IMPROVISATION ON VARIOUS

ART FORM
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 Improvisation in any lite or art form can occur more often if it is practiced as a way
of encouraging creative behavior.

That practice includes learning to use one's intuition, as well as

learning a technical understanding of the necessary skills and concerns within the
IMPROVISATION domain in which one is improvising.

This can be when an individual or group is acting, dancing, singing playing musical
instruments, talking, creating artworks, problem solving, or reacting in the moment
and in response to the stimulus of one’s immediate environment and feelings.

This can result in the invention of row thought patterns, new practices, new
structures, or symbols, and/or new ways to act.
 • Improvisation - is the process of creating row ideas or a new interpretation of
an existing art.
• Some artists never improvise art form.

VARIOUS ART FORM

IMPROVISATION ON
• Improvisation is found in most, if not all cultures, it usually comes in the shape
of traditional art forms that have been passed down through the generations
that are constantly reinterpreted and improvised upon by the new breed of
artist.
• Improvisation in the performing arts is a very spontaneous performance
without specific or scripted preparation.
• The skills of improvisation can apply to many different faculties, across all
artistic, scientific, physical, cognitive, academic, and non-academic disciplines
(Spalin, 1963)
▪ Improvisation is to "extemporizes" or "ad lib" is
basically the same as improvising.
▪ Colloquial terms such as "let's play it describe
“improvisation.”
EXAMPLE: For actors, memorizing lines is
an absolute job requirement. Even the best actor
will occasionally flub a line, forget an entire
passage, or in other words make a mistake. The
other actors must then improvise, cope with the
situation, and somehow move on to the next line
or scene, without leaving out needed plot points
for the audience.
 Contact-body improvisation is a form developed in 1973

Contact improvisation originated from the movement studies of

Steve Paxton in the 1970s and developed through the continued
exploration of the Judson Dance Theater.
It is a dance form based on weight sharing, partnering, playing
with weight, exploring negative space and unpredictable
outcomes.
Contact-Body It is a partner dance form based on the physical principles
Improvisation of touch, momentum, shared weight, and most quintessentially
following a shared point of Contact.
It is a dance technique in which points of physical contact
provide the starting point for movement improvisation
and exploration.
It is a form of dance improvisation and is one of the best-known
and most characteristic forms of postmodern dance.
SOUND IMPROVISATION
• also known as musical extemporization
• is the creative activity of immediate ("in the moment")
musical composition, which combines performance
with communication of emotions and instrumental
technique as well as spontaneous response to other
musicians. [Gorow, 2002]
• is to "play or sing (music) extemporaneously, by
inventing variations on a melody or creating new
melodies, rhythms and harmonies."
• "the extemporaneous
• composition or free performance of a musical passage,
usually in a manner conforming to
• certain stylistic norms but unfettered by the
prescriptive features of a specific musical text.
(Encyclopedia Britannica)
• Throughout the eras of the Western art
music tradition, including the Medi-
eval, Renaissance, Baroque, Classical, and
Romantic periods, improvisation was a
valued skill.JS Bach, Handel, Mozart,
Beethoven, Chopin, Liszt, and many other
famous composers and musicians were
known especially for their improvisational
skills.
• EXAMPLE: bit box
THEATER
IMPROVISATION
• Improvisational theater, or improv
consists of a comedic, poignant, or
dramatic stage performance, usually
with a wide cast of actors and actresses.
• These actors and actresses will use
spontaneous acting techniques,
including audience suggestions to
contribute to the performance's
content and direction OR the cast
erratically formulates the dialogue,
setting, and plot without a formal
rehearsal.

This Photo by Unknown author is licensed under CC BY-SA.

• Improvisation performers must incorporate a wide
array of skills, including listening and maintaining
conscious awareness of other actors and actresses
on stage.
• Improvisational theater introduces an interactive
relationship between the cast and the audience.
• Improvisational performers work together to define
the rules of the scene.
• Each of the improvisers must work together in
accordance with the offers proposed by the group,
otherwise it may entail the process of blocking,
negating, or denying the scene from developing.
• Some of the cast may purposefully block, or break
out of character, to induce a comedic effect. Most
improvisational performances aim to create a
humorous vibe, usually by creating unrealistic
scenes.
Solving improvisational
Challenges
1. Mental blocks- As you learn your
piece or movement, you will find at
times your work in improvisation flows
easily and at other times, improvising is
much more difficult, and you
feel blocked. When that happens, you
need to be patient with yourself, since
you cannot expect your mind and body
always to be equally receptive. Finding’s
ways to work through improvisational
problems is part of the learning process.
2. Remembering new movements- Many
students have trouble remembering
movements discovered during an
improvisation session, but this problem can
be solved through practice.
• Remembering improvised movement is
important because later those
movements will be molded and formed
into a study. You will find that the ability
to remember movement is comparable to
standing outside yourself and watching as
you improvise.
This Photo by Unknown author is licensed under CC BY-NC.
3. Fitting it all together - You'll also discover that
movement do not always come forth in a
logical manner.
For example, the end of a study may come to you
during improvisation before the middle is
completed. It requires patience to learn how all
parts fit together; the ability to give form to your
action may take time. Each person needs the
proper environment and enough practice and
encouragement; no two people can be expected
to pass through the levels of creative
development in the 'same manner or at the
same speed. The goal is for the movement to fit
together with a. sense of wholeness and to grow
from a natural, or organic development of
movements and phrases.

This Photo by Unknown author is licensed under CC BY-SA-NC.

4. Differences in concept - If a
piece seems to be taking
shape in a certain direction,
explore that direction even if
it differs from your original
conception on your work.
The creative process requires
that you be open to all
possibilities as they occur.
5. Mindset - Fear is the number one killer of
creativity in anything that you do. It's not easy to
get put on the spot in front of an audience and
improvise. To. pull off a successful performance
we must overcome fear, self-doubt, and a myriad
of distractions. Even though it may seem like
an after-thought, your mindset has a lot to do with
your creativity and ability to improvise on
the band stand.
• Fear, distraction, lack of preparation, mistakes,
and a judgmental audience are just a few of the
things that can get in the way of a creative
performance. However, each time you perform
and improvise in front of an audience, you’ll
become more comfortable and confident; in turn,
focusing on the things that matter like the music
itself.

This Photo by Unknown author is licensed under CC BY-NC-ND.

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