Most notable is its use by the troupes of the commedia dell'arte, a form of masked comedy that originated in Italy. Improvisation as an approach to acting formed an important part of the Russian theatre practitioner Konstantin Stanislavski's 'system' of actor training, which he developed from the 1910s onwards.
Late in 1910, the playwright Maxim Gorky invited Stanislavski to join him in Capri, where they discussed training and Stanislavski's emerging "grammar" of acting.
In the United States, it was promoted by Viola Spolin, after working with Neva Boyd at a Hull House in Chicago, Illinois (Spolin was Boyd's student from 1924 to 1927).
In the United States, it was promoted by Viola Spolin, after working with Neva Boyd at a Hull House in Chicago, Illinois (Spolin was Boyd's student from 1924 to 1927).
Stanislavski's use was extended further in the approaches to acting developed by his students, Michael Chekhov and Maria Knebel. In the United Kingdom, the use of improvisation was pioneered by Joan Littlewood from the 1930s onwards and, later, by Keith Johnstone and Clive Barker.
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New York: Theatre Arts, 1987.
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London and New York: Routledge, 2008.
London and New York: Routledge, 2010.
Turner (2014). Improvisation is also used to cover up if an actor or actress makes a mistake. ==Physiological effects== Speaking or acting in front of an audience is a stressful situation, which causes an increased heart rate. In a 2017 study on American university students, actors of various experience levels all showed similarly elevated heart rates throughout their performances; this agrees with previous studies on professional and amateur actors' heart rates.
A 2017 study done in an American University looking at actors' stress by measuring heart-rate showed individual heart-rates rose right before the performance began for those actors opening.
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