"Literally, 'improvisation' indicates the ability to compose at the same moment in which we perform. In other words, it consists in reducing to a minimum, or even abolishing, the time to prepare, try out and correct. It has to do with the speed of production. What we appreciate in an improvisation, when it is exhibited, is the immediate quality of the result. This means that the many ways of improvising, the 'games' of improvised dramaturgies (dramaturgy of the actor and the whole performance; of the text and the action; of the blending of narrative elements and digressions, of action, music and words, etc.) can be a goal in themselves, but they can also be a means to become acquainted with the basic rules and the elementary principles that preside over scenic composition.
In this sense the practices of improvisation may become mirrors that reflect the range of theatrical knowledge at the elementary level of the craft. Doing an improvisation shows off the mastery of a technical patrimony. Improvisation involves knowing, defining and revitalising a baggage of personal or collective information so deeply incorporated that it may be used without thinking. It is the same baggage of procedures and knowledge that also serve for the planned work. "(Ista | 2005 | Presentation: IMPROVISATION: MEMORY, REPETITION, DISCONTINUITY)
:: note :: . . . improvisation . . . mirrors . . .