Improvisational theatre - Revision history

Nicolas Szilas: /* Systems/Tools using this theory */

2012-01-30T11:07:52Z

Systems/Tools using this theory

← Older revision		Revision as of 13:07, 30 January 2012
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	===Systems/Tools using this theory===		===Systems/Tools using this theory===
	* Research from Sandy Louchart and colleagues on emergent narrative has looked at improvisation theatre as a model for emergent narrative. The concept of distributed drama manager is inspired by how the story unfold in improvisation theatre, although specific rules of improvisation theatre are not implemented in [[~~FearNot~~]].		* Research from Sandy Louchart and colleagues on emergent narrative has looked at improvisation theatre as a model for emergent narrative. The concept of distributed drama manager is inspired by how the story unfold in improvisation theatre, although specific rules of improvisation theatre are not implemented in [[Fearnot]].
	* The concept of late commitment (Swartjes, et al., 2008), which consists of deciding character's attribute or props according to the current situation has been implemented in the IDS system called [[Virtual Storyteller]].		* The concept of late commitment (Swartjes, et al., 2008), which consists of deciding character's attribute or props according to the current situation has been implemented in the IDS system called [[Virtual Storyteller]].
	* Szilas (2005) has proposed a general architecture for IDS in which distributed agents and a drama manager are organized in a non hierarchical manner. This architecture was directly inspired by Improvisation Theatre.		* Szilas (2005) has proposed a general architecture for IDS in which distributed agents and a drama manager are organized in a non hierarchical manner. This architecture was directly inspired by Improvisation Theatre.

Nicolas Szilas: /* Relation with Interactive Storytelling */

2012-01-30T11:07:35Z

Relation with Interactive Storytelling

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	* The story is created dynamically during performance, rather than carefully scripted before the performance.		* The story is created dynamically during performance, rather than carefully scripted before the performance.
	* It is interactive. Interaction occurs at two levels. First, the audience chooses the topic and reacts to it during performance. Second, the actors interact with each other to shape the story.		* It is interactive. Interaction occurs at two levels. First, the audience chooses the topic and reacts to it during performance. Second, the actors interact with each other to shape the story.
	There are several references in the field of IDS to Improvisation (Hayes-Roth, 1994; Aylett and Louchart, 2003; Szilas, 2005; Swartjes et al., 2008; Swartjes and Vromen, ~~2009~~); Tanenbaum and Tanenbaum, 2008; Magerko, et al. 2009). However, there is no obvious mapping between Improvisation and IDS. Is Improvisation a model for emergent narrative? Should we take the coach as a model of a drama manager? should the IDS active user be matched with the audience or the improvisation actor? The difficulties to answer these questions explains why Improvisation Theatre has not served as a detailed model for IDS so far. Nevertheless, several strategies used by improvisational actors, as well as some of the constitutional rules of the improv games may serve as a guideline to design components of IDS.		There are several references in the field of IDS to Improvisation (Hayes-Roth, 1994; Aylett and Louchart, 2003; Szilas, 2005; Swartjes et al., 2008; Swartjes and Vromen, 2007); Tanenbaum and Tanenbaum, 2008; Magerko, et al. 2009). However, there is no obvious mapping between Improvisation and IDS. Is Improvisation a model for emergent narrative? Should we take the coach as a model of a drama manager? should the IDS active user be matched with the audience or the improvisation actor? The difficulties to answer these questions explains why Improvisation Theatre has not served as a detailed model for IDS so far. Nevertheless, several strategies used by improvisational actors, as well as some of the constitutional rules of the improv games may serve as a guideline to design components of IDS.

	Here follows a list of such rules:		Here follows a list of such rules:

