ABSTRACT
Status work, as it is now understood in the theatre, started with Keith Johnstone’s improvisation sessions at the Royal Court Theatre in the late 1950s. His inspiring book, Impro: Improvisation and the Theatre (republished by Methuen in 2007), is the source of my work on both status and eye-gaze in this chapter, as it is all for teachers and directors who use status as a basic tool for understanding human behaviour. Some of the following exercises are taken directly from his book and some are my adaptations, worked on over the years with many different groups of all ages: professional actors, students and teachers.
