Method & philosophy

An embodied approach to improvisation and acting

A clear and coherent system

Impro Supreme is guided by four orientations — four ways of working that shape the entire method:


1. The body is the source

Everything begins physically.

Movement is the origin of clarity, presence and expression.

Without the body, improvisation collapses into disembodied ideas.

2. Attention is the practice

What you notice determines what you create.

Attention is the active, conscious intelligence behind each moment.

Improvisation depends on seeing and understanding what is actually happening.

3. Interpretation is physical

The imagination gives direction, but meaning appears through action.

Interpretation must be embodied, clear and readable — otherwise it does not exist on stage.

4. Choice is the craft

Improvisation is the art of choosing, moment by moment.

Technique gives you real choices; clarity allows you to assume them fully.

Your decisions are the visible expression of artistic involvement.

Together, these orientations create a system that moves from the physical to the attentive, from the interpretive to the decisive:

physical → attentive → interpretive → decisive.

The method in practice

Impro Supreme works through a set of physical–imaginative disciplines shaped over two decades of teaching and performing.

The training draws on four complementary fields:

  • the clarity of physical acting
  • the freedom of clowning
  • the intelligence of improvisation
  • the perceptual sensitivity of dance and mime

The aim is not virtuosity but clarity:

a body that supports the imagination,
an imagination connected to reality,
and a presence that remains readable from moment to moment.

What this method develops in you

Through sustained practice, Impro Supreme develops:

  • physical clarity and expressive presence
  • an imagination grounded in sensation and emotion
  • sharper perception and moment-to-moment awareness
  • the courage to choose and the sensitivity to adjust your choices
  • creative freedom grounded in technique, not guesswork
  • a coherent relationship between feeling, action and meaning

This is the individual foundation of improvisation — the part no troupe, format or “game” can give you unless you train it deliberately.

Why I teach this

A personal note

I teach this work because it creates meaning — one moment at a time.

Theatre begins long before performance: in how we move, what we notice, and the courage it takes to respond with honesty.

Training the body sharpens the imagination; training perception deepens expression; clear choices create a form of freedom that is simple, grounded and alive.

Next steps

If you want to put this work into practice:

Online training — develop your craft with structured physical–imaginative training

Workshops — train in person and deepen your technique

If you’d like more context:

My story — how this method took shape

Articles — reflections on improvisation, physical acting and creative practice