Nicolas Szilas: /* Relation with Interactive Storytelling */

2012-01-30T11:07:18Z

Relation with Interactive Storytelling

← Older revision		Revision as of 13:07, 30 January 2012
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	* The story is created dynamically during performance, rather than carefully scripted before the performance.		* The story is created dynamically during performance, rather than carefully scripted before the performance.
	* It is interactive. Interaction occurs at two levels. First, the audience chooses the topic and reacts to it during performance. Second, the actors interact with each other to shape the story.		* It is interactive. Interaction occurs at two levels. First, the audience chooses the topic and reacts to it during performance. Second, the actors interact with each other to shape the story.
	There are several references in the field of IDS to Improvisation (Hayes-Roth, 1994; Aylett and Louchart, 2003; Szilas, 2005; Swartjes et al., 2008; Tanenbaum and Tanenbaum, 2008; Magerko, et al. 2009). However, there is no obvious mapping between Improvisation and IDS. Is Improvisation a model for emergent narrative? Should we take the coach as a model of a drama manager? should the IDS active user be matched with the audience or the improvisation actor? The difficulties to answer these questions explains why Improvisation Theatre has not served as a detailed model for IDS so far. Nevertheless, several strategies used by improvisational actors, as well as some of the constitutional rules of the improv games may serve as a guideline to design components of IDS.		There are several references in the field of IDS to Improvisation (Hayes-Roth, 1994; Aylett and Louchart, 2003; Szilas, 2005; Swartjes et al., 2008; Swartjes and Vromen, 2009); Tanenbaum and Tanenbaum, 2008; Magerko, et al. 2009). However, there is no obvious mapping between Improvisation and IDS. Is Improvisation a model for emergent narrative? Should we take the coach as a model of a drama manager? should the IDS active user be matched with the audience or the improvisation actor? The difficulties to answer these questions explains why Improvisation Theatre has not served as a detailed model for IDS so far. Nevertheless, several strategies used by improvisational actors, as well as some of the constitutional rules of the improv games may serve as a guideline to design components of IDS.

	Here follows a list of such rules:		Here follows a list of such rules:

Nicolas Szilas: /* Relation with Interactive Storytelling */

2012-01-30T11:06:20Z

Relation with Interactive Storytelling

← Older revision		Revision as of 13:06, 30 January 2012
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	Rather than relying of this kind of prescriptive rules, Brian Magerko and his colleagues have investigated experimentally the cognitive processes that occur when actors improvise (Magerko, et al. 2009). They found some general mechanisms such as inferring from what is said, building a game within the scene, or ensuring the reality of the scene. Some of them naturally overlap with the above mentioned prescriptive rules. This research opens the way to a computational simulation of improvisational actors for generating stories according to the user input. However, how this simulation can interact meaningfully with a player is still an open question.		Rather than relying of this kind of prescriptive rules, Brian Magerko and his colleagues have investigated experimentally the cognitive processes that occur when actors improvise (Magerko, et al. 2009). They found some general mechanisms such as inferring from what is said, building a game within the scene, or ensuring the reality of the scene. Some of them naturally overlap with the above mentioned prescriptive rules. This research opens the way to a computational simulation of improvisational actors for generating stories according to the user input. However, how this simulation can interact meaningfully with a player is still an open question.



