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Iona

Iona (Ì Chaluim Chille, sometimes simply Ì) is an island in the Inner Hebrides, off the Ross of Mull on the western coast of Scotland. It is mainly known for Iona Abbey, though there are other buildings on the island. Iona Abbey was a centre of Gaelic monasticism for three centuries and is today known for its relative tranquility and natural environment. It is a tourist destination and a place for spiritual retreats. Its modern Scottish Gaelic name means "Iona of (Saint) Columba" (formerly anglicised as "Icolmkill").

In 2019, Iona's estimated population was 120. In March 1980, the Hugh Fraser Foundation donated much of the main island (and its off-lying islands) to the current owner, the National Trust for Scotland. The abbey and some church buildings are owned by the Iona Cathedral Trust.

One publication, describing the religious significance of the island, says that the island is "known as the birthplace of Celtic Christianity in Scotland,” and notes that “St Columba came here in the year 563 to establish the Abbey, which still stands".

Etymology
Because the Hebrides have been successively occupied by speakers of several languages since the Iron Age, many of its islands' names have more than one possible meaning. Nonetheless, few, if any, have accumulated as many different names over the centuries as the island now known in English as "Iona".

The place-name scholar William J. Watson has shown that the earliest recorded names of the island meant something like "yew-place". The element Ivo-, denoting "yew", occurs in inscriptions in the ogham alphabet (Iva-cattos [genitive], Iva-geni [genitive]) and in Gaulish names (Ivo-rix, Ivo-magus); it may also be the basis of early Gaelic names like Eógan (ogham: Ivo-genos). The island's name may also be related to the name of a mythological figure, Fer hÍ mac Eogabail, the foster-son of Manannán, whose forename meaning "man of the yew".

Coates (2006) disputes the "yew" interpretation due to a lack of archeological evidence for yew on the island. Coates instead compares the Punic term ’y ("island, isolated place").

Mac an Tàilleir (2003) has analyzed the more recent Gaelic names of Ì, Ì Chaluim Chille and Eilean Idhe. He notes that the name Ì was "generally lengthened to avoid confusion" to Ì Chaluim Chille, which means "Calum's Iona" or "island of Calum's monastery". ("Calum"'s latinized form is "Columba".) This confusion would have arisen because ì, the original name of the island, would have been confused with the now-obsolete Gaelic noun ì, meaning "island", which was derived from the Old Norse word for island (ey). Eilean Idhe means "the isle of Iona", also known as Ì nam ban bòidheach ("the isle of beautiful women"). The modern English name comes from yet another variant, Ioua, which arose either from Adomnán's 7th century attempt to make the Gaelic name fit Latin grammar, or spontaneously, as a derivative of Ivova ("yew place"). The change in the island's name from Ioua' to Iona, which is attested from c. 1274, resulted from a transcription error due to the similarity of "n" and "u" in Insular Minuscule script.

Despite the continuity of forms in Gaelic from the pre-Norse to the post-Norse era, Haswell-Smith (2004) speculates that the island's name may be connected with the Norse word Hiōe, meaning "island of the den of the brown bear". The medieval English-language version of the name was "Icolmkill" (and variants thereof).

Folk etymology
Murray (1966) claims that the "ancient" Gaelic name was Innis nan Druinich ("the isle of Druidic hermits"), but there is no evidence for the "ancient" use of such a name before the nineteenth century when it appears in the New Statistical Account and it may arise from a misunderstanding of the name Cladh nan Druineach, which means 'burial ground of the embroideresses or artificers' – a cemetery on the east shore of the island. He also repeats a Gaelic story (which he admits is apocryphal) that as Columba's coracle first drew close to the island one of his companions cried out "Chì mi i" meaning "I see her" and that Columba's response was "Henceforth we shall call her Ì".

