Improv Nation
From the best-selling author of Fosse, a sweeping yet intimate—and often hilarious—history of a uniquely American art form that has never been more popular. At the height of the McCarthy era, an experimental theater troupe set up shop in a bar near the University of Chicago. Via word-of-mouth, astonished crowds packed the ad-hoc venue to see its unscripted, interactive, consciousness-raising style. From this unlikely seed grew the Second City, the massively influential comedy theater troupe, and its offshoots—the Groundlings, Upright Citizens Brigade, SNL, and a slew of others.   Sam Wasson charts the meteoric rise of improv in this richly reported, scene-driven narrative that, like its subject, moves fast and digs deep. He shows us the chance meeting at a train station between Mike Nichols and Elaine May. We hang out at the after-hours bar Dan Aykroyd opened so that friends like John Belushi, Bill Murray, and Gilda Radner would always have a home. We go behind the scenes of landmark entertainments from The Graduate to Caddyshack, The Forty-Year Old Virgin to The Colbert Report. Along the way, we commune with a host of pioneers—Mike Nichols and Harold Ramis, Dustin Hoffman, Chevy Chase, Steve Carell, Amy Poehler, Alan Arkin, Tina Fey, Judd Apatow, and many more. With signature verve and nuance, Wasson shows why improv deserves to be considered the great American art form of the last half-century—and the most influential one today.    

Improv Nation Details

TitleImprov Nation
Author
ReleaseDec 5th, 2017
PublisherEamon Dolan/Houghton Mifflin Harcourt
ISBN-139780544557208
Rating
GenreNonfiction, History, Humor, Comedy, Plays, Theatre

Improv Nation Review

  • Stewart Tame
    January 1, 1970
    Full disclosure: I won a free ARC of this book in a Goodreads giveaway. As you’d surmise, this is a history of the improv movement in the USA. Wasson presents it as an American artform--yes, there are antecedents in European traditions, but nothing quite like improv as the term is commonly understood. Anyway, he makes a persuasive case, but whether you accept it as American or not, the history--Nichols & May, Second City, the Groundlings, Saturday Night Live, SCTV, This is Spinal Tap, Stephe Full disclosure: I won a free ARC of this book in a Goodreads giveaway. As you’d surmise, this is a history of the improv movement in the USA. Wasson presents it as an American artform--yes, there are antecedents in European traditions, but nothing quite like improv as the term is commonly understood. Anyway, he makes a persuasive case, but whether you accept it as American or not, the history--Nichols & May, Second City, the Groundlings, Saturday Night Live, SCTV, This is Spinal Tap, Stephen Colbert, and more--is fascinating.The book is a bit on the fragmentary side, a necessity when dealing with events unfolding in several parts of the country at more or less the same time. But that made the book more interesting for me. I enjoyed seeing the flow, how different people and events fit together. And I enjoyed getting to know legendary teachers like Del Close and Viola Spolin. I’ve long been a student of the history of comedy, so this book was right up my alley. Recommended!
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  • Dave
    January 1, 1970
    Wasson's Improv Nation traces the American art of improvisational theater from its workshop beginnings in the Fifties through its influences on such movies as the Graduate and to the great Improv theaters of Second City in Chicago and Toronto and the Groundlings in Los Angeles. In the Seventies under the direction of Lorne Michaels, the amazing talents of John Belushi, Dan Akroyd, Bill Murray, Gilda Radner, and Jane Curtin became the foundation for a new kind of television: Saturday Night Live, Wasson's Improv Nation traces the American art of improvisational theater from its workshop beginnings in the Fifties through its influences on such movies as the Graduate and to the great Improv theaters of Second City in Chicago and Toronto and the Groundlings in Los Angeles. In the Seventies under the direction of Lorne Michaels, the amazing talents of John Belushi, Dan Akroyd, Bill Murray, Gilda Radner, and Jane Curtin became the foundation for a new kind of television: Saturday Night Live, the one tv show that was worth staying up for. And, then with he success of Animal House, Meatballs, and Jake and Elwood, the Blues Brothers, the counterculture comedy went mainstream. Watson traces the lineage through Chris Farley, Tina Fey, and other modern day players. Today, many of theater games that make up Improv are well known, but at one time it was not so. Wasson dies an absolutely amazing job of painstakingly chronicling this history. In fact, there are times when you feel fact-overload as a reader, particularly at times when what's being chronicled are actors and producers you have only a passing familiarity with. There are many different actors discussed in different generations. Overall, What a fantastic work, despite the fact that it sometimes seemed to be too thorough.
