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Previous studies have confirmed the potential benefits of participating in theatrical improvisation, including improved mental health, well-being, skills and strategy development. This study aims to explore the experiences of improv (a subset of theatrical improvisation) for autistic, non-autistic, yet neurodivergent and neurotypical people. In particular, it explores whether participants believe that there have been any benefits from participating in improv.

Twenty adult participants were recruited using snowball sampling. Semi-structured interviews were conducted and analysed using interpretative phenomenological analysis (IPA) and qualitative content analysis (QCA). IPA explored the autistic lived experience during improv participation, while QCA sought to identify the benefits gained.

Implementing IPA allowed for the benefits of improv to be embedded into autistic lived experience. This was aggregated into two themes: “life beyond improv” and “social worlds negative impact”. Findings from QCA found five themes: “creativity and opportunities: the arts and workplace”; “acceptance, cognitive flexibility and rolling with it”; “interpersonal, social and communication skills and human connection”; “gains in mental health, quality of life and wellbeing”; and for just autistic participants, “‘I've gone full autistic’ (and can learn why neurotypicals are like they are)”.

To the best of the authors’ knowledge, this is a novel study area that has not been investigated previously.

In this paper, the authors engage with embodied critical literacies through an exploration of the possibilities provided by the use of improvisational comedy (improv) in the classroom. The purpose of this paper is to extend understandings of critical literacy to consider how embodied critical literacy may be transformative for both individual students and classroom assemblages. The research question asks: how might improv, as an embodied literacy practice, open up spaces for critical literacy as embodied critical encounter in classroom assemblages?

The authors used case study methodology informed by post-qualitative research methods, and in particular, posthuman assemblage theory. Assemblage theory views the world as taking shape through the ever-shifting associations among human and more-than-human members of an assemblage. The case study took place in a sixth-grade classroom with 28 11-year-olds over a four-month period of time. Audio and video recordings provided the empirical materials for analysis. Using Bruno Latour’s three stages for rhizomatic analysis of an assemblage, the authors mapped the movements of participants in an assemblage; noted associations among those participants; and asked questions about the larger meanings of those associations.

In the sixth-grade classroom, the dynamic and emerging relations of the scene work and post-scene discussion animate some of the ways in which the practice of classroom improv can serve as a pedagogy that involves students in embodied critical literacy. In this paper, the authors are working with an understanding of critical literacy as embodied. In embodied critical literacy, the body becomes a resource for that attunes students to matters of critical importance through encounter. With this embodied attunement, transformation through critical literacy becomes a possibility.

The case study methodology used for this study allowed for a fine-grained analysis of a particular moment in one classroom. Because of this particularity, the findings of this study are not considered to be universally generalizable. However, educators may take the findings of this study and consider their application in their own contexts, whether that be the pedagogical context of a classroom or the context of the empirical study of language and literacy education. The concept of embodied literacies, while advocated in current literacy research, may not be easy to imagine, in terms of classroom practice. This paper provides an example of how embodied critical literacies might look, sound and unfold in a classroom setting. It also provides ideas for classroom teachers considering working with improv in their language arts classrooms.

The concept of embodied literacies, while advocated in current literacy research, may not be easy to imagine, in terms of classroom practice. This paper provides an example of how embodied critical literacies might look, sound and unfold in a classroom setting. It also provides ideas for classroom teachers considering working with improv in their language arts classrooms.

The authors argue that providing students with critical encounters is an important enterprise for 21st-century classrooms and improv is one means for doing so. As an embodied literacy practice, improv in the classroom teaches students to listen to/with other players in the improv scene, become attuned to their movements and move responsively with those players and the audience. It opens up spaces for critically reflecting on ways of being and doing, which, in turn, may inform students’ movements in further associations with each other both in class and outside the walls of their school.

In this paper, building on work conducted by Author 1, the authors extend traditional notions of critical literacy. The authors advocate for developing critical learning opportunities, such as classroom improv, which can actively engages students in critical encounter. In this vein, rather than viewing critical literacy as critical framing that requires distancing between the learner and the topic, the posthuman critical literacy the authors put forward engages the learner in connecting with others, reflecting on those relations, and in doing so, being transformed. That is, through critical encounter, rather than only enacting transformation on texts and/or material contexts, learners themselves are transformed.

This chapter is about quantum storytelling and improvisation and how to use quantum storytelling as an improv theater for social change. Quantum storytelling, in its fore-caring, is about producing an ethics of care where none exists. In the quantum storytelling theater for change, we envision a stage with human and non-human actors (animals, plants, quantum wave/particles) and ways to collapse waves of quantum potentiality into new possibilities for human survival, for posthumanist survival.