Geology
The geology of Iona is quite complex given the island's size and quite distinct from that of nearby Mull. About half of the island's bedrock is Scourian gneiss assigned to the Lewisian complex and dating from the Archaean eon making it some of the oldest rock in Britain and indeed Europe. Closely associated with these gneisses are mylonite and meta-anorthosite and melagabbro. Along the eastern coast facing Mull are steeply dipping Neoproterozoic age metaconglomerates, metasandstones, metamudstones and hornfelsed metasiltstones ascribed to the Iona Group, described traditionally as Torridonian. In the southwest and on parts of the west coast are pelites and semipelites of Archaean to Proterozoic age. There are small outcrops of Silurian age pink granite on southeastern beaches, similar to those of the Ross of Mull pluton cross the sound to the east. Numerous geological faults cross the island, many in an E-W or NW-SE alignment. Devonian aged microdiorite dykes are found in places and some of these are themselves cut by Palaeocene age camptonite and monchiquite dykes ascribed to the "Iona-Ross of Mull dyke swarm". More recent sedimentary deposits of Quaternary age include both present day beach deposits and raised marine deposits around Iona as well as some restricted areas of blown sand.

Geography

Iona lies about 2 km from the coast of Mull. It is about 2 km wide and 6 km long with a resident population of 125. Like other places swept by ocean breezes, there are few trees; most of them are near the parish church.

Iona's highest point is Dùn Ì, 101 m, an Iron Age hill fort dating from 100 BC – A.D. 200. Iona's geographical features include the Bay at the Back of the Ocean and Càrn Cùl ri Éirinn (the Hill/Cairn of [turning the] Back to Ireland), said to be adjacent to the beach where St. Columba first landed.

The main settlement, located at St. Ronan's Bay on the eastern side of the island, is called Baile Mòr and is also known locally as "The Village". The primary school, post office, the island's two hotels, the Bishop's House and the ruins of the Nunnery are here. The Abbey and MacLeod Centre are a short walk to the north. Port Bàn (white port) beach on the west side of the island is home to the Iona Beach Party.

There are numerous offshore islets and skerries: Eilean Annraidh (island of storm) and Eilean Chalbha (calf island) to the north, Rèidh Eilean and Stac MhicMhurchaidh to the west and Eilean Mùsimul (mouse holm island) and Soa Island to the south are amongst the largest. The steamer Cathcart Park carrying a cargo of salt from Runcorn to Wick ran aground on Soa on 15 April 1912, the crew of 11 escaping in two boats.

Subdivision
On a map of 1874, the following territorial subdivision is indicated (from north to south):
 * Ceann Tsear (East Head);
 * Sliabh Meanach (Middle Mountain);
 * Machar (Low-lying Grassy Plain);
 * Sliginach (Shelly Area);
 * Sliabh Siar (Rear Mountain);
 * Staonaig (Sloping Ground).

Dál Riata

In the early Historic Period Iona lay within the Gaelic kingdom of Dál Riata, in the region controlled by the Cenél Loairn (i.e. Lorn, as it was then). The island was the site of a highly important monastery (see Iona Abbey) during the Early Middle Ages. The monastery was founded in 563 by the monk Columba, also known as Colm Cille, who sailed here from Ireland to live the monastic life. Much later legends (a thousand years later, and without any good evidence) said that he had been exiled from his native Ireland as a result of his involvement in the Battle of Cul Dreimhne. Columba and twelve companions went into exile on Iona and founded a monastery there. The monastery was hugely successful and may have played a role in the conversion to Christianity of the Picts and Gaels of present-day Scotland in the late 6th century, and was certainly central to the conversion of the Anglo-Saxon kingdom of Northumbria in 635. Many satellite institutions were founded, and Iona became the centre of one of the most important monastic systems in Great Britain and Ireland.

Iona became a renowned centre of learning, and its scriptorium produced highly important documents, probably including the original texts of the Iona Chronicle, thought to be the source for the early Irish annals. The monastery is often associated with the distinctive practices and traditions known as Celtic Christianity. In particular, Iona was a major supporter of the "Celtic" system for calculating the date of Easter at the time of the Easter controversy, which pitted supporters of the Celtic system against those favoring the "Roman" system used elsewhere in Western Christianity. The controversy weakened Iona's ties to Northumbria, which adopted the Roman system at the Synod of Whitby in 664, and to Pictland, which followed suit in the early 8th century. Iona itself did not adopt the Roman system until 715, according to the Anglo-Saxon historian Bede. Iona's prominence was further diminished over the next centuries as a result of Viking raids and the rise of other powerful monasteries in the system, such as the Abbey of Kells.

