. There are also improvisation shows that are

a great learning experience for anyone who wants to be an improviser. Fred

Woolley, a professional improviser who has been performing for ten years said, “I

went to an improvisation show and said, ‘ooh…I could do that…’” (Personal

Interview, June, 2011).

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Much can be learned from watching those with experience. However this can

only get one so far, in order to truly master any art one has to be able to actually do

it. Performing is the greatest learning experience in improvisation.

Performance Improvisation

Only one who can perform and perform well in improvisation can truly begin

to master the skills found in improvisation. Performing is the conglomeration of all

the skills that I’ve spoken of in this paper. It is also the fastest way to improve those

skills. Fred Woolley said, “The best way to gain these skills is to practice with others

better than you and see what they do and then mirror what you wee with your own

personal additions to these skills” (Personal Interview, June, 2011).

Performing will increase confidence, public speaking and group skills, and all

the other skills found in improvisation. Those who take an interest in improvisation

and implement these skills will find greater success in their professional lives.

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CONCLUSION

The purpose of my paper has been to convince the reader of the advantages

of improvisation in the professional world. I have explained what improvisation is and

in detail laid out the structure of it. I have explained how improvisation is found in the

professional world, and how those skills can be beneficial. I have given examples of

how to implement these skills and how to practice so that one can be successful.

As the reader now knows, improvisation is the ability to spontaneously create.

There are rules which improviser must follow in order to be successful such agreeing

with fellow improvisers and always add to a scene, never negate. The reader now

knows the skills that are required such as group and public speaking skills. All of

these skills are also found in the professional world.

The reader is now more informed on the skills found in the professional world.

These skills allow one to work under time stressed conditions, and allow one to

innovate with others in group settings. If these skills in the professional world are

improved, there is a greater likelihood of success. These skills must be implemented

in order for there to be improvement.

The reader is now aware of a few choices to begin implementing

improvisation in his or her own life. There is personal improvisation that involves an

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innovative and social aspect of the individual. There is also educational

improvisation where one is taught the skills formally or by those performing

improvisation. Lastly there is Performance improvisation where one actually

performs the skills in front of others.

References

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improvisation. The Academy of Management Review, 30(1), 129-145. doi:

http://www.jstor.org/stable/20159099

McGinn, K. L., & Keros, A. T. (2002). Improvisation and the logic of exchange in socially

embedded transactions. Administrative Science Quarterly, 47(3), 442-473. doi:

http://www.jstor.org/stable/3094847

Moorman, C., & Miner, A. S. (1998). Organizational improvisation and organizational

Memory. The Academy of Management Review, 23(4), 698-723. doi:

http://www.jstor.org/stable/259058

Rice, P. C. (1985). Ethno-improvisation: a technique for teaching cultural cmotions. Ethno-

Improvisation: A Technique for Teaching Cultural Emotions, 16(4), 280-287. doi:

http://www.jstor.org/stable/3216299

Ryle, G. (1976). Improvisation. Mind, New Series, 85(37), 69-83. doi:

http://www.jstor.org/stable/2253256

Seinfeld, J. (1998). No. 1 Fear. I’m Telling you for the Last Time [Audio Recording]. New

York: Universal Records

Vera, D., & Crossan, M. (2005). Improvisation and innovative performance in teams.

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