Impro for Storytellers (1999) is the essential follow-up to Keith Johnstone’s seminal work, Impro: Improvisation and the Theatre
. While his first book introduced the world to "status" and "spontaneity," this volume focuses on the mechanics of narrative and the specific games—such as Theatresports Gorilla Theatre
—that Johnstone developed to make improv a compelling spectator sport. Core Philosophies and Techniques
Johnstone’s approach is rooted in removing the intellectual "watcher at the gate" that inhibits adult creativity. Be More Boring:
Johnstone famously tells students to "be average" or "be boring". By not trying to be clever or funny, actors act more logically in the moment, which paradoxically leads to more authentic and often funnier scenes. Status Transactions:
Every human interaction is a see-saw of power. Johnstone teaches that understanding how to raise or lower status through body language (like keeping the head still while speaking) is the key to realistic character relationships. Narrative Reincorporation:
Instead of searching for "new" ideas, Johnstone suggests "walking backwards." Good storytellers look back at earlier established "platforms" and reincorporate those elements to create a satisfying circular structure. Failing Gracefully:
The book aims to take "self-obsessed beginners" and teach them to "fail with joy". When an improviser embraces failure, the audience supports them more, transforming anxiety into playful energy. Key Sections and Content
The book serves as a practical manual for both performers and teachers, containing: Theatresports & Formats: Detailed rules for competitive improv formats like (an elimination game) and Gorilla Theatre (where directors are punished by the audience). Spontaneity Exercises: keith johnstone impro for storytellers pdf
Activities like "Naming Things Wrongly" to break cognitive patterns and "What Comes Next" to train instinctive response. Teaching Advice:
Insights into being a high-status teacher who provides a safe environment for students to "regress" into a playful, creative state.
The Improv Handbook: The Ultimate Guide to Improvising in Comedy, Theatre, and Beyond
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Keith Johnstone’s Impro for Storytellers transformed how I see improvisation — not as tricks, but as radical generosity: listening deeply, accepting offers, and letting story emerge from the unknown. His work reminds storytellers that confidence comes from practice, not safety; that status and spontaneity are tools to reveal human truth; and that the best scenes are grown, not scripted. If you want to write braver, perform freer, or simply pay closer attention to the people onstage (or in life), Johnstone’s principles are essential reading. Seeking a PDF? Look for legitimate editions and support the author’s legacy by choosing authorized sources.
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Keith Johnstone’s "Impro for Storytellers" is widely considered the definitive manual for anyone looking to master the art of spontaneous creativity. While many people search for a "Keith Johnstone Impro for Storytellers PDF" to study his methods, the true value lies in the transformative philosophy Johnstone presents within its pages.
As the follow-up to his seminal work "Impro," this book shifts the focus from basic acting techniques to the sophisticated mechanics of narrative. Johnstone argues that storytelling is not a rare gift but a natural human capacity that is often suppressed by formal education and the fear of being "unoriginal." Impro for Storytellers (1999) is the essential follow-up
The core of the book revolves around several key pillars that have redefined modern improvisational theater. One of the most famous is the concept of Status. Johnstone observed that every human interaction is a see-saw of power. By teaching performers to consciously manipulate their status—playing high when they feel low, or vice versa—he provides a tool for creating instant, compelling drama without the need for a pre-written script.
Another essential element is the idea of "Spontaneity" over "Originality." Johnstone famously encourages his students to be "boring" and to stay "obvious." He believes that when we try to be clever, we stall the narrative. However, when we follow the most obvious next step, the story flows naturally and often leads to a more profound and surprising conclusion than anything a calculated mind could produce.
The book also serves as a practical toolkit. It is filled with hundreds of exercises and games—such as "Narrative Bridge," "Word at a Time," and "Notes from the Wings"—designed to break down the psychological barriers that lead to "blocking." Blocking is the act of rejecting an idea offered by a partner, and in Johnstone’s world, it is the ultimate sin of storytelling. By practicing "Accepting," improvisers learn to build collaborative worlds where every contribution is a building block for the next beat.
Furthermore, "Impro for Storytellers" delves into the structure of the "Circle of Expectations." Johnstone explains that a story is essentially a series of broken routines. By establishing a normal routine and then introducing an interruption, the storyteller creates a "re-incorporation" point that provides the audience with a sense of satisfying closure.
For educators, directors, and writers, this book is more than just a guide to theater; it is a psychological deep dive into how the human mind constructs meaning. Whether you are looking for a digital copy to reference on the go or a physical book to mark up with notes, the lessons within are essential for anyone dedicated to the craft of performance.
Ultimately, Keith Johnstone reminds us that the best stories aren't invented—they are discovered. By letting go of the need to control the outcome and instead focusing on the immediate presence of our partners, we tap into a collective imagination that is far more powerful than any individual effort. "Impro for Storytellers" remains a vibrant, challenging, and deeply funny roadmap for anyone brave enough to step into the unknown.
This is a comprehensive guide to "Keith Johnstone: Impro for Storytellers".
Since the work exists primarily as a dedicated manual (published in 1999, separate from his famous first book Impro), this guide covers the core concepts, chapter breakdowns, practical exercises, and how to approach the text if you are using a PDF version for study or workshops. shy people became tyrants
In Impro, Johnstone describes having students wear neutral masks. Within minutes, shy people became tyrants, and loud people became timid maids. The mask reveals hidden character traits.
Your low-tech version:
Write a scene where your protagonist has to pretend to be their opposite (a coward acts brave; a cheater acts honest). Let the mask change them by the end.
The search is so common because the book is often out of stock in physical form, and digital copies are locked behind university libraries or expensive retailer markups. Additionally, many improv workshops cherry-pick chapters from Impro for Storytellers and pass them off as original handouts.
Johnstone famously posits that every social interaction is a negotiation of status. We are either raising our status (playing high) or lowering it (playing low).
How this helps you write dialogue: Stop writing "on the nose" lines. Instead, decide which character has the high status in the scene. Watch what happens when a High Status boss whispers (trying to keep power) vs. a Low Status employee shouts (trying to grab power). Status shifts are plot.
If you truly can’t find Impro for Storytellers, get the original Impro. Chapter 5: “Storytelling” contains 80% of what you’re looking for. In that chapter, Johnstone reveals:
Johnstone treats the storyteller as a distinct "Mask." You are not "you" when you tell a story; you are the vessel for the narrative. He encourages a detached, almost trance-like state where the story tells itself through you.
If you are using the PDF for a workshop or self-study, try these three essential exercises defined in the book:
