Improvisation: the skill of using bodies, space, imagination, objects and all human resources to generate or to reformulate a coherent physical expression of an idea, a situation and a character (even, perhaps, a text); to do this spontaneously, in response to the immediate stimuli of one’s environment, without preconceptions.
------------Anthony Frost and Ralph Yarrow (2016: xv)
即兴创作：利用身体、空间、想象、物体和所有人力资源来产生或重新形成一个想法、一个情况和一个角色（甚至可能是一个文本）的连贯的物理表达的技能；自然地响应环境的直接刺激，而没有先入之见。
-------安东尼·弗罗斯特和拉尔夫·亚罗（2016年：xv）
Definitions of “improvisation” are largely based on the theories and practices of jazz music and theatre improvisation. We prefer Frost and Yarrow’s definition above because it reinforces that improvisation is first and foremost a “skill” used to respond to one’s environment, putting the focus “inside the box”3 rather than outside. Improvisers are inspired by sources in the room (especially other people) as they give complete sensory attention to the moment unfolding.
“即兴创作”的定义主要是基于爵士乐和戏剧即兴创作的理论和实践。我们更喜欢弗罗斯特和亚罗上面的定义，因为它强化了即兴创作首先是一种应对环境的“技能”，把焦点放在“盒子里”3而不是在外面。即兴表演者的灵感来自于房间里的消息来源（尤其是其他人），因为他们对正在展开的时刻给予了完全的感官关注。
In Improvisation in Drama, Theatre and Performance, Frost and Yarrow reveal the significance of improvisation used in theatre training and rehearsals throughout history and across cultures. Improvisation has been integral to the theatrical process—to develop truthful behavior in text-based performance, to liberate the actor’s body and imagination, to generate material, to build an ensemble, to respond instinctively to the moment—for a long time, as evidenced by Stanislavsky’s use of improvisation in rehearsals in Russia at the turn of the twentieth century. Even as far back as the sixteenth and seventeenth centuries,historians contend commedia dell’arte troupes improvised dialogue and action within preset scenarios. Improvisation as a performance in and of itself became extremely popular in the late 1950s and early 1960s thanks to the groundbreaking work of Keith Johnstone and his Theatre Machine in Europe and to Paul Sills and The Second City, the company he co-founded in Chicago in 1959. Many authors in this anthology trace their personal histories to these pioneers of improvisation.
在戏剧、戏剧和表演的即兴创作中，弗罗斯特和亚罗揭示了在整个历史和跨文化的戏剧训练和排练中使用的即兴创作的重要性。即兴创作是戏剧过程中不可或缺的一部分——发展基于文本的表演中的真实行为，解放演员的身体和想象力，产生素材，建立合奏，本能地回应当下——很长一段时间以来，斯坦尼斯拉夫斯基在20世纪初的俄罗斯排练时使用即兴表演就证明了这一点。甚至早在16和十七世纪，历史学家认为，喜剧剧团在预设的场景下即兴对话和行动。即兴表演本身变得非常流行在20世纪50年代末和60年代早期由于基斯·约翰斯通和他的戏剧机器在欧洲和保罗·西尔斯和第二个城市，他在1959年在芝加哥共同创立的公司。这本选集中的许多作者将他们的个人历史追溯到这些即兴创作的先驱。
One goal of this book is to establish AI as a field of study worthy of independent investigation. Currently, improvisation applied beyond conventional theatre practices and spaces is frequently categorized within the field of Applied Theatre; but just as Applied Theatre has come to mean theatre practice applied outside of conventional mainstream theatre (e.g. in education, community, and political spaces) to bring about positive change, AI, too, has taken on a new meaning, beyond the field of Applied Theatre.
这本书的一个目标是建立人工智能作为一个值得独立研究的研究领域。目前，超越传统戏剧实践和空间的即兴创作经常被归类为应用戏剧领域；但正如应用剧院已经意味着应用于传统主流戏剧之外的戏剧实践。为了带来积极的变革，人工智能也有了一种新的意义，超越了应用戏剧的领域。
While schools of business, law, science, and education are increasingly adding AI courses into their programming, surprisingly, the one discipline in academia that has not fully embraced AI is theatre, which seems to be the natural destination for training future AI facilitators. Improvisation classes are often offered in theatre programs and improvisational processes are utilized in acting classrooms and rehearsal spaces, but courses that specifically introduce theatre students—especially students not interested in acting careers—to AI training or to AI facilitation as a potential, viable career path are almost impossible to find.
虽然商学院、法律、科学和教育学院越来越多地在其编程中增加人工智能课程，但令人惊讶的是，学术界没有完全接受人工智能的一门学科是戏剧，这似乎是培训未来人工智能促进者的自然目的地。即兴表演课程通常在戏剧项目中提供，即兴表演过程被用于表演教室和排练空间，但特别向戏剧学生（特别是对表演职业不感兴趣的学生）介绍人工智能培训或人工智能促进作为一种潜在的、可行的职业道路的课程几乎是不可能找到的。
Applied Theatre, theatre for/as social change, and community-based theatre courses often incorporate improvisation as part of their methodology, especially the games of Augusto Boal. The main objective of these courses is, generally, to train students to use theatre methods in/with nonprofit organizations and communities to bring about social, political, and restorative change. Within this anthology, at least half of the case studies apply improvisation to prompt similar change; however, Applied Theatre course work often involves creating a performance (sometimes scripted) that addresses the needs of a particular project. AI course work almost never involves creating a theatrical performance, in the traditional sense.The “performance” happens when students successfully function and respond like skilled improvisers, beyond the classroom, in collaborative environments. Furthermore, while AI work does happen in/with nonprofit organizations and communities, most AI work is happening in the private sector (with for-profit organizations), and it is this branch of the work that is not included for study in Applied Theatre courses.
