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| Improvisation | |
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| History | |
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| Antiquity: Forms of improvisation from before the 20th Century | |
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| Johnstone | |
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| Calgary: Keith Johnstone, the Theatre Machine, and the Loose Moose | |
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| Close | |
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| Chicago: Del Close and the Chicago scene | |
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| Spolin: The Compass Players and Viola Spolin's continuing influence | |
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| The World Over: The spread of improvised theatre across Europe, America and the rest of the world | |
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| The Spontaneity Shop | |
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| UK: Improvisation in the UK - a personal history | |
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| Performance | |
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| TheatreSports: The grandaddy of them all | |
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| Micetro, Gorilla Theatre, LifeGame: Later inventions of Keith Johnstone | |
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| The Harold and Its Relations: Del Close's way of doing things | |
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| The Rest: Less interesting, influential, or popular forms: �ǣWhose Line Is It Anywayï¿½Ç ; | |
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| �ǣImprovisedï¿½Ç films and television; | |
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| TellTales; | |
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| X-improvised. | |
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| Intermission: Great Teachers | |
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| How to Improvise | |
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| Core Beliefs | |
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| Storytelling: Improvisation isn't about jokes, or about �ǣanything goesï¿½Ç . It's about telling a story. | |
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| Failure - on and off the stage: Why �ǣwe suck and we love to failï¿½Ç is the most important thing anyone's ever said to us. | |
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| How To Use This Section | |
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| Day One | |
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| Spontaneity: Pointing at things; | |
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| What are you doing? | |
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| Saying �ǣYesï¿½Ç : Block/Offer/Accept; | |
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| Yes and... | |
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| Day Two | |
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| Fundamentals of Storytelling: Platforms - go through an unusual door; | |
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| Breaking routines; | |
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| The right trouble for the right hero; | |
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| Reincorporation | |
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| Day Three | |
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| Status: What status is and what it isn't; | |
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| High status and low status �ǣtriggersï¿½Ç ; | |
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| Status and space; | |
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| Status is relative | |
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| Day Four | |
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| Working Together: Tug of war; | |
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| Word at a time; | |
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| Speak in one voice; | |
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| Dubbing | |
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| Day Five | |
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| Being Changed: Status switch; | |
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| Gibberish; | |
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| It's Tuesday | |
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| Day Six | |
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| Upping the Ante: Jump and justify; | |
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| Boris; | |
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| He said she said; | |
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| Questions only | |
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| You can't learn mime from a book | |
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| Day Seven | |
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| Characters: Changing the body image; | |
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| Characters from a hat | |
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| Day Eight: Blind Offers | |
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| Intermission: The rules and why there aren't any | |
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| How To Improve | |
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| All Talk and No Action | |
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| Silent scenes | |
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| Gibberish | |
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| Three word sentences | |
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| Can't Define, Won't Define | |
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| Solid as a Rock | |
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| Shoe shops | |
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| It's Tuesday | |
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| The Gagmeister General | |
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| Story Woes | |
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| Continue or thank you | |
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| Shoe shops | |
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| Character | |
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| Twins | |
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| Intermission: Game Corruption | |
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| How To Improvise In Public | |
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| Feel the Fear and Do It Anyway | |
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| Nuts and Bolts | |
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| The group | |
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| The venue | |
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| Press and publicity | |
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| Preparation | |
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| On the day | |
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| Next steps | |
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| Pick Your Format | |
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| Licensed formats | |
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| Unlicensed formats | |
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| Innovating formats | |
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| Intermission: Truth in Comedy in Bits and Pieces | |
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| How To Improvise All Over the World | |
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| Getting On the Television | |
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| Getting On the Festival Circuit | |
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| Hosting Your Own Festival | |
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| Intermission: �ǣPlease don't...ï¿½Ç | |
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| Making Improvisation Pay | |
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| The Corporate Market | |
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| Corporate Training | |
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| Corporate Entertainment | |
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| Intermission: Why Improvisation | |
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| Talk the Talk - Interviews with Improvisers | |
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| Tom and Deborah interview each other | |
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| Keith Johnstone | |
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| Dan O'Connor | |
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| Patti Stiles | |
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| Paul Sills | |
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| Charna Halpern | |
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| Plus several more alumni of shows like Saturday Night Live and The Daily Show, who we should be able to include | |
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| Final Thoughts | |
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| Glossary, bibliography, index, useful contacts | |