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Truth In Comedy: The Manual For Improvisation Paperback – May 5 1994

26 customer reviews

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  • Truth In Comedy: The Manual For Improvisation
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  • Improvise.: Scene from the Inside Out
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  • The Improv Handbook: The Ultimate Guide to Improvising in Comedy, Theatre, and Beyond
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Product Details

  • Paperback: 250 pages
  • Publisher: Meriwether Publishing; 1 edition (May 5 1994)
  • Language: English
  • ISBN-10: 1566080037
  • ISBN-13: 978-1566080033
  • Product Dimensions: 22 x 14 x 1 cm
  • Shipping Weight: 159 g
  • Average Customer Review: 3.8 out of 5 stars  See all reviews (26 customer reviews)
  • Amazon Bestsellers Rank: #125,649 in Books (See Top 100 in Books)
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Product Description

From Amazon

Who would have ever thought that learning the finer points of improvisation could be such fun? The "Harold," an innovative improvisational tool, helped Saturday Night Live's Mike Myers and Chris Farley, George Wendt (Norm on "Cheers") and many other actors on the road to TV and film stardom. Now it is described fully in this new book for the benefit of other would-be actors and comics. The "Harold" is a form of competitive improv involving six or seven players. They take a theme suggestion from the audience and free-associate on the theme, creating a series of rapid-fire one-liners that build into totally unpredictable skits with hilarious results. The teams compete with scoring based on applause. The "Harold" is a fun way to "loosen up" and learn to think quickly, build continuity, develop characterizations and sharpen humor.

From Booklist

The brain wave of three improv gurus, this book is a complete guide to improvisation for both novice and professional actors and comics. An outgrowth of the successful curriculum initiated by two of the authors at the ImprovOlympic, it describes improvisational tools and techniques, from the "Pattern Game" and "The Hot Spot" to the innovative and sophisticated "Harold." Far from an ordinary how-to handbook, this clearly composed authority on comedic improvisation stresses intuitive thinking, listening skills, continuity, characterization, and, most important, teamwork. Numerous testimonials from reputed actors strengthen the text's credibility, already secured by the expertise of its authorship. Sample scenes and games take hilarious twists while illustrating the inevitability of connections and the importance of justification among team members. The authors' primary focus is the achievement of the group mind, and the book's chapter construction necessarily culminates with that creative misnomer known as the Harold. The manual is flexibly designed to allow for easy performance in both acting classes and professional settings and will prove a valuable reference source to actors and directors alike. Kathleen Chrysler

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Customer Reviews

3.8 out of 5 stars

Most helpful customer reviews

1 of 1 people found the following review helpful By Kevin L. Nenstiel on July 23 2002
Format: Paperback
This book is primarily dedicated to "The Harold," the standard of long-form improv. It's a difficult form to master, but one that can impress, entertain, and even touch both audience and actors profoundly on stage. There is a shortage of quick, easy games in this book. Even those that are detailed exist to help build on the Harold. This book is really meant for those who are ready to graduate to the next level of improv.
Many people don't like the Harold, but all long-form comedy improv, at some level, uses some variant of the Harold. If this isn't what you want, spend your time and money finding out more about Paul Sills' Story Theater (which is, of course, not covered in this book). Be warned, though, Story Theater often isn't funny, and appeals more to art afficianadoes than "WLiiA" fans, and isn't as renumerative.
Most of the book is given over to an explanation, not of performance standards or guidelines, but of the philosophy underlying improv in general, and the Harold in particular. If that's not what you want, go get another book. The standards in this book, moreover, are really intended for larger groups. The four-player format of "WLiiA" would be unable to keep up with a full Harold. Be sure you have enough actors ready to do the next big thing before you sink your money into this book.
This isn't a beginner's text for amateurs, it's for those who have a committment to creating improvisational art. If that's you, this is your book. If not, you're in a bad way spending money on this puppy. Know yourself and your team before you invest your earnings on this slim volume.
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1 of 1 people found the following review helpful By Alexander Zalben on Nov. 8 2001
Format: Paperback
So frankly, most acting books, or books that try to tell you how to "do" art make me want to hit myself over the head, repeatedly. The first half of this book is no different.
It spends a lot of time initially setting ideas up, and talking about what a great guy Del Close was (which he was, but still, it gets to be a bit much). But it all starts to pay off in the second half, when we get into the specifics of the Harold.
Harold is a form of improv unlike any that I've ever seen and participated in, and not to be glib, but it takes improv to the level of art. This book clearly sets out exactly how to perform the Harold: what the idea behind it was; how to interact with your teammates on stage; and how to put together the final product. It's no substitute for actually getting up and doing it, but it's not meant to be.
The book is straightforward, easy to read, and pretty short. Its style is that of an elaborated outline, which makes it simple to follow, as well as to check back for relevant parts when you need them in rehearsal or class.
Truth in Comedy is of course a must have for anyone taking or thinking about taking improv classes. For everyone else, it's a quick read that might make you think differently about improv as an art form. Also, it's pretty funny. Yeah, that too.
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1 of 1 people found the following review helpful By P. T. Connelly on Nov. 21 1999
Format: Paperback
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 audience by complete surprise. I've found myself frequently recounting shows I've seen to uninterested or confused expressions, while the night before I was doubled over in laughter.
So, to sum it all up, if you're interested in learning Harold (especially if you're a student at the Improv Olympic) or picking up some very useful improv tools, give this book a gander. And if you have an old copy lying around, take another look. It's rare that I open this without finding something to inspire me or pull me out of an improv rut.
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1 of 1 people found the following review helpful By Reba on March 21 2002
Format: Paperback
I found this book a waste of time. It was a real chore to get through as the authors spend half of the book blowing sunshine up Del Close's _______( fill in for yourself). The HAROLD is a form of improvisation for the self - centered. As I was reading its description I could ask myself only TWO questions: As a performer -why would I want to alienate my audience with my own self-indulgence? As an audience member - why would I want to watch something like this?. The authors discuss this improv form as though it is some sort of mystical, exclussive cult activity. No thanks. Keith Johnstone's IMPRO and IMPRO FOR STORY TELLERS are the only way to go if you are interested in improvisation that your audience will remember long after they've left the theatre. If you are more interested in the inner workings of your own mind - stay home and do a Harold with your friends.
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