Improvise. Scene from the Inside Out

by Mick Napier, Mick Napier

Renowned improv instructor and award-winning director Mick Napier has been at the heart of the professional improvisation community for more than 25 years. The first edition of Improvise. quickly earned its position as necessary reading for improv students across the country and around the world. This expanded and revised edition has a new foreword by The Late Show host Stephen Colbert, additional advice and tips for success, and a full reproduction of Mick Napier's web journal from his time directing the famous show Paradigm Lost for The Second City. In this entertaining and incredibly informative book, Napier will teach you the essentials of: Why "The Rules" don't matter, How to take care of yourself in a scene, Using context to your advantage, Effective two-person scenes, Balanced large-cast scenes, Successful auditioning, and Solo exercises you can practice at home. PLEASE NOTE: Contains occasional adult language.

Genres: Nonfiction, Comedy, Theatre, Humor, Self Help, Writing, School

272 pages, Hardcover

First published March 3, 2004

Reviews

[Amy · Rating 4 out of 5]

"Truth in Comedy" believes in groupmind in improvisation, whereas Mick Napier's

"Improvise" urges improvisers to believe in themselves. Prior to reading the book, I've heard people describe his methods as "fuck your partner" improvising. I don't think Mick Napier is suggesting a performer should bulldoze a scene, but rather initiate strongly and follow through with that initiation or character. He offers very sound advice as to what makes a scene successful, and when put into practice it has helped to strengthen scenes. I specifically chuckled at the chapter regarding women in improv. I "think" he believes women are funny. Every improviser must read this book.

[Fateme Beygi · Rating 4 out of 5]

کتاب با تعریف عمل بداهه در تئاتر و در تمرین برای تئاتر کم‌کم شروع به دادن توصیه‌هایی به مخاطب می‌کنه که در همون فصل‌های ابتدایی بارها و بارها این توصیه‌ها رو زیر سوال می‌بره که یعنی لزوما به این معنا نیست که باید مطابق دستورعمل‌هایی که توی این کتاب بهتون داده می‌شه عمل کنین بلکه شما به عنوان بازیگر باید ببینین کدوم تمرین یا راهنمایی مناسب شما و موقعیت و تمام عوامل دیگه‌ی تمرین بداهه‌تونه.
در فصل‌های بعدی راهنمایی‌هایی می‌شه که کاملا عملی‌ان. مثلا گفته می‌شه در زمان بداهه‌سازی به چه چیزهایی نباید فکر کنین، به چه چیزهایی باید عمل کنین یا نکنین، چه عباراتی رو بگین یا نگین، چه اعمالی رو انجام بدین یا ندین و...
برای کسی که تجربه‌ی بازی نداشته باشه تموم این‌ها می‌شن توده‌ای که ذهنش رو اشغال می‌کنن و در لحظه‌ی بداهه نمی‌تونه ذهنش رو رها کنه و همون‌طور که توی کتاب می‌گه بدون فکر کردن فقط عمل کنه یا شروع کنه اما این هم راه حلی داره که توی فصل خانه در تمرین‌های بداهه در خانه می‌شه بهش رسید.تمرین‌های به ظاهر ساده اما خلاقانه که به شما کمک می‌کنه تا رهاتر بشین و ذهنتون آمادگی بودن در لحظه و بیان و عمل در موقعیت بدون فکر کردن رو پیدا کنه. به نظر من اگه شما مبتدی هستین و هیچ ایده‌ای درباره‌ی بازیگری ندارین می‌تونین با تمرین‌های انتهایی شروع کنین و بعد بیاین سراغ تمرین‌های بخش ابتدایی اما اگه تجربه‌ی بازی دارین، هر دو بخش بسته به نیازتون می‌تونن براتون کارایی داشته باشن.

[Kimberly Hirsh · Rating 4 out of 5]

As I first started reading this, I got nervous. I like rules, and Napier's first move is to tell you to throw out the rules of improv. I meditate on "Yes And" as though it were a koan, so at the suggestion that I not follow THE RULES anymore, I almost threw this book away from me. I was on a bus, so I'm glad I didn't, because I probably would've injured somebody. But I'm also glad I didn't because in spite of his distaste for the rules, Napier has a lot of wisdom to offer that you can use without forgoing the rules entirely, if you are more comfortable (as I am) holding onto them.