	===Systems/Tools using this theory===		===Systems/Tools using this theory===

Nicolas Szilas: /* References */

2012-01-30T11:06:07Z

References

← Older revision		Revision as of 13:06, 30 January 2012
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	* Bernardi, P. (1992). Improvisation starters – A collection of 900 Improvisation Situations for the Theater. Betterway Books, Cincinnati, Ohio, 1992.		* Bernardi, P. (1992). Improvisation starters – A collection of 900 Improvisation Situations for the Theater. Betterway Books, Cincinnati, Ohio, 1992.
	* Dramaction (2009). Dramaction. http://www.dramaction.qc.ca/fr/improvisation/histoire-de-la-lni/		* Dramaction (2009). Dramaction. http://www.dramaction.qc.ca/fr/improvisation/histoire-de-la-lni/
	* Swartjes, I. and Vromen, J. (2007). [http://doc.utwente.nl/64461/1/AAAI07_swartjes.pdf Emergent Story Generation: Lessons from Improvisational Theater]. In: AAAI Fall Symposium on Intelligent Narrative Technologies, 9-11 Nov 2007, Arlington, Virginia.
	* Hayes-Roth, B., Sincoff, E., Brownston, L., Huard, R., and Lent, B. (1994). Directed improvisation. Stanford University Report KSL-94-61.		* Hayes-Roth, B., Sincoff, E., Brownston, L., Huard, R., and Lent, B. (1994). Directed improvisation. Stanford University Report KSL-94-61.
	* Johnstone, K. (1992). Impro: Improvisation and the Theatre. New York, New York: Routledge / Theatre Arts Books.		* Johnstone, K. (1992). Impro: Improvisation and the Theatre. New York, New York: Routledge / Theatre Arts Books.
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	* Si, M., Marsella, S. C., Pynadath, D. V. (2009). Directorial Control in a Decision-Theoretic Framework for Interactive Narrative, Proceedings of the 2nd Joint International Conference on Interactive Digital Storytelling: Interactive Storytelling, December 09-11, 2009, Guimarães, Portugal		* Si, M., Marsella, S. C., Pynadath, D. V. (2009). Directorial Control in a Decision-Theoretic Framework for Interactive Narrative, Proceedings of the 2nd Joint International Conference on Interactive Digital Storytelling: Interactive Storytelling, December 09-11, 2009, Guimarães, Portugal
	* Swartjes, I., Kruizinga, E., & Theune, M. (2008). Let's Pretend I Had a Sword: Late Commitment in Emergent Narrative . In U. Spierling & N. Szilas (Eds.), Interactive Storytelling (Vol. 5334, pp. 264–267). Berlin / Heidelberg: Springer.		* Swartjes, I., Kruizinga, E., & Theune, M. (2008). Let's Pretend I Had a Sword: Late Commitment in Emergent Narrative . In U. Spierling & N. Szilas (Eds.), Interactive Storytelling (Vol. 5334, pp. 264–267). Berlin / Heidelberg: Springer.
			* Swartjes, I. and Vromen, J. (2007). [http://doc.utwente.nl/64461/1/AAAI07_swartjes.pdf Emergent Story Generation: Lessons from Improvisational Theater]. In: AAAI Fall Symposium on Intelligent Narrative Technologies, 9-11 Nov 2007, Arlington, Virginia.
	* Szilas, N. (2005). [http://tecfa.unige.ch/perso/szilas/papers/Szilas_IE05.pdf The Future of Interactive Drama]. Australasian Conference on Interactive Entertainment (IE'05), Sydney, Nov. 2005.		* Szilas, N. (2005). [http://tecfa.unige.ch/perso/szilas/papers/Szilas_IE05.pdf The Future of Interactive Drama]. Australasian Conference on Interactive Entertainment (IE'05), Sydney, Nov. 2005.
	* Tanenbaum, J., Tanenbaum, K. (2008). Improvisation and Performance as Models for Interacting with Stories. In: Proceedings of the 1st Joint International Conference on Interactive Digital Storytelling: Interactive Storytelling, Erfurt, Germany, pp. 250-263, 2008.		* Tanenbaum, J., Tanenbaum, K. (2008). Improvisation and Performance as Models for Interacting with Stories. In: Proceedings of the 1st Joint International Conference on Interactive Digital Storytelling: Interactive Storytelling, Erfurt, Germany, pp. 250-263, 2008.

Nicolas Szilas: /* Systems/Tools using this theory */

2012-01-30T11:04:47Z

Systems/Tools using this theory

← Older revision		Revision as of 13:04, 30 January 2012
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	===Systems/Tools using this theory===		===Systems/Tools using this theory===
	* Research from Sandy Louchart and colleagues on emergent narrative has looked at improvisation theatre as a model for emergent narrative. The concept of distributed drama manager is inspired by how the story unfold in improvisation theatre, although specific rules of improvisation theatre are not implemented in [[FearNot]].		* Research from Sandy Louchart and colleagues on emergent narrative has looked at improvisation theatre as a model for emergent narrative. The concept of distributed drama manager is inspired by how the story unfold in improvisation theatre, although specific rules of improvisation theatre are not implemented in [[FearNot]].
	* The concept of late commitment (Swartjes, et al., ~~2009~~), which consists of deciding character's attribute or props according to the current situation has been implemented in the IDS system called [[Virtual Storyteller]].		* The concept of late commitment (Swartjes, et al., 2008), which consists of deciding character's attribute or props according to the current situation has been implemented in the IDS system called [[Virtual Storyteller]].
	* Szilas (2005) has proposed a general architecture for IDS in which distributed agents and a drama manager are organized in a non hierarchical manner. This architecture was directly inspired by Improvisation Theatre.		* Szilas (2005) has proposed a general architecture for IDS in which distributed agents and a drama manager are organized in a non hierarchical manner. This architecture was directly inspired by Improvisation Theatre.
	This idea that agent's parameters and beliefs should be changed according to a narrative constraint is implemented in the fitting algorithms used in [[Thespian]] (Si, et al., 2009).		This idea that agent's parameters and beliefs should be changed according to a narrative constraint is implemented in the fitting algorithms used in [[Thespian]] (Si, et al., 2009).

