A Formal Architecture of Shared Mental Models for Computational Improvisational Agents

This paper proposes a formal approach of constructing shared mental models between computational improvisational agents (improv agents) and human interactors based on our socio-cognitive studies of human improvisers. Creating shared mental models helps improv agents co-create stories with each other and interactors in real-time interactive narrative experiences. The approach described here allows flexible modeling of non-Boolean (i.e. fuzzy) knowledge about scene and background concepts through the use of fuzzy rules and confidence factors in order to allow reasoning under uncertainty. It also allows improv agents to infer new knowledge about a scene from existing knowledge, recognize when new knowledge may be divergent from the other actor’s mental model, and attempt to resolve this divergence to reach cognitive consensus despite the absence of explicit goals in the story environment

A Spectrum of Audience Interactivity for entertainment domains

The concept of audience interactivity has been rediscovered across many domains of storytelling and entertainment—e.g. digital games, in-person role-playing, film, theater performance, music, and theme parks—that enrich the form with new idioms, language, and practices. In this paper, we introduce a Spectrum of Audience Interactivity that establishes a common vocabulary for the design space across entertainment domains. Our spectrum expands on an early vocabulary conceptualized through co-design sessions for interactive musical performances. We conduct a cross-disciplinary literature review to evaluate and iterate upon this vocabulary, using our findings to develop our validated spectrum

Serious Fun: The Perceived Influences of Improvisational Acting on Community College Students

Research in extracurricular activities and arts education demonstrate how experiences in those areas contribute to the well-being and ongoing development of students in higher education. Although practiced and performed across the United States, theatrical improvisation, as an art form or extracurricular activity, lacks investigation within the context of higher education. Without an understanding from the student perspective, higher educational stakeholders miss an opportunity to incorporate experiences that address the institutions\u27 mission and learning goals or worse, inadvertently produce student disenfranchisement. The purpose of this phenomenological study was to explore and describe the experience of improvisational acting training, practice, and performance of 7 college students who participated in an improvisation group. Huizinga and Caillois\u27s theories of play and Csikszentmihalyi\u27s theory of flow served as the conceptual framework for the study. Data collection occurred at a community college in the mid-Atlantic region through 2 interviews with each participant and 1 focus group until reaching saturation of data. Data were analyzed through iterative coding of significant statements through which themes emerged. Themes included attraction to the activity, practice of the craft, applications of skills to life, and a continuance of improvisation in the participants\u27 lives and at college. The findings lend credibility to other research supporting arts and extracurricular activities and provide educational stakeholders with insights from students on what they value in their educational experience. Positive social change can come from providing students with an education that includes fun, creativity, and socialization for a successful future

Effects of Improv Comedy on College Students

This exploratory qualitative study investigated the degree to which participation in college improv comedy affects student development. The study reviews the experiences of students from three different campuses who are involved in improv comedy. Grounded in theories from figured worlds, creativity, student development, memory, cognitive development, identity development, and imagination, this research draws on twelve semi-structured interviews, three group interviews, and three observations of performances. This study answers the following questions: How do college students make meaning of their experience within an improv comedy troupe in relation to academic, social skill, and identity development? What potential does improv comedy have for influencing student growth and development on college campuses? The study provides a historical account of improvisational comedy leading up to the first established improv comedy organizations on college campuses. Qualitative data analysis revealed themes and subthemes that support student development, including the following: academic, social, identity development and exploration, dropping knowledge, out of thin air, building bridges to new worlds, creating from scratch, teamwork makes the dreamwork, a way with words, hand in hand, fearlessly true to self, widening the gaze, and way of life. The study provides recommendations for integrating improv comedy into curriculum and student affairs practice

Spattered with Words: a stylistic toolkit accounting for the 'theatricality' behind the playwright/screenwriter's use of real and improvised language in creating drama texts.

This thesis documents investigations into the success (or not) of real, spontaneous dialogue when applied to the creation of a script for dramatic performance. The accounting for such success delves into different theoretical frameworks: conversation theory, stylistics, Cognitive Poetics, narratology, and extended cognition. This is therefore an interdisciplinary perspective, with ideas emerging from the fields of psychology, philosophy, literary stylistics and linguistics; yet all applied within the context of drama and performance. As such, this thesis may be seen as a playwright's 'toolbox' where the different views, as they necessarily overlap, can be seen as elements, which, when taken together, account for (and help in) the decisions an author may make in creating a text out of improvised speech. The investigation is also a search for the notion of 'theatricality' in the context of authentic speech and uses various forms of theatrical performance as examples, ranging from amateur improvisation to TV and film productions, Commedia dell'Arte to modern, immersive theatre. Finally, application of the theoretical frameworks is made to a current theatre project, The Plant