There are two big takeaways from this book for me:

1. GET IN THERE. Come out in a scene strong, with a strong perspective and a strong emotion. Hold onto that perspective/emotion and filter everything that happens in the scene through it. Holding onto that perspective isn't a negation or denial of your scene partner; in fact, it will work as a support for them to have someone strong to play opposite.

2. DON'T RUN AWAY FROM IT. When something starts to feel weird or panicky and you want nothing more than to make a move in the opposite direction, that's when you need to DO THE THING. Commit, go big, be bold, and you'll have a better scene for it.

As I've been reading this book, I've definitely found myself making stronger choices in practices and shows, and it feels great.

[alexis · Rating 3 out of 5]

Curing my debilitating social anxiety with the most extreme exposure therapy there is: imagining something embarrassing happening and then NOT throwing up. Liked the section on how men should stop putting up a tough masculine front and not be afraid to be vulnerable within a collaborative art form, and also how women should act less crazy, and actually only weak, insecure, un-funny women think about sexism—thus ending societal gender discrimination and breaking the glass ceiling for women everywhere. Thx king

[Declan Rhodes · Rating 5 out of 5]

HANDS! 👏🏾DOWN! 👏🏾 This is the best book on improvisation I have ever had the chance to read. If you are an actor, a comedian, or even an artist in any kind of medium, I think you should read this book. Mick not only breaks down how to become a better improviser and even how to nail improv auditions, but really tackles the core of what makes an astounding improviser and scene partner. seriously, if you are someone who wants to make a career as an actor, I would highly suggest reading this. There is a reason the author is nationally and internationally recognized on and off the stage. This book alone has furthered my knowledge and, I feel, helped make me a more aware improviser.

[Shalaj Lawania · Rating 3 out of 5]

I'm not a huge fan of books that are snarky towards the entire genre from the get-go (usually a condescending style prevalent in self-help books: 'Subtle Art of Not Giving a F*ck, Obstacle is the Way etc.). The constant desire for Napier to stand out from the crowd created issues like:

1) There is frequent criticism for traditional methods, which means this book needs to be read after you read a conventional improv book. Will not work as a standalone.

2) The desire to appear radical makes the author inconsistent and hypocritical ('break the rules' followed by lots of rules that are justified as 'not rules but things to be aware of')

If you can get past the self-indulgence, there are some interesting ideas and exercises. The shortness of the book helps as well.

[Evan · Rating 5 out of 5]

Terrific. The exercises to do at home section was especially helpful.

[Cat · Rating 5 out of 5]

Honestly I get why this book is so recommend. I think the main things I took away were rules aren’t steadfast and that making an improv scene isn’t just about responding to the other person, but building on the emotion or key driver of a scene together. I particularly liked the exercises proposed at the end of the book to practice at home.

[Alejandro Sanoja · Rating 4 out of 5]

If you are into improv you MUST read this book. It will also be valuable for anyone that wants to be a better actor or performer in general.

I've read several improv books and this is by far the most actionable one. Although improv is an art, most artists don't like to admit that applying a science mindset can sometimes be valuable. Mick Napier does a great job of finding the balance between art and science.

Another valuable component of the book is the "Journal" section where he shares several months or journal pages he did when directing a show at The Second City. This point of view was mindset expanding for me as I've never been in a position to "see behind the scenes" of what it takes to direct and produce a show at that level.

Flow: 4/5, easy to read and flows well. At some points, you might want to make some pauses to digest the content.

Actionability: 5/5, the book even shares specific exercises that you can do on your own.

Mindset: 4/5, it's definitely geared to help performers and improvisers specifically.

Some Of My Highlights:

"What I learned was not that you won't have any doubts, not that you will never be nervous, but that you have to acknowledge that fear and proceed with courage."

"Improv requires at least one of three things: a free spirit, a brave heart, or a quick mind."

"The grand irony is that the times I've felt most supported in an improv scene in when my partner took care of herself first."

"It catches them off-guard and tells them that this isn't going to be one of those scenes where we ease into it and think through it."

"Too many improvisers don't say something at the top of a scene not out of choice, but out of fear."

"And most of the time is not what you say anyway, it's how you say it."

