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Process: An Improviser's Journey
Process: An Improviser's Journey is an invaluable resource for mastering improv. Author, teacher, and improviser Michael Gellman was given a mission by famed improv coach Del Close: “[T]o create improvised one-act plays of literary quality from scratch.” Already steeped in the world of improvisation, he took it upon himself to do this, in the form of a class for other improvisers in which they would build the skills necessary to execute such a seemingly tall order. Scruggs and Gellman’s book, modeled after Stanislavski’s timeless An Actor Prepares , follows a fictional young actor taking Gellman’s real-life class. Scruggs and Gellman introduce readers to Geoff, who has just moved to Chicago to pursue acting. He undergoes the standard trials of audition and rejection before he takes the advice of a fellow actor and turns to improv classes at Second City. At first, Geoff thinks improvisation is about laughs and loosening up, but he soon learns that it is a powerful tool as well as an end in itself. Through Geoff’s eyes, the book introduces readers to key tenets of improvisation: concentration, visualization, focus, object work, being in the moment, and the crucial “yes, and.” His experiences with the basics of improvisation do serve to get him a few roles, but his real breakthrough comes when he signs up for an improvised one-act class with Michael Gellman. He and his classmates arrive unprepared for the challenge, but with Gellman’s prompts and advice, they slowly move through process to performance over the course of three seasons in Chicago. The class culminates with their final project: a completely improvised one-act play performed in front of a live audience.
- GenresComedyNonfictionTheatre
184 pages, Paperback
First published December 19, 2007
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102 people want to read
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Displaying 1 - 18 of 18 reviews
November 24, 2009
As I sat in a scrappy backyard, watching my neighbor attempt to smoke away his life anxieties, he said to me, “You should do improv.” “I should,” came my patronizing reply.
He sipped his beer, perhaps not detecting the initial half-heartedness in my reply. “Right now my whole focus is finding away to fall back in love with the work.” By work, he meant professional acting. My neighbor and fellow actor proceeded to tell me about taking classes at Second City in Chicago, about the artistic wonder of long-form improvisation—that’s improvisation devoted to something more than cheap laughs and raucous games in urban comedy clubs. Next he handed me a book.
“You should read this. It’s called Process: An Improviser's Journey. It’s all about what it takes to improvise a 30-minute play. This is gonna be my way to break out of the rut. I’m tired of playing the same shows, working at the same theatre season after season. You should look into it too man.”
I accepted his copy of Process and promised to read it. Over the last week, page after page, I’ve followed the experience of a fictional actor in Chicago named Geoff. By halfway through the book I believed Geoff was real. I accepted the book as a truthful depiction of a struggling actor, just as improv theatre asks us to accept unscripted storytelling.
Process isn’t a typical textbook. It doesn’t read as a series of transcribed lectures. Written collaboratively, it follows a clear narrative arc with a realistic cast of supporting characters drawn from real improv classes. Along with the characters in the book, the reader discovers truths about acting class after class, chapter after chapter. It’s also a quick, accessible read, perfect for an actor on the go.
My only gripe with the book is the final addendum section. The book’s authors dump a list of names and improvisation projects that reads with all the passion of closing credits to a movie. This material lacks the helpfulness found in the bulk of the text, and is mostly a chance for movers and shakers in Chicago-based improv to pat themselves on the back. It doesn’t have any real pedagogical use--unless you plan to move to Chicago and imbed yourself in the improv community.
I strongly recommend Process. It made me see improv in a more productive light, as a pathway to artistic health and development rather than a dreamy shortcut to fame and fortune.
He sipped his beer, perhaps not detecting the initial half-heartedness in my reply. “Right now my whole focus is finding away to fall back in love with the work.” By work, he meant professional acting. My neighbor and fellow actor proceeded to tell me about taking classes at Second City in Chicago, about the artistic wonder of long-form improvisation—that’s improvisation devoted to something more than cheap laughs and raucous games in urban comedy clubs. Next he handed me a book.
“You should read this. It’s called Process: An Improviser's Journey. It’s all about what it takes to improvise a 30-minute play. This is gonna be my way to break out of the rut. I’m tired of playing the same shows, working at the same theatre season after season. You should look into it too man.”