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  • Hannah Petosa
    January 1, 1970
    I can’t even begin to describe how much this book means to me. When I first started reading it, I assumed it would be the history of improv. However, this was way more than just a history book. This is the story (or should I say, stories) of artists we have come to know and love and their passion for improvisation. As an improviser myself, I can say that yes I did know a lot of the information already written in my book. But, this book made me feel like I personally knew the legends I read so mu I can’t even begin to describe how much this book means to me. When I first started reading it, I assumed it would be the history of improv. However, this was way more than just a history book. This is the story (or should I say, stories) of artists we have come to know and love and their passion for improvisation. As an improviser myself, I can say that yes I did know a lot of the information already written in my book. But, this book made me feel like I personally knew the legends I read so much about. Along with Wasson’s writing style, he is exceptionally talented at intertwining the everyday lives of my improv gurus.Anyone with a passion for improv comedy should read this. I know that I have big dreams and this book makes my dreams seem like a reality. Every improv success story becomes so much more relatable through Wasson’s words.
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  • Andrei Alupului
    January 1, 1970
    really solid and entertaining history - the notes section alone is a trove of cool stuff to follow through on, videos to check out, interviews to read, etc. the writing gets a lil clumsy i think, proportionate to the author's enthusiasm. like based on how he described some of the sctv crew's parties i could tell they were his favs cause it got a little cringey reading it - and then in the afterword it's like yep, they were his favs. but honestly there's also something kind of lovely about that, really solid and entertaining history - the notes section alone is a trove of cool stuff to follow through on, videos to check out, interviews to read, etc. the writing gets a lil clumsy i think, proportionate to the author's enthusiasm. like based on how he described some of the sctv crew's parties i could tell they were his favs cause it got a little cringey reading it - and then in the afterword it's like yep, they were his favs. but honestly there's also something kind of lovely about that, i appreciate revealing earnestness more than detached cynicism and lord knows the latter is easier and my escape hatch through life. anyway! this is really a wonderful history, i'm sure there are the usual complaints to be had about omissions or generalizations or etc in certain points but for me it filled a lot of gaps and was also a total pleasure. additionally it reminded me why i love doing and seeing improv so much, how it became an obsession for me as it has for so many. i think this is a good book for improvisers to give to their loved ones in the hopes of creating a better understanding in that way. i'm glad it exists!
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  • Mary
    January 1, 1970
    Unlike the quirky creators of the art of improv and the many improvisors about whom the author so beautifully and lovingly writes, all of whom seem to know just what to say on the spur of the moment, I find myself at a loss for words to describe just how much I enjoyed this extraordinarily good book. So let me just say that, f I could give it more than five stars, I would gladly do so.
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  • Evan Kostelka
    January 1, 1970
    I didn't have a large knowledge of older improv comedians going into this book, but after reading the book I see the progression from Mike & Elaine to Will Ferrell. The author presented the material energetically and in some cases, dramatically, leaving me hanging to read how the story ended. I thought the beginning was a little slow, but once he gets into the Second City era, the names and movies started to become familiar to me and I enjoyed the book a lot more.