应用戏剧、社会变革戏剧和社区戏剧课程经常将即兴创作作为其方法论的一部分，特别是奥古斯托·博尔的游戏。这些课程的主要目标一般是培训学生在非营利组织和社区中使用戏剧方法，以带来社会、政治和恢复性的变革。在这本选集中，至少有一半的案例研究应用即兴创作来促使类似的变化；然而，应用戏剧课程的工作通常涉及创造一个表演（有时是脚本的），以满足特定项目的需求。人工智能课程的工作几乎从不涉及创造一种传统意义上的戏剧表演。当学生在协作环境中成功地像熟练的即兴演奏者一样做出反应时，就会发生“表演”。此外，虽然人工智能工作确实发生在非营利性组织和社区中，但大多数人工智能工作发生在私营部门（与营利性组织一起），而工作的这个分支不包括在应用戏剧课程中学习
This is understandable. Applied Theatre, a well-established field that contains numerous theatre approaches and practices, has so much to cover already; and the work, which often engages marginalized communities and tackles systemic problems, can have very different objectives than the work of AI facilitators working with, for example, corporate teams. So, if Applied Theatre courses are not introducing AI to their theatre students, and theatre students are already developing abilities relevant to professional careers in AI facilitation, what needs to be done? Just as schools of law offer courses in both Civil Rights Law and Business Law, and sociology departments prep students for careers as diverse as social work and urban planning, schools of theatre must offer both Applied Theatre and AI courses to better prepare theatre students, entering a very competitive market, for a range of careers.
这是可以理解的。应用剧院，一个成熟的领域，包含了许多戏剧方法和实践，已经有很多内容要涵盖；经常涉及边缘社区和解决系统问题的工作，可能与与企业团队合作的人工智能主持人的工作目标非常不同。所以，如果应用戏剧课程没有向他们的戏剧学生介绍人工智能，而戏剧学生已经在发展与人工智能促进方面的职业生涯相关的能力，那么需要做什么呢？正如法学院提供课程在民权法和商法，和社会学系准备学生职业多元化的社会工作和城市规划，戏剧学校必须提供应用戏剧和人工智能课程来更好地准备戏剧学生，进入一个竞争非常激烈的市场，一系列的职业。
Out of the 5,000-plus trainers, facilitators, consultants, executives, educators, scientists, artists, aid workers, therapists, and managers who have joined the Applied Improvisation Network (AIN), we conjecture that only a small percentage earned an undergraduate or graduate degree in theatre. We are optimistic that this percentage will increase once theatre departments begin adding AI courses to their curriculum. While the field has yet to attract theatre graduates, Paul Z. Jackson, president emeritus of AIN, told us, “Many AIN facilitators have been introduced to improvisation via theatre improvisation performances and workshops.”4
在加入了应用即兴创作网络(AIN)的5000多名培训师、辅导员、顾问、高管、教育工作者、科学家、艺术家、援助工作者、治疗师和经理中，我们推测只有一小部分人获得了戏剧的本科或研究生学位。我们乐观地认为，一旦戏剧系开始在其课程中增加人工智能课程，这一比例将会增加。虽然该领域还没有吸引戏剧毕业生，但AIN名誉总裁保罗·z·杰克逊告诉我们，“许多AIN主持人通过戏剧即兴表演和讲习班被介绍到即兴创作。”4
But even if the impro methods adopted by AI facilitators are rooted in theatre improvisation, as we said before, most theatre and theatre improvisation courses and workshops are not teaching students how to apply impro in non-theatre or nonperformance contexts. This brings up one final argument in support of assigning AI a field of its own. The majority of AI facilitators discovered independently, on their own, or through networking, how well impro cross-pollinates with disciplines beyond theatre; and while facilitators can and often do benefit from theatre theory and practice, most often they associate, substantiate, reinforce, and/or augment what they do (theoretically and practically) with leading studies in organizational behavior, strategic management, social science, critical pedagogy, group innovation, creativity, and so on. AI is interdisciplinary, multifaceted, robust, and ready to stand on its own; it is grounded in a theatre context yet deviates enough from Applied Theatre practice to warrant its own field of study. We hope this first collection of AI case studies will be instrumental in making that happen.
但是，即使人工智能主持人所采用的即兴创作方法植根于戏剧即兴创作，正如我们之前所说的，大多数戏剧和戏剧即兴创作课程和研讨会并没有教学生如何在非戏剧或非表演的背景下应用即兴创作。这就提出了最后一个参数来支持分配AI一个自己的字段。大多数人工智能主持人独立发现，自己或通过网络发现，与戏剧以外的学科跨境传粉；虽然主持人可以而且经常受益于戏剧理论和实践，但大多数情况下，他们将其行为、证实、加强和/或与组织行为、战略管理、社会科学、批判教育学、群体创新和创造力等领先研究联系起来（理论和实践上）。人工智能是跨学科的、多面的、强大的，准备独立站立；它基于戏剧背景，但足够偏离应用戏剧实践，足以保证自己的研究领域。我们希望这第一个人工智能案例研究的集合将有助于实现这一点。
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