I accepted his copy of Process and promised to read it. Over the last week, page after page, I’ve followed the experience of a fictional actor in Chicago named Geoff. By halfway through the book I believed Geoff was real. I accepted the book as a truthful depiction of a struggling actor, just as improv theatre asks us to accept unscripted storytelling.
Process isn’t a typical textbook. It doesn’t read as a series of transcribed lectures. Written collaboratively, it follows a clear narrative arc with a realistic cast of supporting characters drawn from real improv classes. Along with the characters in the book, the reader discovers truths about acting class after class, chapter after chapter. It’s also a quick, accessible read, perfect for an actor on the go.
My only gripe with the book is the final addendum section. The book’s authors dump a list of names and improvisation projects that reads with all the passion of closing credits to a movie. This material lacks the helpfulness found in the bulk of the text, and is mostly a chance for movers and shakers in Chicago-based improv to pat themselves on the back. It doesn’t have any real pedagogical use--unless you plan to move to Chicago and imbed yourself in the improv community.
I strongly recommend Process. It made me see improv in a more productive light, as a pathway to artistic health and development rather than a dreamy shortcut to fame and fortune.
February 5, 2018
I want to be a Life Artist.
Scruggs and Gellman have written one of the guides for me to be a Life Artist. Here's why I love this book: a) the narrative device of using "Geoff" works incredibly well in relating the storytelling process that improvisers must find in each moment. The manual of information inside never becomes preachy or didactic but rather sparkles with luminosity; b) the spirituality inside provides some keys for genuine improvisation that plumb to the core of what the experience in everyday living can be--on and off the stage--follow the follower, stay in the moment, focus on your partner and react, make discoveries as well as find the clues for acting in the environment, in a focus, and in the scene characters; and finally, Gellman moves through multiple improv exercises to move the performers to the point of creating an improvised, 30-minute one act play before a live audience.
I find it inspirational, intriguing, and motivational. A friend handed it to me to read and now I have to give it back and that's OK--I want this book to be a part of my life in the same way that I want to improvise with my colleagues on stage--to be the change--to take my acting to a new level--and be the change my life.
Scruggs and Gellman have written one of the guides for me to be a Life Artist. Here's why I love this book: a) the narrative device of using "Geoff" works incredibly well in relating the storytelling process that improvisers must find in each moment. The manual of information inside never becomes preachy or didactic but rather sparkles with luminosity; b) the spirituality inside provides some keys for genuine improvisation that plumb to the core of what the experience in everyday living can be--on and off the stage--follow the follower, stay in the moment, focus on your partner and react, make discoveries as well as find the clues for acting in the environment, in a focus, and in the scene characters; and finally, Gellman moves through multiple improv exercises to move the performers to the point of creating an improvised, 30-minute one act play before a live audience.
I find it inspirational, intriguing, and motivational. A friend handed it to me to read and now I have to give it back and that's OK--I want this book to be a part of my life in the same way that I want to improvise with my colleagues on stage--to be the change--to take my acting to a new level--and be the change my life.
May 5, 2019
Improvisation is one of the most wonderful things an artist can do, and here is a guidebook to not only improv - but life itself. It shows the importance of being in the moment, and how trust between both actors, and people, can allow a group to flourish into something beautiful and rare.
I'm not an improver - or an actor - but am very interested in the creative process. This was an easy read for those interested in the permanence of now, and the necessity of it. As it is fictionalized, I have to take a second read and draw out the necessary lessons for myself (at times, I do prefer a more direct guidebook), but this was a wonderful glimpse into this creative practice and a very engaging read.
I'm not an improver - or an actor - but am very interested in the creative process. This was an easy read for those interested in the permanence of now, and the necessity of it. As it is fictionalized, I have to take a second read and draw out the necessary lessons for myself (at times, I do prefer a more direct guidebook), but this was a wonderful glimpse into this creative practice and a very engaging read.
February 4, 2025
Brisk read that touches on a lot of great points. Really enjoyed how the authors culled most of the 'improv rules' by saying you should just practice them until they become rote-- to then nail the description of the mental state they believe most conducive to improvise as an actor (and act as an improviser)
Recommended! And if you don't like it, well, it's short
Recommended! And if you don't like it, well, it's short
July 9, 2018
I might need to dig through this a second time, but the emphasis of process over product + a close examination of one's own learning style felt really valuable. Would recommend, it's a quick read!