"An object at the top can be a wonderful tool, or a horrible safety, depending on how you use it in your initiation."

"...you have to become as proficient at letting it go if your partner initiates the scene and it doesn't quite fit into the contextual scheme of the line in your head."

"How people do something in improvisation is most of the reason people laugh at improvisation."

"Be possessed with what you created and how you are doing it."

"Instead of changing your entire character and its point of view, create something else in the scene the character can react through."

"No, the most supportive thing you can do is get over your pasty self and selfishly make a strong choice in the scene."

"Like it or not, improvisation is choices made by individuals, and individuals need to know what to do."

[Sodie · Rating 5 out of 5]

As someone who is mildly interested in improv, I really enjoyed this book.

The author is fun and is great at explaining his points.

[Lauren Stark · Rating 4 out of 5]

As a college freshman who entered the world of improv this year; I found this book very useful. I liked the direct and scenario driven way Napier made his points. However there were some sections that assumed things that weren't true about improv for me, and that made it hard to connect in some spots. Overall though the book had important tools, useful exercises and strives to empower people to do improv without leaning on the crutch of fear, and I feel better for having read it.

[Rob Moore · Rating 3 out of 5]

Definitely a book I'll want to come back to. I kind of shy away from people who focus too much on the "there are no rules in improv!" message...well duh! That being said, there was a lot of thought-provoking moments in this book and I especially appreciated the middle of the book where Napier walks, chapter by chapter, through a scene and how to make it successful. I can definitely see why this is considered a core text for improvisers.

[Steve Dragon · Rating 3 out of 5]

This book inspires me to go out there and improvise. It makes me want to gather some friends, look up some exercises and start. Do something, anything. Just begin. I think it’s a really cool mix of practical advice on what to do, more philosophical ideas on how to think and interesting insights into professional improv and theatre.

The book ends with this diary/journal of Mick Napier staging a show and it’s absolutely brilliant to read through. It’s beautiful.

[Sam Caldwell · Rating 3 out of 5]

The writing is very unpolished (dare I say improvisational?). The physics and sciency bits fell a bit flat for me, including the entire chapter relating improv to the second law of thermodynamics. That said, the advice rang true, and I liked that the books provides exercises you can do at home.

[Eddie Quintana · Rating 5 out of 5]

I disagreed with so many of the ideas in this book, but it really challenged me to think about WHY I found myself disagreeing with it. I think Napier does a great job of explaining his vision for improv and a great roadmap for achieving it. The exercises and tips for auditioning were excellent.

[Brad · Rating 3 out of 5]

Jesus taught in parables, so why not Mick Napier? He also uses lots of hypothetical examples, commenting on them snarkily as if they were actual improv performances. He demands improvisers to unlearn the rules they've learned, while also giving a list of strongly suggested do-nots that he insists are not rules. He writes in a talky, informal tone that can be distracting. He often tries to anticipate what the reader might be thinking or the judgments the reader might be passing. But underneath all the awkwardness is some fine wisdom for the performer.m Most of these things are better learned in a class or through experience, but this book provides some great sign posts and refreshers.


