Imprology's public classes are called the Far Games and teaches improvisation through 7 key topics:



This syllabus can be studied in a cycle of 7 weekly evening classes (21 hours) or 2 weekends (20 hours). The same course progression is used for each level (beginner, intermediate, advanced) at an increasingly demanding pace.

1) Watching
This cession will show you how to:
- Understand the necessity (and experience the joy!) of being in the present;
- Relax and work with all your senses to stay aware of your surroundings;
- Use randomness to stay alert;
- Use serendipity to start telling stories inspired by the moment;
- Redirect your train of thought to become "part of the solution".

We routinely project ourselves into a representation of the near futures in an attempt to predict outcomes. But staying in the present is what makes improvisers capable of perceiving and responding to their surroundings rather than retiring into their own head in search of something clever to say.

2) Committing
This cession will show you how to:
- Use your voice and body to invest the space honestly and unrepentantly;
- Work as an ensemble.
- Cultivate clarity to facilitate the emergence of the collective;
- Commit to other players, the space and the action.

Group improvisers have to commit to the collective and take responsibility if a story is to emerge between them. But failure is far easier to digest if we know that we didn't try our best, or better still, if we can blame it on someone else. So failure has to be turned from a humiliating episode into a path to knowledge if we are to progress.

3) Listening
This cession will show you how to:
- Depend upon other players to create and forward a scene spontaneously.
- Find the game between players through serendipity, reaction and repetition.
- Endow other players with elements of their characters.
- Move a scene or story one step at a time.

Instinctively, we fell that a disagreement is more entertaining to watch than an agreement. Yet players must agree on the premises of a scene and on each new move if they are to go anywhere. Before we can work on dynamic tensions, working in agreement has to become second nature. Also, pilling-up stumili is not quite the same as telling a story, and we most learn to slow down, re-incorporate and take it one step at a time. All of that simply takes a lot of listening.

4) Responding
This cession will show you how to:
- Feed your partners without snowing them under offers;
- Use honest emotional responses to forward the action;
- Facilitate the narrative process and validate other players;
- Use dynamic tensions to bring density to the story.

To give sense to chaos we must learn to justify every new move, and waive each event, including "mistakes", back into the fabric of the story. Being honest with our emotions, staying alert to others and sharing the load throughout are key elements of the process.

5) Driving the focus
This cession will show you how to:
- Use visualisation to become emotionally involved in the scene;
- Establish and re-incorporate elements of the story.
- Serve the scene and put space and people before ideas.
- Organise scenes and stories around protagonist(s).

Each member of an improvisation collective is co-writing and co-directing the work. We must all know how to drive and quench the audience's attention in order to tell a satisfying story. Counter intuitively, less is more, strait is best and honesty is required.

6) Articulating
This cession will show you how to:
- Smell the turns and stay committed to the story.
- Join the dots, articulating existing elements rather than adding new one.
- Use territorial stage placements to clarify the action.
- Accommodate pivotal moments.

It's rather tempting for improvised story tellers in search of guarantied outcomes to apply recipes. The risk is to produce formulated material, which will only be detected by an educated eye. The reward is to offer a consistent output, impressive enough to please the crowds. If the very structure of stories is to be experimented with, ground rules needs to be simple, rare and effective.

7) Taking a journey
This cession will show you how to:
- Be moved and changed by the action;
- Give closure to scenes and stories;
- Stay alert, aware and ready;
- Use simple narrative flavours as a lose frame to facilitate collaboration.

Improvisers need to constantly re-awake the explorer living inside the creature of habits, and push journeys to their conclusion. Good stories transform their protagonists and good performances transform their performers and their audiences.