November 17, 2021
Easy to read and enjoyable for the improv student. 2nd time around I got more out of it.
May 12, 2022
Incredible book. So much more than a guide to improv. It's applicable to any type of creative process and helps a person find themselves in the moment. It even borders on spirituality.
July 12, 2022
Really good book about what it means to improvise. But it is in the shape of a novel. I enjoy reading it every time. Very informative.
June 11, 2016
This is a work of fiction, but ironically, I think that makes it more "true" for any improviser interested in the art and culture of improv. It's not a manual of improvisation, but instead, it is a fictional story that takes you through the journey of Geoff, an actor, as he faces the auditions, workshops, scene partners from hell, rehearsals, anxiety -- every small part of the journey. Throughout the many believable and realistic situations, and Zen-like brilliance of Michael Gellman's teachings, you experience the ways that each character changes. Through storytelling, you start to rethink improv as high art with literary merit rather than "just comedy," and when you vicariously witness the change of the characters, you release your baggage and want nothing more than to embrace the process. It's an important reminder that all improv, like life, is a process, and there is no secret except practice. By the time I finished the book, I felt as if it brought perspective to all my past experiences where I went wrong, and it breathed new enthusiasm into my work. This book was the reason I was able to return to improv after two years of non-practice and feel happier and lighter. It helped me drop the burden of having to be funny, and instead, I can better appreciate the magic of being in the moment.
November 14, 2015
Like so many before me have said, this is Stanislavski's An Actor Prepares but for improv. Like An Actor Prepares, it's got an insufferable main character whose learning was super valuable for me as the reader. This one is especially great for people who are a little more advanced and deep into long-form; it includes a lot of lovely little moments that will enhance/reiterate what you're learning in class and practice. Here are a couple I noted:
"...how much do we explore and heighten? When do we know it's enough?...You know when there's a transformation. Until that transformation, you haven't gone far enough." (p. 125)
"It doesn't matter what the thing is... As long as everyone commits to it, agrees to it, and heightens it." (p. 130)
"...how much do we explore and heighten? When do we know it's enough?...You know when there's a transformation. Until that transformation, you haven't gone far enough." (p. 125)
"It doesn't matter what the thing is... As long as everyone commits to it, agrees to it, and heightens it." (p. 130)
August 23, 2010
Sad little book (not in a a good way).
This book teaches a lot of simple lessons, so simple in fact, you may consider them common sense. It's really nothing more than a children's book dressed up in adult's clothing.
Clearly, this book was written out of the necessity to make money, rather than the necessity to provide any valuable information. And if the goal was entertainment, then I'm bored.
This book teaches a lot of simple lessons, so simple in fact, you may consider them common sense. It's really nothing more than a children's book dressed up in adult's clothing.
Clearly, this book was written out of the necessity to make money, rather than the necessity to provide any valuable information. And if the goal was entertainment, then I'm bored.
June 2, 2010
This is a really nice text on how to build an improvised one-act told from a student's perspective a la An Actor Prepares
To be honest, I haven't finished it simply because of time. But I liked what I read.
To be honest, I haven't finished it simply because of time. But I liked what I read.
July 23, 2013
Cartea e scrisa foarte "artistic", nu e doar un manual ci o poveste interesanta despre un grup de personaje prin ale caror ganduri si trairi ajungi sa intelegi mai bine teoria. O idee interesanta de a prezenta modul de desfasurare al unui workshop si invataturile din el.
February 13, 2015
It's a nice narrative approach to following Gellman's process. From being in 2 of Gellman's classes, the book is accurate in how he works with students. (Though, I do find the "characters" in the book to be a little whiny for thier accomplishments thus far, i.e. teams, plays, opportunities.)
March 26, 2008
Fictionalized experience of an improviser taking classes - shows rather than tells, and the different viewpoint helps teach.
willing-to-remember-about
March 24, 2011Part of a Second City class I found interesting.
January 31, 2012
The perfect book for a rising improviser.
May 30, 2012
PRO-cess
Displaying 1 - 18 of 18 reviews