Keith Johnstone: A Critical Biography by Theresa Robbins Dudeck (review)

In Keith Johnstone: A Critical Biography, Theresa Robbins Dudeck provides a rich and much-needed exploration into one of improvisational theatre’s most influential figures. While readers interested primarily in Johnstone’s philosophy of improvisation will find a wealth of information pertinent to nonscripted performance, Dudeck investigates her subject across various dimensions, including playwright, director, and above all, teacher. The resulting chronological history of Johnstone’s life culminates in a critical analysis of his pedagogy, casting Johnstone as an ever-evolving educator whose spontaneity, imagination, and commitment to risk continue to shape contemporary theatre practice.

As an experienced teacher of improvisation herself, Dudeck deftly weaves Johnstone’s pedagogic theories together with examples from his workshops, effectively balancing the more cut-and-dried elements of a strictly biographical approach. Furthermore, as a personal friend of Johnstone who he has named the literary executor of his estate, there is perhaps no one else so well qualified as Dudeck to conduct such an in-depth study. Dudeck is quick to acknowledge her distinctive position in relation to her subject, as well as the potential complications this closeness may pose. However, readers will be happy to find a well-rounded critique that benefits from her unique perspective while maintaining critical acumen. Of particular interest is the host of primary source documents from Johnstone’s personal papers included throughout the book that will certainly prove generative of further scholarship.

To draw attention to the development of Johnstone’s pedagogy, Dudeck employs the classroom as a metaphor to structure her analysis. While her study is largely rooted in the physical spaces in which Johnstone trained, created, and taught, she also extends this metaphor to include “conceptual spaces which informed his pedagogy” (1). To this end, each chapter focuses on a designated “classroom” space, moving the reader from Johnstone’s early childhood, to his teaching career, and, finally, into the present. Dudeck’s classroom frame is helpful in positioning Johnstone as both teacher and student simultaneously, connecting his artistic theories to the circumstances that informed their growth. While those already acquainted with Johnstone’s theories may find that the metaphor pulls focus from her rich analysis of Johnstone in order to devote attention to the frame, newcomers to his philosophy will certainly benefit from Dudeck’s careful hand-holding.

After setting up this classroom metaphor, chapter 1, “Introducing Keith Johnstone and His Impro System,” does just what the title promises. By adding the word “system” to “impro,” Dudeck provides a term that connects the various spheres of Johnstone’s practical and theoretical work, including but not limited to the improvisatory work for which he is best known. Dudeck defines the Impro System as “an approach to actor training and theatre practice that encourages spontaneous, collaborative creation using the intuitive, uncensored imaginative responses of the participants” (2). This definition not only highlights the various applications of Johnstone’s theory but also grounds his work squarely in the realm of theatrical practice. Drawing on Johnstone’s claim that the theatre itself is an informal classroom, Dudeck moves to his work as the author of Impro: Improvisation and the Theatre (1979), giving a brief overview of each chapter that effectively acquaints unfamiliar readers with the core tenets of his System.

Building on this foundation, chapter 2, “The Formative Years,” details Johnstone’s early childhood, homing in on what he describes as “damage inflicted mostly by secondary school education” (20). Framing Johnstone’s later insistence on spontaneity as redressive action, Dudeck works meticulously to chart the development of his philosophy. She then devotes the balance of the chapter to Johnstone’s work at the Royal Court Theatre. Here, Dudeck contextualizes Johnstone’s role in British theatre of the 1950s and 1960s, exploring in particular his relationships with influential theatremakers including George Devine, William Gaskill, Ann Jellicoe, Arnold Wesker, Wole Soyinka, Edward Bond, and Samuel Beckett.

“All the World’s a Classroom,” chapter 3, tracks the end of Johnstone’s activity at the...