About Impro Supreme
Train improvisation and acting through the body
Impro Supreme is a physical–imaginative approach to improvisation and acting.
It develops clarity, presence and artistic freedom by training the body as the primary source of expression — long before ideas, techniques or psychological interpretation take over.
Rooted in movement, clown, mime and perceptual training, it offers performers a structured way to reconnect their imagination with physical reality.
Caspar Schjelbred
Improvisation and acting teacher
I teach improvisation and physical acting with a simple conviction: expressive creativity begins in the body — not in ideas, tricks or psychological speculation.
Since 2006, I’ve worked with actors, improvisers, dancers, comedians and movement artists across Europe to help them build a solid individual foundation: clarity of action, imaginative presence and the freedom to create without hesitation.
My approach has been shaped by years of training and performance in physical acting, movement and improvisation, gradually refined into the method I now pass on through Impro Supreme.
Why Impro Supreme exists
Most performers develop ideas faster than they can embody them.
They learn games, tools, techniques and concepts — yet the essential connection between body and imagination often remains untrained. Without it, improvisation becomes mental, verbal, or dependent on personality rather than presence.
Impro Supreme exists to restore this foundation.
It helps you:
- reconnect imagination with physical reality
- build a presence that is readable, grounded and alive
- express ideas through action instead of explanation
- understand what you’re doing as you’re doing it
- develop a personal practice that does not depend on group formats
This is the individual base of improvisation and acting — the part no workshop or troupe can give you unless you train it consciously and deliberately.
The Impro Supreme method
A physical–imaginative training system
Impro Supreme distils years of work into a method that covers the three essential areas of improvisation:
1. Physical clarity
Training movement, gesture and embodied action so expression becomes precise, readable and alive.
2. Creative intelligence
Training judgment, timing and choice — the ability to compose with what you do and what you don’t do.
3. Perceptual awareness
Training attention, sensitivity and imaginative presence so you can respond truthfully to the reality of the moment.
How it all began
My path (short version)
I discovered improvisation in Paris in the early 2000s, and it immediately opened a world of creative possibility. I began in the Keith Johnstone tradition — playful, spontaneous, story-driven — but soon sensed its limits: the work lived mostly in the head and rarely engaged the whole body.
A turning point came in 2008 when I first met Ira Seidenstein. His approach revealed improvisation as a physical, imaginative and conscious act — not verbal invention or personality-based performance. In the years that followed, deeper training with him reshaped my understanding of attention, movement and presence.
Over time, other influences — from dance, movement and performance, including the later impact of Mary Overlie’s work — helped deepen and refine the connection between body and imagination. Impro Supreme first emerged in 2010 as a synthesis of physical acting, improvisational intelligence and perceptual clarity, continually developed through teaching and performing across Europe.
From the training room
A few words from performers who have trained with the Impro Supreme approach.
The Impro Supreme workshop was an incredible experience because I now feel better connected to my physical self as I explore characters and relationships in improvisation.
Caspar is a wonderfully intelligent and experienced teacher who is able to motivate while also making you laugh and feel comfortable exploring your own creativity.
John Mabey
Improv actor & playwright
This method changes your whole outlook on improvisation and the creative process. Improv at its most exciting, fresh and deep level.
I consider this workshop one of the best I’ve ever done – and a lot of the things we did are still central to my understanding of improv and storytelling.
Koenraad Coel
Improv actor & musician
Impro Supreme has been most useful to me in terms of knowing new methods of work, acquiring new skills and mostly identifying my weak spots that need work and improvement.
Corneliu Dragomirescu
Actor
Two good places to begin
If you want to deepen your craft — clarify your technique, strengthen your presence, or reconnect body and imagination — these two pages will give you a clear sense of the Impro Supreme approach.