Suzette M. Farnham (Section 01)
Dominic L. Poccia (Section 01)
Much of the thinking we do in college is applied to activities that involve large amounts of reworking and editing. But in many endeavors, efforts that are apparently more spontaneous are required. Thinking in improvisational modes requires several special techniques, and yet is done by virtually all of us at times. Improvisation can be used to solve emergency problems or create art at the highest levels. The preparation for successful improvisation is often enormous, but editing must occur just before the act of execution. We will explore improvisational thinking with the aid of several skilled practitioners as guest lecturers and performers. We will ask how improvisational thinking differs from other ways of thinking and how it is similar. We will inquire into the variety of techniques used in improvisation, drawing from diverse fields. We will explore the relationship between improvisation and creativity. We will learn how to naturally incorporate improvisational strategies into our explorations of the liberal arts.
Improvisation is a process not a product. It involves creating in the moment without the opportunity to edit later, instead evaluating during its execution. Improvisation is difficult, rewarding and unavoidable. It requires mastery of many automatic subroutines as raw material and extreme attention to one’s surroundings and inner voice to integrate these subroutines successfully. Improvisation is one major way of thinking. It can be routine or creative and can be practiced and learned. It requires risk-taking and courage, openness and trust. Good improvisation is strongly connected to the creative life. Improvisational skills are intrinsically multidisciplinary and can be used to advantage in many fields where they are often unacknowledged. Improvisation is also multicultural in practice. Therefore experience with improvisational thinking is essential to a complete liberal arts education.
Students will read articles and books on improvisation and creativity, listen to and critique two outside improvisational performances, write evaluations of 10-12 in-class performances, and prepare a substantial term paper on one improvisational activity in depth. About half of the classes are devoted to discussion of texts. Students will also have several opportunities to improvise and self-critique (without grading in order to provide a safe environment for exploration and risk-taking).
Fall semester. Professor Poccia.