Fail like an improviser: the trick of comic improv

Abstract

It has become evident that the sacrosanct rules of improvisational theatre are being revisited through contemporary practice. Yet, in Britain, Improv comedy often continues to be studied from the point of view of existing literature which dates back to the 50 s and 70 s. At a time where the Arts are being challenged by world events and their future has to be reimagined, it is more important than ever to consider the new over the established. As such, I present an alternative approach to what Keith Johnstone considers the ideal of improvisational theatre: a seamless narrative, that neither shows nor lets in any form of vulnerability. While I propose a dialogue with this existing literature, I also specifically challenge Johnstone in demonstrating that there does exist a performance of failure in improvisational comedy. Such a performance carefully influences the audience to believe the performer is in difficulty before they masterly recover, creating a strong impact and weaving vulnerability as a compositional tool into their artistry. Using examples of contemporary British improv, including unique primary material I gathered from personal interviews with practitioners, I bring to the fore new knowledge of what makes the expertise of improvisers.

Keywords:

• Improvisation
• theatre
• improvisational theatre
• failure
• elevation
• comedy

Acknowledgments

I would like to thank Stella Duffy, Colin Mochrie, Steve Steen and Jim Sweeney for their time and valuable insight over the years and throughout the interview process, as well as the Comedy Store for allowing me to access recordings of the show.

Disclosure statement

No potential conflict of interest was reported by the authors.

Additional information

Notes on contributors

Chloé Arros-Steen

Dr Chloé Arros-Steen owns a PhD in performing arts from Royal Holloway, University of London, where she studied improvisational theatre. She has worked as a visiting tutor and is a professional artist, a qualified tattooist, and works as an independent researcher. She is currently in the process of adapting her thesis into a book – An Art of the Instant – which will update our current knowledge of contemporary improvisational theatre.