Improvise. Scene Inside and Out by Mick Napier
“Proper execution of The Rules in an improve scene does not necessarily yield a good improv scene. Furthermore not breaking any of the Rules does not necessarily yield a good improv scene.” (9)
“Adherence to the Rules does not equal a good scene. Thinking about The Rules can equal a bad scene. The Rules of improv are irrelevant to good improv.” (12)
“The Rules seem to make sense. In an awful scene, The Rules look like the reason the scene is bad, so it seems logical to dwell on them.” (13)
“At the top of an improv scene, in the first crucial moments, it is far more important that you do something than what it is you actually do… / It will snap you out of your head. And that’s half the battle. It will allow you to make a choice out of power as opposed to fear.” (15-16)
“be very selfish at the top of your scene. Do something, anything for yourself first. You’ll have plenty of time to ‘support your partner’ later.” (16)
“the times I’ve felt most supported in an improv scene is when my partner took care of herself first…I feel supported because now I’m on stage with a powerful, playful person who isn’t afraid to take a chance.” (16)
“I feel very supported by power, very unsupported by fear. The best thing you can do to support me in an improv scene is to take care of your own deal first. If you don’t take care of yourself, how the hell are you going to take care of me?...Making that strong move at the top also allows you to…Decalre a position in the scene.” (17)
“Your deal is your personal road map for the scene. Your deal is your guide and you create it. Whatever it is (and it just doesn’t matter what), it has a far better chance of emerging as a result of a bold choice at the very top of the scene than it does if you want for it.” (17)
“It doesn’t leave them waiting for you do to something someday. It catches them off guard and tells them that this isn’t going to be one of those scenes where we ease into and think through it. A strong declaration at the top tells them that you are ready and there’s no time to think. No time for them, and no time for you.” (18)
“How is everything in improvisation. How people do something in improvisation is most of the reason people laugh at improvisation. The line ‘Goat is good eatin’’ may or may not be funny in and of itself. But did you say it as a southerner, someone bored, someone who stutters, someone who’s scared. Someone who jumps every time they say a sentence, someone with a nervous tic? How, how, how? Words are of little impact when not filtered through the how. The how comprises everything from emotion to state of being to character to character attribute to intonation to physical score to point of view. The how is your deal in the scene, the magical road / map for character, created instantaneously, acknowledged thereafter, and played, I said played, furiously.” (25-26)
“It is perhaps the trickiest part of improvisation: Hanging on to what we create and heightening it, or making more of it. There are a few reasons I believe this is hard for people.” (26)
“Take care of yourself first.” (29)
“the most supportive thing you can do is get over your pastry self and selfishly make a strong choice in the scene…If you want to support your partner in an improv scene, give them the gift of your choice. I only feel supported by my partners if they make move, if they do something. If they just stand there and look at me thinking about supporting me, I am absolutely unsupported. The more powerful choice they make, the more I am supported.” (30)
“[The phrase ‘support your partner’] makes for improvisation where people constantly acquiesce their power and never make a move.” (30)
“Your partner’s function is all that they initiate and all that they respond to in response to your choices.” (31)
“For example, as a result of your choices (or choices you have both made) in the scene, your partner’s character is angry t your character (let’s say your character is laughing at him). You can support your partner’s point of view by making him angrier, thereby adding fuel to the fire of your partner’s point of view and helping him to heighten his character. Most of the time through, you are doing this by simultaneously heightening your own point of view (your character laughs at everything your partner’s character does). The more your character laughs at everything his does the angrier your partner’s character becomes. That is the relationship of the scene. That is what the scene is about. That is the game of this scene. It was arrived at through individual choices recognized in self and partner, and heightened because both parties are aware of what each created. This is improv support.” (31)
“Even [if] you don’t initiate, snap into a character or point of view at least an emotional disposition at the very top, right when or slightly before the lights come up.” (33)
“it’s not important what you say as long as you filter it through your point of view.” (34)
“Unfortunately, most silence before a response is not a choice in improvisation. It’s someone that has no game and they are silent out of fear and not power. So if you find yourself in that space, I suggest respnding quickly with something just to snap you out of your head a bit.” (35)
“Good improvisation…It’s finding your deal with another’s individual deal and realizing a common context and surprising from within it.” (47)
“Nowadays, that fashion of exposition [establishing the who, what and where in the first three liens of a scene] reads really stale to an audience and puts an unneeded burden on a scene. The audience knows people don’t talk like that…” (49)
“quite often, justifications come after the second or third exchange in the scene. That’s where the weaker improviser will become uncomfortable with the scene and want to dilute the mystery out of fear; an adult, left-brain need to apply logic and answers to the mystery of the behavior of the scene.” (51)
Justifications to avoid: saying it is a character’s first day at something, or their first time. Phrases like “Every time we/you do [something], such and such happens.” Starting a scene with “I love” or “I hate” which tells rather than shows…and usually isn’t convincing. Saying “This is the best___ ever” or “____ if fun.” (53-54)
“It’s so tempting and so easy o shift your point of view in an improve scene, and ninety-nine percent of the time it pulls the rug out from underneath the scene.” (56)
The third person to enter a scene should agree (in words, emotion and/or character) with the other two. “Think same, not different.” (62)
“When [the first two in a large group scene] utter words, their words become the dominant energy of the scene. And whatever those words are, the other three improvisers will increase their chances of a good group scene if they align themselves with those words.” (68)
“Practice identifying the dominant energy. Practice responding to and acknowledging that energy while staying true to your own initiation at the beginning of the scene.” (71)
If you take recognizable characters and give them a less likely relationship seen on stage (like a husband and wife doing a scene about how much they love each other, rather than arguing): “You’re a step ahead of the audience if they subconsciously or even consciously predict a choice on your part, and you completely surprise them with something other. It gives you a little instant cedibility and probably a better foundation for a funnier, richer, more surprising scene.” (74)