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  • Lyndsay West
    January 1, 1970
    Here's an excerpt from my review of this book on my blog. You can check out the rest of the review here: http://humpdayhardbacks.blogspot.com/... Stepping on my soapbox for a sec! Improv has significantly improved my life, and if you’re on the fence about taking a class, DO IT. It puts you back in touch with the imaginative, vulnerable, and curious parts of yourself that shone more readily as a child. It improves your quick-thinking skills, teaches you how to communicate better, and allows you t Here's an excerpt from my review of this book on my blog. You can check out the rest of the review here: http://humpdayhardbacks.blogspot.com/... Stepping on my soapbox for a sec! Improv has significantly improved my life, and if you’re on the fence about taking a class, DO IT. It puts you back in touch with the imaginative, vulnerable, and curious parts of yourself that shone more readily as a child. It improves your quick-thinking skills, teaches you how to communicate better, and allows you to comfortably trust your impulses. Above all, it’s a blast, and you’re usually surrounded by very funny, kind, supportive people. Alright, stepping off. My interest in improv led me to Improv Nation: How We Made A Great American Art by Sam Wasson. Wasson brings us back to the roots of improvisation before its practitioners even knew what "it" was or what to call “it”. I use these terms loosely because the beauty of improv is that it’s a hotbed of experimentation. It’s a uniquely nebulous form because the possibilities are endless. Over the years, various improvisers have taken their interpretation of the form and founded theaters. Improv Nation focuses mainly on the evolution of Second City in Chicago. Wasson’s biggest asset and biggest downfall is the number of players he’s dealing with. There have been so many talented and pivotal performers, writers, and instructors over the course of improv’s history, forcing the book to explode in a million different directions simultaneously. Try talking about SCTV (Second City TV) in depth while you talk about Harold Ramis’ relationship with Bill Murray in Caddyshack, a film largely reliant on Murray’s improvisations. Try talking about Del Close teaching Wiccan-inspired improv classes while the UCB troupe comes together elsewhere. It’s a lot. The vastness of the material can come across as frantic or recycled. Sometimes I want to hear more details on a particularly interesting offshoot; sometimes I feel like I’ve grasped the gist and I don’t need to hear it again packaged in a different person. But who can blame a guy for trying? Wasson aggregated so much information and kept the reader up to date with how media, cultural events, and the political climate influenced the styles of the players and the theaters every step of the way. I’m a sucker for inside scoop, and Improv Nation presents hot gossip on a platter. Steve Carell brought Judd Apatow The Forty-Year Old Virgin based on a character he gravitated towards in improv scenes. Del Closes’ infamous drug use made Second City’s whipped cream bills outrageously high because of the nitrous oxide. Stephen Colbert was ten when his father and two brothers died, and his resulting insecurities helped fuel his interest in The Colbert Report. Several movies that we know and love were created primarily through improvisational techniques. Etc. Do any of the following people interest you: John Belushi, Tina Fey, Amy Poehler, Amy Sedaris, Matt Walsh, Adam McKay, Chris Farley? The name-dropping goes on and on. I learned plenty about people whose names I recognized and expanded my theatrical palette by tuning into new names I should have known all along, like Mike Nichols and Elaine May.
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  • David
    January 1, 1970
    "They were creating constantly, and without the help of lighting, costumes, sets, script, or even story. In or out of the theater, Shepherd had never seen such interconnection. These people were all working together, like a family, to alchemize empty space into art."Rating: 5/5Quotes:"Every kid assumes he has a secret identity," Close would say, "and if you could just find the magic word, the godlike powers would indeed burst forth.""There are two worlds. Even as a boy, he knew that. In one, you "They were creating constantly, and without the help of lighting, costumes, sets, script, or even story. In or out of the theater, Shepherd had never seen such interconnection. These people were all working together, like a family, to alchemize empty space into art."Rating: 5/5Quotes:"Every kid assumes he has a secret identity," Close would say, "and if you could just find the magic word, the godlike powers would indeed burst forth.""There are two worlds. Even as a boy, he knew that. In one, you have to wake up early and go to school. You must do your homework. You must do what they tell you to do. It doesn’t matter who you are or what you want; you have to follow the rules. In the other, you can be a cloud.""Comedy's an art. Satire's propaganda. It's an attempt to have an intellectual effect on the audience instead of a cellular effect.""Spontaneity was a counterattack, the artistic Left's minefield under the battleships of prepackaged mass communication, the cultural equivalent of the military industrial complex, which, since the end of World War II, had metastasized.""Death is not important. Life is important. And life is eternal, and life is now.""There is no failure in result; there is only failure in process.""Even if it's exaggerated," he said, "comedy has to represent truthful human behavior. We have to see you. We have to see ourselves.""I look at improvising as a prolonged game of chess," he said. "There's an opening gambit with your pawn in a complex game I have with one character, and lots of side games with other characters, and another game with myself—and in each game you make all these tiny, tiny moves that get you to the endgame.""My book ends there, but its story is still a work in progress. I leave it to someone else—to you, to everyone, really—to write the next installment. And I do mean you, whoever you are. Because as any experienced improviser will tell you, every audience member watching the show is improvising too."