The Book of Kells may have been produced or begun on Iona towards the end of the 8th century. Around this time the island's exemplary high crosses were sculpted; these may be the first such crosses to contain the ring around the intersection that became characteristic of the "Celtic cross". The series of Viking raids on Iona began in 794 and, after its treasures had been plundered many times, Columba's relics were removed and divided two ways between Scotland and Ireland in 849 as the monastery was abandoned.

Kingdom of the Isles
As the Norse domination of the west coast of Scotland advanced, Iona became part of the Kingdom of the Isles. The Norse Rex plurimarum insularum Amlaíb Cuarán died in 980 or 981 whilst in "religious retirement" on Iona. Nonetheless, the island was sacked twice by his successors, on Christmas night 986 and again in 987. Although Iona was never again important to Ireland, it rose to prominence once more in Scotland following the establishment of the Kingdom of Scotland in the later 9th century; the ruling dynasty of Scotland traced its origin to Iona, and the island thus became an important spiritual centre for the new kingdom, with many of its early kings buried there. However, a campaign by Magnus Barelegs led to the formal acknowledgement of Norwegian control of Argyll, in 1098.

Somerled, the brother-in-law of Norway's governor of the region (the King of the Isles), launched a revolt and made the kingdom independent. A convent for Augustinian nuns was established in about 1208, with Bethóc, Somerled's daughter, as first prioress. The present buildings are of the Benedictine abbey, Iona Abbey, from about 1203, dissolved at the Reformation.

On Somerled's death, nominal Norwegian overlordship of the Kingdom was re-established, but de facto control was split between Somerled's sons, and his brother-in-law.

Kingdom of Scotland
Following the 1266 Treaty of Perth the Hebrides were transferred from Norwegian to Scottish overlordship. At the end of the century, King John Balliol was challenged for the throne by Robert the Bruce. By this point, Somerled's descendants had split into three groups, the MacRory, MacDougalls, and MacDonalds. The MacDougalls backed Balliol, so when he was defeated by Bruce, the latter exiled the MacDougalls and transferred their island territories to the MacDonalds; by marrying the heir of the MacRorys, the heir of the MacDonalds re-unified most of Somerled's realm, creating the Lordship of the Isles, under nominal Scottish authority. Iona, which had been a MacDougall territory (together with the rest of Lorn), was given to the Campbells, where it remained for half a century.

In 1354, though in exile and without control of his ancestral lands, John, the MacDougall heir, quitclaimed any rights he had over Mull and Iona to the Lord of the Isles (though this had no meaningful effect at the time). When Robert's son, David II, became king, he spent some time in English captivity; following his release, in 1357, he restored MacDougall authority over Lorn. The 1354 quitclaim, which seems to have been an attempt to ensure peace in just such an eventuality, took automatic effect, splitting Mull and Iona from Lorn, and making it subject to the Lordship of the Isles. Iona remained part of the Lordship of the Isles for the next century and a half.

Following the 1491 Raid on Ross, the Lordship of the Isles was dismantled, and Scotland gained full control of Iona for the second time. The monastery and nunnery continued to be active until the Reformation, when buildings were demolished and all but three of the 360 carved crosses destroyed. The Augustine nunnery now only survives as a number of 13th century ruins, including a church and cloister. By the 1760s little more of the nunnery remained standing than at present, though it is the most complete remnant of a medieval nunnery in Scotland.

Post-Union
After a visit in 1773, the English writer Samuel Johnson remarked:

 * The island, which was once the metropolis of learning and piety, now has no school for education, nor temple for worship.

He estimated the population of the village at 70 families or perhaps 350 inhabitants.

In the 19th century, green-streaked marble was commercially mined in the south-east of Iona; the quarry and machinery survive, see "Marble Quarry remains" below.

Iona Abbey

Iona Abbey, now an ecumenical church, is of particular historical and religious interest to pilgrims and visitors alike. It is the most elaborate and best-preserved ecclesiastical building surviving from the Middle Ages in the Western Isles of Scotland. Though modest in scale in comparison to medieval abbeys elsewhere in Western Europe, it has a wealth of fine architectural detail and monuments of many periods. The enabling endowments, the core economic strength and life-blood of the Abbey came from successive Clan Donald Lords of the Isles and for 300 years were regularly confirmed, honoured, protected, increased and expanded. Endowments had "carta confirmations" and additional ones made by them during the 14th and 15th centuries as late as 1440 and 1485. Donald of Harlaw (1386-1421): "gave lands to the monastery of Iona, and every immunity which the monastery of Iona had from his ancestors before him" – MacVurich. It might be expressed that Iona Abbey had been acting as a "(holy owned) land trust" for Clan Donald from Somerled who built St. Oran's Chapel.

