Johnstone’s negative educational experiences as well as his learning in the world of theater not only led him to teaching improv but also illuminated many aspects of human nature to him. I found the chapter on status especially interesting from the perspectives of an actor, improviser, and a human. I was intrigued by the fact Johnstone began with status to introduce his improv teaching rather than spontaneity, specifically “saying yes”, like Madson does. It signaled to me that Johnstone believes that everything put on a stage is grounded in status; it drives everything from relationships, to characters, to dialogue, to movement. While I’ve done status exercises, it’s never been something at the forefront of my mind in an improv scene, although now
Johnstone’s negative educational experiences as well as his learning in the world of theater not only led him to teaching improv but also illuminated many aspects of human nature to him. I found the chapter on status especially interesting from the perspectives of an actor, improviser, and a human. I was intrigued by the fact Johnstone began with status to introduce his improv teaching rather than spontaneity, specifically “saying yes”, like Madson does. It signaled to me that Johnstone believes that everything put on a stage is grounded in status; it drives everything from relationships, to characters, to dialogue, to movement. While I’ve done status exercises, it’s never been something at the forefront of my mind in an improv scene, although now