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  • Gregory Butera
    January 1, 1970
    This is the hilarious story of America’s largest dysfunctional family, since it seems everyone really has worked with nearly everyone else in the improv comedy world. If you have any interest in improv comedy or comedians or the process of creating humor this is a must read. I just love the work of so many of the folks included in this volume. These men and women have made me laugh and have made the world a more bearable place. I’ve read other books about SNL and comedians and this tied so much This is the hilarious story of America’s largest dysfunctional family, since it seems everyone really has worked with nearly everyone else in the improv comedy world. If you have any interest in improv comedy or comedians or the process of creating humor this is a must read. I just love the work of so many of the folks included in this volume. These men and women have made me laugh and have made the world a more bearable place. I’ve read other books about SNL and comedians and this tied so much together for me. It is a fascinating history of improvisation and its many mothers and fathers and crazy stepchildren. From the early beginnings of theater games in LA, the Chicago improv scene and the successes of Nichols and May, through Second City, SNL, SCTV, the Committee, ImprovOlympics, the Groundlings, Upright Citizens Brigade, and many lesser known offshoots and troops across the country, right up through the Colbert Report. I’ve enjoyed watching these folks as they succeed and fail, as they come into our homes via TV or the local movie theater, and imagining all the fun they must have been having, how they all seemed to know each other. Because they did. They were roommates and in touring companies and taking improv classes before they themselves became great. They were all in this troop or another, doing their Yes, ands and their Harold’s and bombing and killing and then starring in the next Christopher Guest mockumentary. The author did lengthy amounts of research and had a great deal of access to the right people. Well written and the stories are a lot of fun. My only beef is sometimes there would be a single paragraph that was chronologically in the right section of the book but was clearly written in connection with a previous story in a different year band/chapter. It felt disjointed coming on those bits of anecdotes without context. But a minor quibble. I really want to give this five stars but I’m stingy with that kind of praise about a book. But this is a solid 4/4.5 at minimum. Because Wow.
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  • Steve Lionel
    January 1, 1970
    Until I read Improv Nation, I had not realized how many comedians/actors I was familiar with had connections to Chicago's Second City. Sam Wasson starts in the 1940s with the birth of improvisational comedy and Viola Spolin and Del Close who taught classes in what was later to be called improv. We later meet Mike Nichols and Elaine May, who remain central to the story through the decades, but also many more comedians and others who flitted in and out of Chicago's improv troupes.While I was famil Until I read Improv Nation, I had not realized how many comedians/actors I was familiar with had connections to Chicago's Second City. Sam Wasson starts in the 1940s with the birth of improvisational comedy and Viola Spolin and Del Close who taught classes in what was later to be called improv. We later meet Mike Nichols and Elaine May, who remain central to the story through the decades, but also many more comedians and others who flitted in and out of Chicago's improv troupes.While I was familiar with Nichols and May as comics, I had forgotten that they were also movie directors and screenwriters. Nichols had great success as a director ("The Graduate" and many more), May did not (cf. "Ishtar"). But behind the scenes, May's screenwriting talents saved movies for which she did not get credit, including "The Graduate".What fascinated me about Improv Nation was seeing the comics as people, often destitute and begging for any job. Some became successful (for example, Stephen Colbert), some a bit too successful and flamed out (John Belushi). The early deaths of several prominent comics (Belushi, John Candy, Gilda Radner) weighed heavily on those who survived.I had never before heard of Spolin and Close, but that's because they were always backstage, guiding the comics we came to know and love. Del Close was himself a fascinating character, and I understand there's another book about him which I may seek out.Overall I enjoyed Wasson's tale immensely, more so than I expected, but I noted that in his telling everyone was brilliant and I began to wonder if it was really true. The book is arranged chronologically, and towards the end it becomes somewhat spotty with very short paragraphs and jumping around. It's a very dense book with a huge story to tell. The actual comedy is a relatively small part of the story - the personal relationships are out front. I loved it.
