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Improvisation can be an enjoyable experience for anyone, whether they are watching or participating. "Whose Line is it, Anyway" has gained popularity both in Britain and the U.S. for the same reason that live audiences love any improv- it is spontaneous and provides opportunity for the audience to feel like a part of the show.

My love of improv first began as a college theater student. I was in an absurdist production of Ubu Roi, but we were making some changes. Rather than being set in Alfred Jarry's absurdist France, our version took place in the modern United States. We made the majority of the changes throughout the rehearsal process, and practiced improv as a means of encouraging creativity in our character development. Improv did not feel like acting exercises, however; it was a game. We laughed and developed not only our characters, but our acting, as well.

Shortly after Ubu, a friend of mine began an improv troupe. We learned warm-ups and performance games- all of which made us stronger actors and actresses. As performers, we had an equal chance to shine, as there were no leading roles, and everyone was responsible for creating their own characters (with a bit of guidance from the audience, of course). We performed on campus and at various organizations in the community, but improv did not make us feel the pressure associated with most acting experiences. There were no lines to learn, we were a team that trusted each other implicitly, and it was just plain fun.

Audiences love improv for two reasons- witnessing the creative process and involvement. Even with my background in improv, I find myself becoming fascinated each time I watch "Whose Line," because I am amazed by the cast's ability to create something new off the tops of their heads (especially when Wayne Brady sings- I cannot do improvised singing!). There is still a bit of doubt in the back of my mind as to whether or not their scenes are really made up, although I know that audience members have asked me the very same question after a performance. The audience also enjoys the feeling of participation. They may be called upon to contribute a scene or they may be called onstage. Either way, this is the proof that many audience members need that improv truly is made up in front of the audience. This proof increases the excitement of the performance. The involvement also helps individuals within the audience to have their own moments in the spotlight.

While improv can be for anyone, parents must beware of venues which they might take their children to. Improv can become quite dirty, with or without the performer intending to make a scene perverted. This can vary by audience participation, circumstances, or interpretation. However, improv can be appropriate when in the right venue. I have used improv as an acting tool with children as young as third grade. At this age, children love to use their imaginations, but if they are too young, they have difficulty maintaining the rules of some of the improv games, and are likely to get out of control. At young ages, children are already in the habit of improvisational acting. When they play house, Barbies, or act out scenes involving their favorite superhero, children are participating in improv. By playing improv games with them, they can learn to work as a team in order to maintain their creativity as they become older.

In short, improv is enjoyable for young and old, audience and performer, clean-minded or perverted. Its ability to encourage creativity in people of all ages and backgrounds will help it to remain a popular form of entertainment for years to come.

Learn more about this author, Genenda Milloy.
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