The 8th Duke of Argyll presented the sacred buildings and sites of the island to the Iona Cathedral trust in 1899. Historic Environment Scotland also recommends visiting the Augustinian nunnery, "the most complete nunnery complex to survive in Scotland". The nunnery was founded by Somerled's son, Reginald, as was Iona Abbey and Saddell Abbey. Reginald's sister, Beathag, was the first Prioress of the Iona Nunnery. The nunnery declined after the Scottish Reformation but was still used as a burial place for women.

In front of the Abbey stands the 9th century St Martin's Cross, one of the best-preserved Celtic crosses in the British Isles, and a replica of the 8th century St John's Cross (original fragments in the Abbey museum).

The ancient burial ground, called the Rèilig Odhrain (Eng: Oran's "burial place" or "cemetery"), contains the 12th century chapel built by Somerled where the Lords of the Isles were buried and named after St Odhrán (said to be Columba's uncle). It was restored at the same time as the Abbey itself. It contains a number of medieval grave monuments. The abbey graveyard is said to contain the graves of many early Scottish Kings, as well as Norse kings from Ireland and Norway. Iona became the burial site for the kings of Dál Riata and their successors. Notable burials there include:

 * Cináed mac Ailpín, king of the Picts (also known today as "Kenneth I of Scotland");
 * Domnall mac Causantín, alternatively "king of the Picts" or "king of Scotland" ("Donald II");
 * Máel Coluim mac Domnaill, king of Scotland ("Malcolm I");
 * Donnchad mac Crínáin, king of Scotland ("Duncan I");
 * Mac Bethad mac Findlaích, king of Scotland ("Macbeth");
 * Domnall mac Donnchada, king of Scotland ("Donald III");
 * John Smith, Labour Party Leader.

In 1549 an inventory of 48 Scottish, 8 Norwegian and 4 Irish kings was recorded. None of these graves are now identifiable (their inscriptions were reported to have worn away at the end of the 17th century). Saint Baithin and Saint Failbhe may also be buried on the island. The Abbey graveyard is also the final resting place of John Smith, the former Labour Party leader, who loved Iona. His grave is marked with an epitaph quoting Alexander Pope: "An honest man's the noblest work of God".

Limited archaeological investigations commissioned by the National Trust for Scotland found some evidence for ancient burials in 2013. The excavations, conducted in the area of Martyrs Bay, revealed burials from the 6th–8th centuries, probably jumbled up and reburied in the 13–15th centuries.

Other early Christian and medieval monuments have been removed for preservation to the cloister arcade of the Abbey, and the Abbey museum (in the medieval infirmary). The ancient buildings of Iona Abbey are now cared for by Historic Environment Scotland (there is an entrance charge to visit them).

Marble quarry remains

The remains of a marble quarrying enterprise are present in a small bay on the south-east shore of Iona. The quarry is the source of "Iona Marble", a translucent green and white stone, much used in brooches and other jewellery. The stone has been known of for centuries and was credited with healing and other powers. While the quarry had been used in a small way, it was not until around the end of the 18th century when it was opened up on a more industrial scale by the Duke of Argyle. The difficulties of extracting the hard stone and transporting it meant that the scheme was short lived. Another attempt was started in 1907, this time more successful with considerable quantities of stone extracted and indeed exported. The First World War impacted the quarry, with little quarrying after 1914 and the operation finally closed in 1919. A painting showing the quarry in operation, The Marble Quarry, Iona (1909) by David Young Cameron, is in the collection of Cartwright Hall art gallery in Bradford. The site has been designated as a Scheduled Ancient Monument.

Present day
The island, other than the land owned by the Iona Cathedral Trust, was purchased from the Duke of Argyll by Hugh Fraser in 1979 and donated to the National Trust for Scotland. In 2001 Iona's population was 125 and by the time of the 2011 census this had grown to 177 usual residents. During the same period Scottish island populations as a whole grew by 4% to 103,702. The estimated permanent population in 2020 was 120.