Nicolas Szilas: /* Systems/Tools using this theory */

2012-01-30T11:04:34Z

Systems/Tools using this theory

← Older revision		Revision as of 13:04, 30 January 2012
Line 55:		Line 55:
	===Systems/Tools using this theory===		===Systems/Tools using this theory===
	* Research from Sandy Louchart and colleagues on emergent narrative has looked at improvisation theatre as a model for emergent narrative. The concept of distributed drama manager is inspired by how the story unfold in improvisation theatre, although specific rules of improvisation theatre are not implemented in [[FearNot]].		* Research from Sandy Louchart and colleagues on emergent narrative has looked at improvisation theatre as a model for emergent narrative. The concept of distributed drama manager is inspired by how the story unfold in improvisation theatre, although specific rules of improvisation theatre are not implemented in [[FearNot]].
	* The concept of late commitment (~~Swartjets@@@@~~), which consists of deciding character's attribute or props according to the current situation has been implemented in the IDS system called [[Virtual Storyteller]].		* The concept of late commitment (Swartjes, et al., 2009), which consists of deciding character's attribute or props according to the current situation has been implemented in the IDS system called [[Virtual Storyteller]].
	* Szilas (2005) has proposed a general architecture for IDS in which distributed agents and a drama manager are organized in a non hierarchical manner. This architecture was directly inspired by Improvisation Theatre.		* Szilas (2005) has proposed a general architecture for IDS in which distributed agents and a drama manager are organized in a non hierarchical manner. This architecture was directly inspired by Improvisation Theatre.
	This idea that agent's parameters and beliefs should be changed according to a narrative constraint is implemented in the fitting algorithms used in [[Thespian]] (Si, et al., 2009).		This idea that agent's parameters and beliefs should be changed according to a narrative constraint is implemented in the fitting algorithms used in [[Thespian]] (Si, et al., 2009).

Nicolas Szilas: /* Systems/Tools using this theory */

2012-01-30T11:04:15Z

Systems/Tools using this theory

← Older revision		Revision as of 13:04, 30 January 2012
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	===Systems/Tools using this theory===		===Systems/Tools using this theory===
	* Research from Sandy Louchart and colleagues on emergent narrative has looked at improvisation theatre as a model for emergent narrative. The concept of distributed drama manager is inspired by how the story unfold in improvisation theatre, although specific rules of improvisation theatre are not implemented in [FearNot]].		* Research from Sandy Louchart and colleagues on emergent narrative has looked at improvisation theatre as a model for emergent narrative. The concept of distributed drama manager is inspired by how the story unfold in improvisation theatre, although specific rules of improvisation theatre are not implemented in [[FearNot]].
	* The concept of late commitment, which consists of deciding character's attribute or props according to the current situation has been implemented in the IDS system called [[Virtual Storyteller]].		* The concept of late commitment (Swartjets@@@@), which consists of deciding character's attribute or props according to the current situation has been implemented in the IDS system called [[Virtual Storyteller]].
	* Szilas (2005) has proposed a general architecture for IDS in which distributed agents and a drama manager are organized in a non hierarchical manner. This architecture was directly inspired by Improvisation Theatre.		* Szilas (2005) has proposed a general architecture for IDS in which distributed agents and a drama manager are organized in a non hierarchical manner. This architecture was directly inspired by Improvisation Theatre.
	This idea that agent's parameters and beliefs should be changed according to a narrative constraint is implemented in the fitting algorithms used in [[Thespian]] (Si, et al., 2009).		This idea that agent's parameters and beliefs should be changed according to a narrative constraint is implemented in the fitting algorithms used in [[Thespian]] (Si, et al., 2009).
	* Brian Magerko and colleagues have implemented Improvisation Theatre rules into a micro-agent (Baumer and Magerko, 2010).		* Brian Magerko and colleagues have implemented Improvisation Theatre rules into a micro-agent (Baumer and Magerko, 2010).

