DEGREES OF SCRIPTEDNESS

Few theatrical concepts are as easily misunderstood as improvisation, and the variety of current theatre practices that use the name further confuses the matter. Improvisation can be used to create a script that is then rehearsed; it can be a tool for actors to improve a scripted performance; it can also be used as a theatrical metaphor to describe fully scripted moments that have the appearance of being created ex tempore. All of these functions, however, are derived from improvisation as a means of creating a performance without a script. Improvisation distinguishes itself from scripted theatre by not having a fixed text that the actors have memorised in advance of the performance. We can easily grant that ‘The lack of verbatim memorisation does not necessarily imply its contrary, spontaneous chaos.’ What it does imply, however, is not obvious.

Improvisation is a process of composition in which the moment of composition coincides with the moment of performance. Improvisation is not a genre of theatre, but a process for generating theatre in any of a number of genres. This does not mean that the improviser is unprepared, but it does mean that verbatim memorisation is not a factor. Difficulties arise in part from the several contexts in which improvisation may be invoked.