ABSTRACT
Good actors are not always good improvisers and good improvisers are not always good actors. Although these skills overlap, there seem to be specific abilities and cognitive functions required for improvisational theatre. Keith Sawyer was the first to analyse improvisation's evolving language and construct a 'grass-root theory of discursive action,' as well as an ethno-theory of improvisational theatre. On a very basic level, the process of improvising can be described as a sequence of turns, usually sequentially taken by the actors. Long-form improvisation relies on the slow construction of a fictional reality, so blind and open offers are preferred. In short-form improvisation, the fictional reality builds quickly, so closed and controlling offers are acceptable. There is common ground between the two schools of improvisational theatre at the grassroots level, but differences become apparent at higher levels of performance. Improvisers must be able to make unpredictable moves, produce crazy ideas and surprise their fellow players and even themselves.