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  • Michael Brown
    January 1, 1970
    The author tried real hard to cover everything. Each section covered a group of years. In each section were various chapters that covered either groups, players, events or all of them. Too much time was spent at times on trivial points that seemed to not be continued later or part of further treatments of improv. Lots of personal data was provided and again often over and over again. The main theme was the growth of improve in the US following the Korean War and we learn about the small starts i The author tried real hard to cover everything. Each section covered a group of years. In each section were various chapters that covered either groups, players, events or all of them. Too much time was spent at times on trivial points that seemed to not be continued later or part of further treatments of improv. Lots of personal data was provided and again often over and over again. The main theme was the growth of improve in the US following the Korean War and we learn about the small starts in St. Louis MO, LA and San Francisco, Cleveland, Seattle, Chicago, Boston, DC, New York, Toronto, Edmundton and other places. Each gets some coverage but the most important action centers are Chicago and New York/LA. Second City and SNL become the big draws for improve style theater with SCTV adding in. We meet the greats and the basically unknowns. So many names meant nothing to me as I could not place a face with the person described. And the picture section was so small and mainly group shots without a context to shows or movies that so many of those listed are just names without acknowledgement. The efforts of movies to use improve augmented the small screen shows as many players moved from one to the other and back. Overall and long and detailed read that had too much crammed into one volume.
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  • James
    January 1, 1970
    From the birth to the current status of the art of improvisation which Sam Wasson believes is a true American art form like jazz. He goes from the inception created by a mix of European acting ethics and abstract realism that comes from the inner self ... no rules, just feel. It morphs under the tutelage of different innovators and stylists and has become what we basically see 'comedy' as today. Reading this is a bit of a chore. I'm a big fan of Wasson's previous bios on directors Blake Edwards, From the birth to the current status of the art of improvisation which Sam Wasson believes is a true American art form like jazz. He goes from the inception created by a mix of European acting ethics and abstract realism that comes from the inner self ... no rules, just feel. It morphs under the tutelage of different innovators and stylists and has become what we basically see 'comedy' as today. Reading this is a bit of a chore. I'm a big fan of Wasson's previous bios on directors Blake Edwards, Bob Fosse, and Paul Mazursky, but this meanders all about and is written in an abstract manner with seemingly awkward sentences and thought. Some of this analysis, too, is hard to comprehend and this may be basically because I'm a bit too thick for this cerebral digging of improv philosophy. Some of these people seems out of their minds, too, and not so funny. The best parts are about Mike Nichols and Elaine May and I hope one day a book can be created that is exclusively about these two brilliant innovators of a comedy style that seems lost today. They were sophisticated and smart and had a perfect look at character mixed with sadness and humor.
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  • FittenTrim
    January 1, 1970
    NOTE: I know/knew a few of the people in this book; improvised at some of these theaters.Bringing the unruly history of improvisation into one book was always going to be difficult. IMPROV NATION does as well as one book could; though a tighter focus on the original Compass players would've provided more a cohesive tale. Pulling in Del so early (because you can't tell the story of improv without Del) destroys any momentum in the first 100 pages of Spolin, Sills, Nichols and May. But then the las NOTE: I know/knew a few of the people in this book; improvised at some of these theaters.Bringing the unruly history of improvisation into one book was always going to be difficult. IMPROV NATION does as well as one book could; though a tighter focus on the original Compass players would've provided more a cohesive tale. Pulling in Del so early (because you can't tell the story of improv without Del) destroys any momentum in the first 100 pages of Spolin, Sills, Nichols and May. But then the last section keeps returning to Mike Nichols and Elaine May for diminishing returns. While he may have feared adding 'dry' text, Wesson should've included much more of the process into his book. Type out the actual games Viola taught, breakdown the method which Second City turned improvised scenes into written scenes, the rules and exercises that improv teachers use, etc.Final thought:Del use to say (brag?) that his past performing failures were the inspiration for May's movie Ishtar. Doesn't make Ishtar better, nor the telling of the making any more interesting.