[Ryan · Rating 3 out of 5]

This book really made me appreciate the importance of the whole "If this is true, what else is true" thing that UCB keeps going on about and never (for me) explains clearly enough! He spends so much time explaining its purpose and giving examples that I became very aware of it. It just so happened that we had an improv practice today (the day I read it), and using that lens immediately explained SO MUCH about why one scene works, and why another doesn't. I'll never underestimate that phrase again.

There are also a LOT of useful tips. I actually felt like I learned so much and hopefully we can communicate the lessons well to our improv peers. I was trying to think about how to step up my improv learning from the basic level in the UCB manual and this one provides a very nice list of more advanced tips.

This is probably not a beginning level improv book though. It skims over and challenges a lot of the basic rules of improv. Sometimes he has a point, but I guess I don't agree with it given how useful the basic rules were for me. Also, despite some great parts of the book, I wasn't convinced or impressed by how he kept trying to drag down the traditional improv "rules," or his writing style which felt kinda condescending at times. That said, it's still very readable, I finished it in a day.

[Kelly · Rating 5 out of 5]

This book is about finding your own voice, committing harder, being more confident, and taking care of yourself as the first step in any scene. It has lots of interesting and helpful advice. Napier advocates for choosing strong characters at the beginning of a scene and committing to them. Some of his critics think his style is selfish, but I value a scene partner that makes strong choices. I think I'm on Napier's side.

One of the most interesting parts of the book was completely unexpected. He shares his notes/diary during the months of creation leading up to the show Wicked. Wicked ended up being extremely successful and helped launch the careers of SNL veterans Rachel Dratch and Tina Fey.

Wow, it was crazy to get a front seat view of the entire creative process. I think I learned more from that than anything.

I love how Napier advocates for you. There's lots of great practical advice in this book.

If you're dealing with fear or nerves, I think you might be better off with "Improv Made Easier" by Rich Baker. But if you're looking to take your improv to the next level, or are looking for new perspectives and fresh ideas, this book is for you!

[CS · Rating 4 out of 5]

A great book I would recommend for beginner improvisers. Napier describes a philosophy of improv that both challenges and augments the usual advice taught in improv classes -- the dogma of "yes, and", common pitfalls for improvisers, and the problems that arise when the so-called rules of improv are taught as a list of things not to do. I'm finding it helpful for getting out of my own head and being more "selfish" in my own scenes.

There are some parts of the book that show its age (particularly his advice for women) and I also found the thermodynamics section a little out there and tangential to his point (and this is not because I didn't get it; I'm a physicist by training). That said, I still got a lot out of it and plan to keep it as a reference so I can practice his solo exercises.

[Samuel Pownall · Rating 1 out of 5]

There’s useful tips in this book but unfortunately written by an author with a messiah complex and the arrogance drips off the page. There are 4 absolutely useless pages on the laws of thermodynamics just to make a tortured analogy on the following pages. The misogyny also shines through - some humdingers include ‘Men are labelled as husbands as often as wives’ (how on earth is this relevant) and ‘if women are on a campaign to change male improviser behaviour, they have as great a chance as changing the behaviour of the guy they are in a relationship with’. I really wasn’t surprised when after a google I saw there had been a scandal at Mick Napiers improv courses around the treatment of women.

[Jacob Foster · Rating 5 out of 5]

A book of how to be funny on stage written by a guy who wasn’t a classically trained actor, but just a practical, grounded person with ample experience doing it. Goes through a bunch of scene elements and breaks them down to the minutia, and how to play within them. He also mentions drinking scotch about 90 times which gave it +2 stars.

The last 80 pages were a printout of his 1997 heavily awarded Second City directed show on html code which just happened to have TINA FEY as a background character mentioned a few times, which is hysterical in hindsight.