The island's tourism bureau estimated that roughly 130,000 visitors arrived each year. Many tourists come to visit the Abbey and other ecclesiastical properties and the marble quarry or to enjoy the nine beaches that are within walking distance of the main area.

Iona Community

Not to be confused with the local island community, Iona (Abbey) Community is based within Iona Abbey.

In 1938 George MacLeod founded the Iona Community, an ecumenical Christian community of men and women from different walks of life and different traditions in the Christian church committed to seeking new ways of living the Gospel of Jesus in today's world. This community is a leading force in the present Celtic Christian revival.

The Iona Community runs three residential centres on the Isle of Iona and on Mull, where one can live together in community with people of every background from all over the world. Weeks at the centres often follow a programme related to the concerns of the Iona Community.

The 8 tonne Fallen Christ sculpture by Ronald Rae was permanently situated outside the MacLeod Centre in February 2008.

Transport
Visitors can reach Iona by the 10 minute ferry trip across the Sound of Iona from Fionnphort on Mull. The most common route from the mainland is via Oban in Argyll and Bute, where regular ferries connect to Craignure on Mull, from where the scenic road runs 37 mi to Fionnphort. Tourist coaches and local bus services meet the ferries.

Car ownership is lightly regulated, with no requirement for a MOT Certificate or payment of Road Tax for cars kept permanently on the island, but vehicular access is restricted to permanent residents and there are few cars. Visitors are not allowed to bring vehicles onto the island although "blue badge holders with restricted mobility ... may apply for a permit under certain exemptions". Visitors will find the village, the shops, the post office, the cafe, the hotels and the abbey are all within walking distance. Bike hire is available at the pier, and on Mull. Taxi service is also available.

Tourism
Conde Nast Traveller recommends the island for its "peaceful atmosphere ... a popular place for spiritual retreats" but also recommends the "sandy beaches, cliffs, rocks, fields and bogs ... "wildflowers and birds such as the rare corncrake and puffins" as well as the "abundance of sea life".

The Iona Council advises visitors that they can find a campsite (at Cnoc Oran), a hostel (at Lagandorain), family run bed and breakfasts and two hotels on the island in addition to several self-catering houses. The agency also mentions that distances are short, with the Abbey a mere 10 minutes walk from the pier. Tourists can rent bikes or use the local taxi.

Iona in Scottish painting
The island of Iona has played an important role in Scottish landscape painting, especially during the Twentieth Century. As travel to north and west Scotland became easier from the mid C18 on, artists' visits to the island steadily increased. The Abbey remains in particular became frequently recorded during this early period. Many of the artists are listed and illustrated in the valuable book, "Iona Portrayed – The Island through Artists' Eyes 1760–1960", which lists over 170 artists known to have painted on the island.

The C20, however, saw the greatest period of influence on landscape painting, in particular through the many paintings of the island produced by F. C. B. Cadell and S. J. Peploe, two of the "Scottish Colourists". As with many artists, both professional and amateur, they were attracted by the unique quality of light, the white sandy beaches, the aquamarine colours of the sea and the landscape of rich greens and rocky outcrops. While Cadell and Peploe are perhaps best known, many major Scottish painters of the C20 worked on Iona and visited many times – for example George Houston, D. Y. Cameron, James Shearer, John Duncan and John Maclauchlan Milne, among many.

Media and the arts
Samuel Johnson wrote "That man is little to be envied whose patriotism would not gain force upon the plains of Marathon or whose piety would not grow warmer amid the ruins of Iona."

In Jules Verne's novel The Green Ray, the heroes visit Iona in chapters 13 to 16. The inspiration is romantic, the ruins of the island are conducive to daydreaming. The young heroine, Helena Campbell, argues that Scotland in general and Iona in particular are the scene of the appearance of goblins and other familiar demons.

In Jean Raspail's novel The Fisherman's Ring (1995), his cardinal is one of the last to support the antipope Benedict XIII and his successors.

In the novel The Carved Stone (by Guillaume Prévost), the young Samuel Faulkner is projected in time as he searches for his father and lands on Iona in the year 800, then threatened by the Vikings.