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  • Clark
    January 1, 1970
    As an improvisor and a long-time fan of most of the folks whose history with the form is chronicled in this book, I found it amazingly engaging. The recounting of the evolution of the form as it has passed through the minds and artistic souls of so many adherents and participants is nothing short of a revelation. There's many of the names who you'll instantly recognize, and not a few who you might not, but should. I've been inspired by what I've read here to put together a show with my troupe wh As an improvisor and a long-time fan of most of the folks whose history with the form is chronicled in this book, I found it amazingly engaging. The recounting of the evolution of the form as it has passed through the minds and artistic souls of so many adherents and participants is nothing short of a revelation. There's many of the names who you'll instantly recognize, and not a few who you might not, but should. I've been inspired by what I've read here to put together a show with my troupe which will strive to recreate the earliest iterations of long-form styles which eventually evolved to be known by names like "The Armando" and "The Harold". The earlier forms seem not to be antiquated and outdated, but challenging attempts to bring maximum creativity out of each moment. If you're an improvisor and you want to know your roots, and also how the originators came to find their own unique modes of expression, then you shouldn't pass this book by.
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  • Dan Lalande
    January 1, 1970
    Sam Wasson takes on what is, by his own humble admission, a formidable task: an inventory of the development and influence of American-style improv, from its proletariat origins in 1950's Chicago to its imprint on today's ubiquitous political satire. In the spirit of the brave ad-libbers he so worships, Wasson dives right in - but his showy sang froid isn't rewarded by much. Like a long, rambling improv, there are worthy moments - brushing acquaintances with colourful characters, odd displays of Sam Wasson takes on what is, by his own humble admission, a formidable task: an inventory of the development and influence of American-style improv, from its proletariat origins in 1950's Chicago to its imprint on today's ubiquitous political satire. In the spirit of the brave ad-libbers he so worships, Wasson dives right in - but his showy sang froid isn't rewarded by much. Like a long, rambling improv, there are worthy moments - brushing acquaintances with colourful characters, odd displays of deft analogies, recreations of jokes that hit the mark - but no focus or shape serendipitously takes hold. A semi-fun mess.
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  • JBP
    January 1, 1970
    Exhaustive and comprehensive history of improvisational comedy--from its earliest beginnings to now. It focuses mostly on Chicago/Second City connections but it does go into Toronto, NYC, a little bit of L.A. I go to the Groundlings all the time [it's a 15 minute walk from my apartment] so was kind of disappointed there was very little coverage of that group's history but aside from that slight, all the heavy hitters of comedy are included. The sheer amount of people involved with some of the ke Exhaustive and comprehensive history of improvisational comedy--from its earliest beginnings to now. It focuses mostly on Chicago/Second City connections but it does go into Toronto, NYC, a little bit of L.A. I go to the Groundlings all the time [it's a 15 minute walk from my apartment] so was kind of disappointed there was very little coverage of that group's history but aside from that slight, all the heavy hitters of comedy are included. The sheer amount of people involved with some of the key groups of improv performers is kind of staggering and this book by Sam Wasson is the definitive history. It's funny too as it has a lot of recreations of famous sketches or comedic shenanigans.
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  • Donna Hines
    January 1, 1970
    Sam charts the rise of the improv with many well known in the business of making people laugh.Fitting this all together was a bit pieced but that is to be expected based on the time constraints and locations.The discussions about well known improvs and the interactions with them was unique and awe inspiring for those who love the work they do.Many I've not heard of with many I loved all combine to create one magical moment that you can tell has been enriched through this read.Thank you to Sam Wa Sam charts the rise of the improv with many well known in the business of making people laugh.Fitting this all together was a bit pieced but that is to be expected based on the time constraints and locations.The discussions about well known improvs and the interactions with them was unique and awe inspiring for those who love the work they do.Many I've not heard of with many I loved all combine to create one magical moment that you can tell has been enriched through this read.Thank you to Sam Wasson, his publisher, Goodreads for this wonderful giveaway.
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  • Melinda M
    January 1, 1970
    Improv Nation: How We Made a Great American Art by Sam Wasson is a history of Improv in American. It has wonderful notes filled with videos to watch as well as articles and books to read. It was interesting to find out how connect to each other that the performers all seemed to have worked with one another at some point. It is well researched and written.I received a copy thru a Goodreads Giveaway
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  • Jordan Parker
    January 1, 1970
    I was really excited for this one and it was kind of a letdown. For starters, it's a book about improv comedy that really isn't all that funny. With that being said, it does have moments that were really interesting but there are so many stretches(especially towards the beginning of the book) that are very dry and hard to get through. It picked up for me towards the middle and end mostly because I started really recognizing the people. Great detail on how Bill Murray, John Belushi,Chris Farley, I was really excited for this one and it was kind of a letdown. For starters, it's a book about improv comedy that really isn't all that funny. With that being said, it does have moments that were really interesting but there are so many stretches(especially towards the beginning of the book) that are very dry and hard to get through. It picked up for me towards the middle and end mostly because I started really recognizing the people. Great detail on how Bill Murray, John Belushi,Chris Farley, Stephen Colbert, and many others got started. I enjoyed learning about how Second City got started and it how it has made it and thrived through all of these years. I just wish there was a way to separate some of the history from some of the stories of these people, I was much more interested in the people than the history.