	===Links===		===Links===

Nicolas Szilas: /* References */

2012-01-30T11:03:12Z

References

← Older revision		Revision as of 13:03, 30 January 2012
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	* Bernardi, P. (1992). Improvisation starters – A collection of 900 Improvisation Situations for the Theater. Betterway Books, Cincinnati, Ohio, 1992.		* Bernardi, P. (1992). Improvisation starters – A collection of 900 Improvisation Situations for the Theater. Betterway Books, Cincinnati, Ohio, 1992.
	* Dramaction (2009). Dramaction. http://www.dramaction.qc.ca/fr/improvisation/histoire-de-la-lni/		* Dramaction (2009). Dramaction. http://www.dramaction.qc.ca/fr/improvisation/histoire-de-la-lni/
	* [http://~~www~~.~~google~~.~~com~~/~~url?sa=t&rct=j&q=&esrc=s&source=web&cd=~~1~~&ved=0CCcQFjAA&url=http%3A%2F%2Fwww.aaai.org%2FPapers%2FSymposia%2FFall%2F2007%2FFS-07-05%2FFS07-05-024~~.pdf~~&ei=WXgmT8z-LYiChQeptNGRBA&usg=AFQjCNFfhXjPGOaqQPOxtUsfGwMrIEUlVQ&sig2=xNGd45JGx7gjCR6QRW9A-Q~~ Emergent Story Generation: Lessons from Improvisational Theater]		* Swartjes, I. and Vromen, J. (2007). [http://doc.utwente.nl/64461/1/AAAI07_swartjes.pdf Emergent Story Generation: Lessons from Improvisational Theater]. In: AAAI Fall Symposium on Intelligent Narrative Technologies, 9-11 Nov 2007, Arlington, Virginia.
	* Hayes-Roth, B., Sincoff, E., Brownston, L., Huard, R., and Lent, B. (1994). Directed improvisation. Stanford University Report KSL-94-61.		* Hayes-Roth, B., Sincoff, E., Brownston, L., Huard, R., and Lent, B. (1994). Directed improvisation. Stanford University Report KSL-94-61.
	* Johnstone, K. (1992). Impro: Improvisation and the Theatre. New York, New York: Routledge / Theatre Arts Books.		* Johnstone, K. (1992). Impro: Improvisation and the Theatre. New York, New York: Routledge / Theatre Arts Books.

Nicolas Szilas: /* References */

2012-01-30T11:01:33Z

References

← Older revision		Revision as of 13:01, 30 January 2012
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	* Bernardi, P. (1992). Improvisation starters – A collection of 900 Improvisation Situations for the Theater. Betterway Books, Cincinnati, Ohio, 1992.		* Bernardi, P. (1992). Improvisation starters – A collection of 900 Improvisation Situations for the Theater. Betterway Books, Cincinnati, Ohio, 1992.
	* Dramaction (2009). Dramaction. http://www.dramaction.qc.ca/fr/improvisation/histoire-de-la-lni/		* Dramaction (2009). Dramaction. http://www.dramaction.qc.ca/fr/improvisation/histoire-de-la-lni/
	* Emergent Story Generation: Lessons from Improvisational Theater		* [http://www.google.com/url?sa=t&rct=j&q=&esrc=s&source=web&cd=1&ved=0CCcQFjAA&url=http%3A%2F%2Fwww.aaai.org%2FPapers%2FSymposia%2FFall%2F2007%2FFS-07-05%2FFS07-05-024.pdf&ei=WXgmT8z-LYiChQeptNGRBA&usg=AFQjCNFfhXjPGOaqQPOxtUsfGwMrIEUlVQ&sig2=xNGd45JGx7gjCR6QRW9A-Q Emergent Story Generation: Lessons from Improvisational Theater]
	* Hayes-Roth, B., Sincoff, E., Brownston, L., Huard, R., and Lent, B. (1994). Directed improvisation. Stanford University Report KSL-94-61.		* Hayes-Roth, B., Sincoff, E., Brownston, L., Huard, R., and Lent, B. (1994). Directed improvisation. Stanford University Report KSL-94-61.
	* Johnstone, K. (1992). Impro: Improvisation and the Theatre. New York, New York: Routledge / Theatre Arts Books.		* Johnstone, K. (1992). Impro: Improvisation and the Theatre. New York, New York: Routledge / Theatre Arts Books.