Caspar Schjelbred

improvisation teacher & performer

I’m an impro­visa­tion­al artist since 20 years, spe­cial­ised in how to cre­ate and act from the body. Impro Supreme brings togeth­er all my best tools and tech­niques – wheth­er it comes to impro­vising on stage or in life.

Use your body first

No need for an idea or a sug­ges­tion to start an impro­visa­tion. Being aware of your body is enough – if you know how to use it.

An individual approach

Your per­son­al cre­ativ­ity is what mat­ters. Developing that is cru­cial for a sane meet­ing with both stage part­ners and audience.

Get your act together

The work goes bey­ond simple know-how. It’s about grow­ing the cour­age and dis­cip­line to find your way to inner freedom.

my career so far

key moments

  • I dis­covered impro­visa­tion and act­ing in 2000 by pure chance. The year after I took part in the cre­ation of The Improfessionals, the English-lan­guage improv troupe in Paris that intro­duced anglo-amer­ic­an impro­visa­tion tech­niques in France, par­tic­u­larly those of Keith Johnstone.
  • In 2006, I became co-dir­ect­or of Impro Academy Paris along­side Florian Bartsch with whom I had taken my first improv class. I later went on to become the artist­ic dir­ect­or of The Improfessionals between 2008 and 2014.
  • I received my mas­ter­’s degree in History of Science from the Sorbonne in 2007. Briefly temp­ted by an aca­dem­ic career, I nev­er­the­less opted for the world of theatre and improvisation.
  • I spe­cial­ised in phys­ic­al act­ing after 2008 when I met the dir­ect­or and mas­ter clown Ira Seidenstein. He became my ment­or and I wrote the fore­words to his two books: Clown Secret (2018) and Quantum Theatre: Slapstick to Shakespeare (2020).
  • In 2010, I taught the first Impro Supreme work­shop: a 4‑day train­ing of phys­ic­al and nar­rat­ive improvisation.
  • At the end of 2012, I cre­ated a more or less impro­vised solo show: Plan C. C like Caspar, clown, cour­age, cre­ativ­ity, etc. Since then I have per­formed it 70 times over 3 con­tin­ents, 7 coun­tries and 13 cities.
  • In 2018, I cre­ated the phys­ic­al com­edy show Avant-garde togeth­er with my Bulgarian friends in HaHaHa Impro Theatre. We used impro­visa­tion to cre­ate all the mater­i­al. They per­formed and I directed.
  • Profoundly attrac­ted to dance and move­ment (tak­ing weekly bal­let classes since 2010), I star­ted integ­rat­ing Mary Overlie’s Six Viewpoints into my work in 2019.

Two things have cap­tiv­ated me since my very first improv and act­ing classes: our abil­ity to influ­ence our imme­di­ate future and the pos­sib­il­ity to play with how the audi­ence sees us.

Seeing people become aware of these powers and start­ing to play for real fills me with joy, even hope for human­ity. That is the simple reas­on why Impro Supreme exists.

Impro Supreme

the why and the how

To play freely – in front of and with oth­ers – we first have to estab­lish a con­struct­ive dia­logue with ourselves. This is why I insist a lot on indi­vidu­al work before any inter­act­ive exercises.

This meet­ing with one­self starts with becom­ing aware of one’s body – which is the pre­requis­ite for any con­crete impro­visa­tion. There are three things to deal with con­tinu­ously: one’s thoughts, one’s actions and one’s act­ing. The three are intim­ately con­nec­ted and we have to study them both sep­ar­ately and togeth­er in order to grasp the way they function.

In the end, it’s all about under­stand­ing one­self, one’s cre­ativ­ity and what one likes to do. Whether it’s for the stage or to feel good in every­day life. The mime, clown, dance and act­ing tech­niques brought togeth­er in Impro Supreme are access­ible to any­body who’s ready to prac­tise a little.

let’s keep in touch

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