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Truth in Comedy: The Manual of Improvisation

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Title: Truth in Comedy: The Manual of Improvisation
by Charna Halpern, Del Close, Kim Howard Johnson
ISBN: 1-56608-003-7
Publisher: Meriwether Pub
Pub. Date: April, 1994
Format: Paperback
Volumes: 1
List Price(USD): $17.95
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Average Customer Rating: 3.87 (23 reviews)

Customer Reviews

Rating: 2
Summary: If who you know makes you funny...
Comment: the author of this book is a laugh riot. I had a hard time getting past the name dropping and self congradulatory, over the top story telling. The information that comes later in the book is pretty good, having studied with some of the people Ms. Halpern refers to as if she gave them birth. You are never, however, going to learn the "Harold" from a book. Go take a class and get out on stage. Stage time is everything.

Rating: 5
Summary: A good place to start and stop
Comment: This is THE book. If you'll only listen to its ideas about support and listening, this is the only text instruction you'll ever need. Then if you really want to test the waters go to Improv Olympic in Chicago or LA and take a class. If that's not possible, find a group of those like you who is willing to dare and find yourselves a coach who has been trained in long form. Learning methods of long form improv can change how you live and interact with others in a positive way. Challenge yourself to get over the fears involved with improvising. This is THE book.

Rating: 3
Summary: Chemical Engineering 403; Prereqs - none;
Comment: This book has one major gaff. It tries to squeeeeeeze in the improv basics, while it teaches the advanced "Harold". I mean, improv basics are scaterred throughout this book like debris in an O'Hare downdraft. For example, environment, objects and emotion aren't covered until the end of the book. What's a new improviser to think?

I wish the progression of this book was more logical: Improv basics, short scenes, long form.

Long form improv is made up of short scenes, despite the mantra of disgruntled long formers who blast short form as "jokey". Long form is an advanced skill, with a foundation in the basics of short scenes, like it or not. (Long form proponents who pooh-pooh short form are a lot like haute chefs who scorn vegetables and meat.) Likewise, the authors here become so carried away with the magic of associations between long form scenes, that most of their confused neophyte readers would barely be able label who they are in a single scene.

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