Ядро импровизации — услышать предложение партнёра и достроить его, а не переиграть.
A Johnstone exercise that reveals how blocking destroys scenes while accepting builds them. Players learn to identify offers, blocks, and acceptances through replay and analysis.
An observation exercise in which improvisers listen to real conversations in public to identify Yes-And patterns and understand why they matter in scene work.
A way of marking time on stage while seeming alive and interested: players follow three rules — feel fit and awake, be interested in everything others say or do, and say nothing inherently interesting.
A no-blocking drawing game: players take turns adding one line to a shared drawing that began as two dots ('eyes'), revealing the character and scene without words.
A storytelling game of non-attachment: players pass a story mid-sentence, picking up exactly where the previous speaker stopped.
A storytelling exercise in pairs: one player narrates, the other directs them to add vivid detail (Color) or move the plot forward (Advance).
The audience suggests who the actors are, where they are, and what their problem or purpose is. Johnstone banned this game because even serious suggestions led to reinventing conventional theatre.
A scene game where a player sets two chairs on stage and asks the audience where they are — the location suggestion launches the scene.
A scene exercise where a caller shouts "Move on!" and players instantly drop the current scene and begin a completely new one—different place, characters, and topic.
A filler game where players improvise a song on an audience-suggested topic — blues, doo-wop, torch song, gospel, folk, hoe-down and more. Solos, duets, or groups.