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  • Craig Leimkuehler
    January 1, 1970
    This book is a must read for anyone who performs improv, enjoys improv or for that matter is alive and breathing. (Zombies will not enjoy it.) It gives a very detailed history about this aspect of comedy that is often overlooked. The one fault is that it fails to explain why Del Close is regarded as some great comic genius. The ability to consume large amount of drugs and alcohol does not strike me as something to be admired, but maybe that's just me.
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  • Justin
    January 1, 1970
    I enjoyed this very much; it actually made me miss doing improv and I’m currently part of a team that performs and practices weekly. I appreciated the breadth of the book and that the author decentered Del Close’s place in improv’s invention. It is imperfect, as are all histories, but the style and writing helped to make up for these imperfections. Overall, I’m glad my girlfriend checked this out for me from our local library.
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  • Duncan
    January 1, 1970
    Informative look at the history of improv, and how many well-known comedians/actors passed through Second City and other troupes. Bill Murray and Tina Fey come across particularly vividly in the recollections of fellow improvisers. I wished there had been more about the actual formats, though; on the page, it's a little abstract, and it's not always clear exactly how the form was evolving at various times.
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  • Chris
    January 1, 1970
    What a wonderful history and introduction to improvisational theater. It covers a lot of ground, so you may find yourself wanting more information on the players or feeling someone was left out. Nonetheless, it does a great job discussing the major trends and themes in improv and hitting the who's who in the last 60+ years of comedy. I have a feeling I'll be referencing this book a lot in The Popcorn Auteur's Christopher Guest episode.
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  • Robin
    January 1, 1970
    This is one of the all-time best books I’ve read. Even if it weren’t about Improv, it is so well written and gave so many great perspectives behind the history of Improv. I have found a greater appreciation for artists that I didn’t love before, and was introduced to some artists I knew little to nothing about. Highly recommend it for all of my friends, especially my Improv peeps.
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  • Erin
    January 1, 1970
    4.5 Stars. I enjoyed this very much, and it was cool to be introduced to improvisers who I had never known. Sometimes it was a bit difficult to keep all the details of the different personal histories in my brain, but I was impressed with how well so many threads of developing improv were woven together.
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  • Rebekah Haas
    January 1, 1970
    Inspirational and funny, Wasson takes you on a wild ride, from many years past, to modern comedians with a household name. Filled with many side-stories and anecdotes that perfectly add to the plot-line, Improv Nation really does prove a compelling argument to why improvisation is the true American Art genre. (I won this book from a giveaway on this site.)
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  • Jeff J.
    January 1, 1970
    There’s a very thin line between improv and sketch comedy, and even standup comedy. Was son makes an admirable effort to establish improv as a unique art form but never quite succeeds, largely because his subjects tended to migrate away from improv. I did enjoy many of the profiles, particularly Bill Murray and Chris Farley, and applaud the attention paid to the under-appreciated SCTV.
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  • Ryan
    January 1, 1970
    I really liked this book. The way it weaves the tendrils of all the different ways improv influenced entertainment was really well done. However, as a performer at ComedySportz, an organization with a 30 year history and teams all over the world, I felt like a glaring omission was made.
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  • Michael
    January 1, 1970
    Very informative and entertaining look at how improv really took root in America. The third section of the book I feel should have been part of a second, longer book because you can feel Wasson's laser focus starting to fade as he burns through a lot of information. Still, a very fun read overall.
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  • Sarah
    January 1, 1970
    I absolutely loved this. Turns out that improv comedy is the most unexpectedly fascinating lens to view twentieth century American history. If you have the slightest interest in this topic, I recommend this so highly.
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