"Peace of Iona" is a song written by Mike Scott that appears on the studio album Universal Hall and on the live recording Karma to Burn by The Waterboys. Iona is the setting for the song "Oran" on the 1997 Steve McDonald album Stone of Destiny.

Kenneth C. Steven published an anthology of poetry entitled Iona: Poems in 2000 inspired by his association with the island and the surrounding area.

Iona is featured prominently in the first episode ("By the Skin of Our Teeth") of the celebrated arts series Civilisation: A Personal View by Kenneth Clark (1969).

Iona is the setting of Jeanne M. Dams' Dorothy Martin mystery Holy Terror of the Hebrides (1998).

The Academy Award–nominated Irish animated film The Secret of Kells is about the creation of the Book of Kells. One of the characters, Brother Aidan, is a master illuminator from Iona Abbey who had helped to illustrate the Book, but had to escape the island with it during a Viking invasion.

Frances Macdonald the contemporary Scottish artist based in Crinian, Argyll, regularly paints landscapes on Iona.

Neil Gaiman's poem "In Relig Odhrain", published in Trigger Warning: Short Fictions and Disturbances (2015), retells the story of Oran's death, and the creation of the chapel on Iona. This poem was made into a short stop-motion animated film, released in 2019.

Iona's local golf course was featured on Season 7's Adventure's in Golf by documentary filmmaker, Erik Anders Lang.

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Ido

Ido is a constructed language derived from a reformed version of Esperanto, and similarly designed with the goal of being a universal second language for people of diverse backgrounds. To function as an effective international auxiliary language, Ido was specifically designed to be grammatically, orthographically, and lexicographically regular (and, above all, easy to learn and use). It is the most successful of the many Esperanto derivatives, called Esperantidoj.

Ido was created in 1907 out of a desire to reform perceived flaws in Esperanto, a language that had been created 20 years earlier to facilitate international communication. The name comes from the Esperanto word , meaning "offspring", since the language is a "descendant" of Esperanto. After its inception, Ido gained support from some in the Esperanto community. A setback occurred with the sudden death in 1914 of one of its most influential proponents, Louis Couturat. In 1928, leader Otto Jespersen left the movement for his own language Novial.

Ido declined in popularity for two reasons: the emergence of further schisms arising from competing reform projects, and a general lack of awareness of Ido as a candidate for an international language. These obstacles weakened the movement and it was not until the rise of the Internet that it began to regain momentum.

Ido uses the same 26 letters as the English (Latin) alphabet, with no diacritics. It draws its vocabulary from English, French, German, Italian, Latin, Russian, Spanish and Portuguese, and is largely intelligible to those who have studied Esperanto.

Several works of literature have been translated into Ido, including The Little Prince, the Book of Psalms, and the Gospel of Luke. As of the year 2000, there were approximately 100–200 Ido speakers in the world. As of 2022, Ido has 26 native speakers in Finland.

History
The idea of a universal second language is not new, and constructed languages are not a recent phenomenon. The first known constructed language was Hildegard of Bingen's Lingua Ignota, created in the 12th century. The concept did not attract significant interest until the language Volapük was created in 1879. Volapük was popular for some time and apparently had a few thousand users, but was later eclipsed by the popularity of Esperanto, which arose in 1887. Several other languages, such as Latino sine Flexione and Idiom Neutral were also put forward. It was during this time that French mathematician Louis Couturat formed the Delegation for the Adoption of an International Auxiliary Language.

This delegation made a formal request to the International Association of Academies in Vienna to select and endorse an international language; the request was rejected in May 1907. The Delegation then met as a Committee in Paris in October 1907 to discuss the adoption of a standard international language. Among the languages considered was a new language anonymously submitted at the last moment (and therefore against the Committee rules) under the pen name Ido. In the end the committee, always without plenary sessions and consisting of only 12 members, concluded the last day with 4 votes for and 1 abstention. They concluded that no language was completely acceptable, but that Esperanto could be accepted "on condition of several modifications to be realized by the permanent Commission in the direction defined by the conclusions of the Report of the Secretaries [Louis Couturat and Léopold Leau] and by the Ido project".

