Item description for Comedy Improvisation: Exercises and Technique for Young Actors by Delton T. Horn...
Overview Improv structures and exercises for young actors by Delton T. Horn. From the Renaissance commedia dell'arte to today's Second City comedy troupe, improvisation has been a hit. Learn the structure behind the spontaneity of comedy improvisation. Over 35 performance-tested improv structures and performance tips in this book help even a beginner tackle this "off the cuff" humor with confidence. Learn the elements of successful improvisation: setting, characters, conflict and action, dialog and humor. Then have fun polishing your new skills in comedy clubs, coffee houses or acting classes. Instructions on loosening up, writing routines, coping with audiences and protecting original routines through contracts and copyrights are also included.
Publishers Description From the Renaissance commedia dell'arte to today's Second City comedy troupe, improvisation has been a hit. Learn the structure behind the spontaneity of comedy improvisation. Over thirty-five performance-tested improv structures and performance tips in this book help even a beginner tackle this "off the cuff" humor with confidence. Learn the elements of successful improvisation: setting, characters, conflict and action, and dialog and humor. Then have fun polishing your new skills in comedy clubs, coffee houses or acting classes. Instruction on loosening up, writing routines, coping with audiences and protecting original routines through contracts and copyrights are also included. Nine chapters: Basics of improvisation and Comedy, improvisation in the Classroom, Simple Improv Structures, Character Improv Structures, Advanced Improv Structures, Advanced Acting Exercises, Forming a Comedy/Improv Show, Putting on an Improv Show, Protecting Yourself and Your Work.
Citations And Professional Reviews Comedy Improvisation: Exercises and Technique for Young Actors by Delton T. Horn has been reviewed by professional book reviewers and journalists at the following establishments -
School Library Journal - 10/01/1991
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Studio: Meriwether Publishing
Est. Packaging Dimensions: Length: 8.52" Width: 5.59" Height: 0.41" Weight: 0.47 lbs.
Release Date Aug 1, 2000
Publisher Meriwether Publishing
ISBN 0916260690 ISBN13 9780916260699
Availability 0 units.
More About Delton T. Horn
DELTON T. HORN has written more than three dozen electronics books for TAB, including THE ELECTRONICS WORKBENCH: TOOLS, TESTERS, AND TIPS FOR THE HOBBYIST; BASIC ELECTRONICS THEORY, Third Edition; and THE MASTER HANDBOOK OF IC CIRCUITS, Second Edition.
Reviews - What do customers think about Comedy Improvisation: Exercises and Technique for Young Actors?
Quite possibly the worst book on improv ever Oct 29, 2006
While I'm sure Delton T. Horn has spent a lot of time in bars performing in front of drunks, he really doesn't seem to have a true grasp of the theatrical convention of improvisation. This book was a total waste of time and money.
If you really are interested in the art of improvisation, buy "Truth in Comedy", "Impro for Storytellers", or "Improvise: Scene from the Inside Out".
Imperfect Primer for Beginning Players May 6, 2002
As the title of this book suggests, it is intended to provide "Exercises and Technique for Young Actors." Everyone begins somewhere. Heaven knows I certainly did. However, if this book is all a young improv team uses to glean knowledge of the art, they will be sorely disappointed.
The book begins with a lengthy explication of what improv comedy is and why it's important, but fails to stress important points like why it's bad to force a joke, or how to constitute a themed show. The author also warns young performers away from doing full shows of improv on the grounds that it would be too overwhelming for audiences. I've never heard such a thing.
Most of the space in this book dedicated to exercises focuses on work for beginners, such as the mirror exercise. Granted, improv doyenne Viola Spolin, in the third edition of her classic "Improvisation for the Theatre," lists eleven different kinds of mirror exercise. However, each of Spolin's exercises is concise and straightforward, while Horn rambles on about why the exercise is important and how it's done correctly. Besides, compare Spolin's 416-page textbook to Horn's 144-page primer, and see which is allocating space most effectively.
Horn also gives time and space to how to form a group, find work, secure good contracts, and protect copyright. These are all important issues for young performers, especially young performers who want to get paid for their work; but this takes away copy space from the specific how-to of performance. This is really meat for a separate book. Besides, young performers don't need to be told how to form groups, they'll partner up as skills develop and similar tastes and abilities become evident. The copyright information, moreover, is a decade out of date, and vague even when it was written.
This book is not worthless. That must be stressed. Young performers who want to play at parties or for family and friends will be served well by this information, spare though it is. Too much more detail might overwhelm young performers with light goals and no outside mentor.
However, as performers begin to seek outside their limited experience to deepen their performances, or as they seek professional work or recognition, this book will fail to suit their needs, and they will have to go to other resources if they don't want to have to go it alone. Good books like "Truth in Comedy" or "Improvisation for the Theatre" are more highly recommended for those who want to stick with this art over the long haul.
Not for serious improvisers Jun 23, 2001
As "Whose Line Is It, Anyway?" becomes more popular, and more improv groups begin performing in high schools and colleges and bars, it's discouraging to think that many new performers will turn to books like this for guidance. Horn's guidelines promote gimmicky, self-serving, impatient, one-dimensional scenework. Audiences are better served by troupes who look to Spolin's "Improvisation for the Theatre," Johnstone's "Impro," Close & Halpern's "Truth In Comedy," and Napier's "Improvise!" for inspiration. The actors on "Whose Line?" only make it look easy-they've worked hard to get there. "Comedy Improvisation" is for troupes who's highest goal is to play for friends in a bar--not those who take making people laugh seriously.
Excellent for any comedian Apr 26, 2000
A super book for anyonw wanting to get started in stand-up or even wanting to make every-day things a bit more funny. I reccomend it to anyone.