Unlock Your Creative Potential with Truth in Comedy: A Comprehensive Guide to Improvisational Comedy

Zack Brower: Does this book have moments of self-indulgence? Yes. Does it drop needless quotes so that the authors can make clear they have famous friends? Absolutely. Does it place too much importance on the Harold? That's up to you, but I think so.

However, there is no getting around the fact that this is a foundational book for improv as a medium of performance. Del & Charna obviously care about improv, and while this is a book that you'll get the most from if you read it very early into your performing career, there are pieces of advice that are important no matter your experience, and which serve as great reminders even after you're performing for an audience.

If you're serious about improv, this isn't the only book you'll read. But it should absolutely be on your shelf.

United States on Oct 14, 2022

Danilo Forlini: Livro recomendadíssimo para todo mundo que quer compreender as bases da improvisação teatral e do formato harold de improvisação, muito comum na cena da impro norte-americana. Se você se interessa por improviso também recomendo a leitura do livro "Impro" de Keith Johnstone e, em português, "Improvisação como espetáculo", da Mariana Muniz.

Brazil on Aug 02, 2021

Keith: It's difficult to see just why this rambling egotistical rant is so often recommended for improvisers. It is little worse than useless for beginners to improv. OK, it's a light fun read but tells virtually nothing that will help you as a beginner. The pompous authors spend most of their time looking in their mirror admiring their imagined genius. Go straight for Mike Napier who knows what he's talking about. As an improviser with ten year's experience, I can recommend Improvise unreservedly.

United Kingdom on Jul 28, 2021

A. C.: Après avoir lu les ouvrages de Christophe Tournier, Keith Johnstone et Viola Spolin, je me dis que Truth in Comedy aurait été une bien meilleure première lecture.

A la différence des autres auteurs qui parlent de principes souvent plus abstraits (Johnstone), à l'attention d'un professeur (Spolin) ou de résumés d'idées (Tournier), Truth in Comedy parle aux comédiens et tacle les égos de chacun en recentrant le débat autour d'une notion : quelles techniques et outils utiliser pour faire un bon spectacle d'impro (plus particulièrement le Harold, mais les conseils s'adaptent aux autres formats).

L'ouvrage est concis et justifie toujours les raisons pour lesquelles il conseille telle ou telle approche.

France on Sep 18, 2017

chris leary: I've taken two improv classes and I really enjoyed it! The problem is that sometimes you might not understand what an instructor is trying to get across to you because you are so nervous. The class environment is high- energy and if you have anxiety in this kind of a situation, like I do sometimes, then this book is a must when you are away from the class. I have the UCB comedy workbook, which I highly recommend. I would recommend getting this manual, if you buy nothing else. 'Truth in Comedy' simply,and clearly, heads you in the right direction right away; at least it did for me. Actually you are probably better off in buying whatever combination of improv guides which you choose. If you are planning on taking an improv class; get this book and read it first or in conjunction with the class. The more of the book that you get through while you are in the early stages of the class, the better. I had an "idea" of what improv was before I took the class, and I ended up being wrong about what I thought. This will act as a kind of compass for you; so that if you have an instructor who is not so good, or she or he is simply working against the time constraints of the class, you can get...

United States on Mar 27, 2017

mogvult: Like many people who are viewing this product you probably want to buy it because you've been recommended it as being some sort of improv Bible. Indeed it does have some very interesting and core principles of improv that anyone will find useful, however it is so full with rambling personal anecdotes and filler that the good stuff is lost behind the noise. The main points could have been condensed into bullet points over three or four sides of A4 easily. By all means buy it but be prepared to extract the relevant information out yourself .

United Kingdom on Nov 18, 2016

Equestrienne DivaEquestrienne Diva: This book is the absolute bible for Improv. Whether you're taking your very first Improv class, or are a seasoned performer, you will find that referring back to this book is absolutely a must. Charna and Del (RIP) are gold standard directors in the industry, as such the information that is imparted is something you will use through your Improv career.

The funny anecdotal information along with the full discussion of "The Harold" form of Improv is much appreciated. The book does not become stagnant at any point. This is why it remains as the gold standard.

The director for our troupe also offers classes for beginning Improv students. This is the first text book that is requisite, there is also "recommended" reading, but "Truth in Comedy" is a requirement, and for a good reason.Review Additional information

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United States on May 30, 2016

Guitton Sébastien: Un bon livre d'impro reprenant les bases de l'improvisation. Une vision assez américaine qui diffère de ce que j'ai pu apprendre en France, donc très bien pour changer de vu.
Le livre parle de la Harold (un format long d'improvisation inventé par Del Close) mais surtout dans les 20 dernières pages, les autres pages sont généralistes.
Les chapitres sont très variés avec à la fin de chacun un récapitulatif des points important qui est très bon pour les mémoriser.
Un livre que je recommande donc pour une approche américaine de l'impro et découvrir la Harold.

France on Apr 12, 2013

P. T. Connelly: Truth in Comedy starts off with a rather immodest amount of name dropping and self congratulating, but after those first few chapters, things take off.
The book is intended to be a rough guide to teaching and performing "Harold," the signature improvisation form of the Improv Olympic theater in Chicago. While the text focuses heavily on the structure of the form, it also holds page after page of advice and tools for any improviser or actor. The lessons in agreement, trust (in yourself and others), and teamwork can be used in any improv form (shortform or longform). And it definitely can teach us actors a thing or two about performing a scripted show.
One of my few complaints about the book is it lacks concreteness. The author alludes to the phenomenon of group mind, the beauty of connections, and the wonder of "finding Harold." Despite giving examples, the reader is left with a "you had to be there" feeling, which, unfortunately, I don't think there's a way around. Harold is very much a "you had to be there" experience for both audience and performer. It's difficult to capture in words and in print the joy of seeing a spontaneous occurrence that takes both the performer and...

United States on Nov 22, 1999