Recommended to me by Kerry Griffin… good one.

[Alan · Rating 4 out of 5]

I took an ASL class that taught Improv and the experience was good enough it led me to look for whether there were books on this topic. This book covers the broad topic in a similar way, except it tried to de-emphasize the don'ts that characterize other Improv lessons (like don't talk about the past, don't talk about another character) and instead give readers ideas on what to do to avoid pre-thinking and pre-planning out a scene and learning to be selfish. There are similarities, such as the idea of giving information as a gift, of not over-gifting, and of trying to stay in context.

[Elin Isaksson · Rating 4 out of 5]

I skipped the last few chapters because that was more like a diary of Napier's experiences at the Second City and I wasn't super interested in that. This is a great improv-manual. I really like Napier's whole "don't buy into the bullshit"-attitude in this book. His focus on being real and truthful in scenes really speaks to me, as well as his opinions that rules in improv are often counterproductive and dumb. Even if this is the case it's still important to rehearse and train a lot, but focusing more on the reality of the scenes.

[Mary Combrink · Rating 5 out of 5]

I am relatively new to improv, and picked up this book to get more information about the art form. I found it loaded with useful information, and a lot of solo exercises that I’m eager to try. I especially appreciated all the examples of what a beginning improviser might do, and how to move away from that. Would the book be useful for someone well along on their improv journey? Maybe not. But, for someone like me, just starting out, it has a lot of good insights, maybe one or two radical ideas, and a lot of ways to take care of yourself on stage.

[Pol Subirana · Rating 3 out of 5]

Improv and comedy has changed since 2004, so this book could use a revision.

For a book that starts by telling you to scr*w the rules it gives way too many things to follow (aka rules). All topped by a very early 00 sexist look on men vs. women improvisers and an extra chapter on the Laws of thermodinamics that can be reduced to one paragraph.

Takeaways: yes and your own choices as a way to support your partner and the scene, choices should always come from power vs. fear, the chapter on drills to do on your own.

[Kay · Rating 4 out of 5]

provided very succinct, helpful information, with clearly explained examples. improv is all about doing but it's nice to have guidelines and tips written down!

the whole section on women vs. men was unnecessary so i'd recommend skipping altogether. according to the author, "only weak and insecure women care about sexism and think it's relevant," which is a disappointing but unsurprising take (given it's publication in 2004)

that said, the solo exercises are the biggest take away from this book and i'll definitely be trying them out.

[Greg Talbot · Rating 4 out of 5]

Stay present
Make bold choices
Do SOMETHIng!!!
Prepare an emotion or a point of view
Draw out your character to the audience
Stick to your choice
Listen
Be Open


Really solid book. Last week I did an improv show over at Annoyance Theater in Chicago...and even though there's a lot of work to get better it, I felt much more comfortable having flipped through this a few times.

Won't get you the homerun, but will get you to the game. Worth it.

[Seth · Rating 5 out of 5]

This book is a brilliant resource for anyone looking to seriously pursue improvised theater (particularly improvised comedy). It is also an interesting, if a little intimidating, introduction to a unique way to view improv. Not only is it extremely helpful for these reasons, but it also has interesting life advice bits here and there that I truly took to heart. Fantastic book that I look forward to revisiting in the future.

[Vera Angelova · Rating 5 out of 5]

От колко книги от рода "как да живея/общувам/презентирам/преговарям/мисля/... по добре" има нужда човек?
Една. За мен е тази.
Първият път като четох тази книга, тя ме научи как да казвам 'не' на неща, които нямам желание да правя и това да изглежда като най-естественото нещо.
Сега лунатично препрочитах пасажи, усвоявайки ги като съвети за фабулиране, изграждане на обстановка и изграждане на несъвършени персонажи, чийто пропуски обаче стоят като дупки стоят като на перфолента.

[Nico · Rating 5 out of 5]

Eén van de mustreads op gebied van improvisatietheater. Verademend tegengewicht tegen de 'regels' van impro. Interessante inzichten over 'heightening'. Zoals alle Amerikaanse literatuur wel nadruk op 'funny', maar gelukkig met mate. Laatste hoofdstukken over audities en beschrijving wordingsproces van een voorstelling bij SC zijn iets minder interessant, maar voor sommige lezers wellicht juist wel.