We will assert that this happens through improvisation: something called “quantum storytelling with improv.” Our example for this chapter is a theater company we created in Las Cruces, NM, called “Veterans Theater” in which improv is the performance approach. Boje teaches in the belly of the beast (the Business College) at New Mexico State University, a course called “Leadership Is Theater in Society” that uses improv. It is not only about improv but it is also based on Theater of the Oppressed (Boal, 1979, 2002) and Improvisation for the Theater (Spolin, 1983); it also draws from Pedagogy of the Oppressed (Freire, 1970) and Rules for Radicals (Alinsky, 1971), both of which call on improv as a process for social change. Improv is a vital leadership skill in complex polycultural systems, which is the future of business. Leadership theory is dead. Get over it! Or, resurrect it with improv!

Many scholars have noted the critical skills needed for leaders in the face of volatility, uncertainty, complexity, and ambiguity (VUCA). These skills include self-awareness, listening, communication, adaptability, critical thinking, and collaboration. Students who are able to develop these skills would be better equipped to lead in settings where the answers—and even the questions—are unknown. This paper details an approach to developing leadership skills to prepare undergraduate leadership students for a VUCA world, through the use of a classroom workshop on improvisational comedy. I have refined this improv workshop over sixteen course iterations spanning the past nine semesters, and students commonly point to the workshop as one of the most challenging and rewarding class sessions of the course. In this paper I review the literature that has informed my approach, explain the learning objectives addressed by the improv workshop, describe the approach I use, share quantitative and qualitative data that illustrate the success of the approach, and share my lessons learned, all in service of supporting colleagues who wish to try this approach.

This chapter briefly discusses the postmodern critique of developmental psychology and then presents a Vygotskian-influenced alternative understanding of development as a non-linear, relational, improvised activity engaged in by groupings of people. This reconstruction of development was the basis of a professional development project in which early childhood teachers participated in a 6-week improv workshop. The goal of the project was to reconnect the teachers with their ability to improvise or to participate in process-oriented, meaning-making activity. The project was based on the hypothesis that developing teachers’ ability to improvise would give them an alternative to relating to children as being on, or off, a developmental trajectory.

The Noise Upstairs (NU) is a monthly freely improvised (‘free improv’) music night with a home above a café bar in a mixed/student suburb of Manchester. This chapter uses the perspective of critical improvisation studies to reflect on aspects of a performance ethnography carried out by the authors, both of whom are performers and one of whom (Hunter) curates the NU night for the NU collective. Free improv is a post-1960s set of meta-musical practices related to but contesting both ‘jazz’, ‘free jazz’, ‘new music’ and ‘experimental’ music. In it, real-time co-creation and negotiation of social-and-musical relationships are paramount. Consequently, the question of whether a politics of sorts is enacted in the dialogic and multilateral socialities generated in free improv is a substantive one. In addressing it, the authors deploy some concepts from the ‘affective turn’ in social theory to review how the general milieu and out-of-the-hat ensemble-formation approach adopted at NU in fact enables a ‘minor’ micro-political practice of participating differently to be established there. Arising from that discussion, and in line with a key theme of the wider PARTISPACE study, the authors then discuss whether that politics might meaningfully (and usefully) be articulated in terms of ‘democracy’.

This paper discusses the parallels between business strategy and improvisational comedy.

This is an opinion column.

This column examines certain surprising commonalities between business and strategy on the one hand, and improvisational comedy on the other. Strategy, like improv, is creative reaction to a reality that you cannot control (the actions of other people), in real time.

Injects useful ideas from an unlikely source into the process of business strategy.

To explain how comedy can be effectively used in business.

Literature review covering: need for comedy; advantages of using comedy; applicability to business; tips for implementation; and contemporary examples.

There are two immediate benefits of applying comedy in a business setting. First, there is a natural physiological response experienced by both the sender and the receiver. Second, appropriate and effective use of comedy allows for a “humanizing” effect that creates a connection between the speaker and the audience. When applying comedy concepts to business, the speaker may utilize the three components of comedy or apply improvisation principles. However, the presenter should use comedy that is carefully calibrated and without using offensive material. If the individual is interested in applying comedy principles in business, it is recommended that they utilize one of three types of professional organizations that are available to help tailor messages to fit objectives.

The application of the ideas found in this article will help a speaker develop rapport with his/her audience, keeping them more alert and focused on what the speaker is desiring to communicate to them.

Comedy as a topic of business research inquiry for the purpose of improving productivity and performance has received very limited attention in relation to other topic areas. This article is intended to draw interest to this underappreciated subject for both additional research and practical management behavior.

For many years, I have been recommending Reflex (published by Borland International) as a tool for analyzing financial and statistical data. My primary reason for this recommendation has been that Reflex allowed me to cross‐tabulate data. If you want to look at the year's financial data broken down, for example, by month‐by cost center‐by line item, you are essentially dictating that you want to do a crosstab. Reflex has a built‐in “view” that allows you to construct a two dimensional table that, with data limiting capabilities, yields a surprisingly diverse and multidimensional look at your data. In fact, I installed a financial reporting system in a library back in 1987 that was based on Reflex. In 1993 the library finally changed over to a commercial reporting system (costing thousands of dollars) that replaced Reflex. Yet, the old system provided a fairly flexible reporting and analysis system.