Esperanto's inventor, L. L. Zamenhof, having heard a number of complaints, had suggested in 1894 a proposal for a reformed Esperanto with several changes that Ido adopted and made it closer to French: eliminating the accented letters and the accusative case, changing the plural to an Italianesque -i, and replacing the table of correlatives with more Latinate words. However, the Esperanto community voted and rejected Zamenhof's reformed Esperanto, and likewise most rejected the recommendations of the 1907 Committee nominally composed of 12 members. Zamenhof, undoubtedly reminiscent of his experience of the 1894 reforms, strongly supported the Esperanto Committee majority decision. Furthermore, controversy ensued when the "Ido project" was found to have been primarily devised by Louis de Beaufront, whom Zamenhof had chosen to represent Esperanto before the committee, as the committee's rules dictated that the creator of a submitted language could not defend it. The Committee's meetings were mainly conducted in French, with occasional German. When the president of the Committee asked who was the author of Ido's project, Couturat, de Beaufront and Leau answered that they were not. De Beaufront was the person who presented Ido's project and gave a description as a better, richer version of Esperanto. Couturat, Leau, de Beaufront and Jespersen were finally the only members who voted, all of them for Ido's project. A month later, Couturat accidentally forwarded Jespersen a copy of a letter in which he acknowledged that de Beaufront was the author of the Ido project. Jespersen was angered by this and asked for a public confession. De Beaufront procrastinated for four months before making a public confession.

It is estimated that some 20% of Esperanto leaders and 3–4% of ordinary Esperantists switched to Ido, which from then on suffered constant modifications seeking to perfect it, but which ultimately had the effect of causing many Ido speakers to give up on trying to learn it. Although it fractured the Esperanto movement, the schism gave the remaining Esperantists the freedom to concentrate on using and promoting their language as it stood. At the same time, it gave the Idists freedom to continue working on their own language for several more years before actively promoting it. The Uniono di la Amiki di la Linguo Internaciona (Union of Friends of the International Language) was established along with an Ido Academy to work out the details of the new language.

Couturat, who was the leading proponent of Ido, was killed in an automobile accident in 1914. This, along with World War I, practically suspended the activities of the Ido Academy from 1914 to 1920. In 1928 Ido's major intellectual supporter, the Danish linguist Otto Jespersen, published his own planned language, Novial. His leaving the Ido movement set it back even further.

Digital era
The language still has active speakers, numbering about 500. The Internet has sparked a renewal of interest in the language in recent years. A sample of 24 Idists on the Yahoo! group Idolisto during November 2005 showed that 57% had begun their studies of the language during the preceding three years, 32% from the mid-1990s to 2002, and 8% had known the language from before.

Changes
Few changes have been made to Ido since 1922.

Camiel de Cock was named secretary of linguistic issues in 1990, succeeding Roger Moureaux. He resigned after the creation of a linguistic committee in 1991. De Cock was succeeded by Robert C. Carnaghan, who held the position from 1992 to 2008. No new words were adopted between 2001 and 2006. Following the 2008–2011 elections of ULI's direction committee, Gonçalo Neves replaced Carnaghan as secretary of linguistic issues in February 2008. Neves resigned in August 2008. A new linguistic committee was formed in 2010. In April 2010, Tiberio Madonna was appointed as secretary of linguistic issues, succeeding Neves. In January 2011, ULI approved eight new words. This was the first addition of words in many years. After a series of severe conflicts with the Directing Committee of ULI, Tiberio Madonna was revoked as secretary of linguistic issues on the 26th of May 2013 by official announcement from Loïs Landais, the secretary of ULI. In January 2022, ULI approved a set of new words (34)

Phonology
Ido has five vowel phonemes. The values and  are interchangeable depending on speaker preference, as are  and. The orthographic sequences $⟨au⟩$ and $⟨eu⟩$ indicate diphthongs in word roots but not when created by affixing.

All polysyllabic words are stressed on the second-to-last syllable except for verb infinitives, which are stressed on the last syllable –skolo, kafeo and lernas for "school", "coffee" and the present tense of "to learn", but irar, savar and drinkar for "to go", "to know" and "to drink". If an i or u precedes another vowel, the pair is considered part of the same syllable when applying the accent rule –thus radio, familio and manuo for "radio", "family" and "hand", unless the two vowels are the only ones in the word, in which case the "i" or "u" is stressed: dio, frua for "day" and "early".

Orthography
Ido uses the same 26 letters as the English alphabet and ISO Basic Latin alphabet with three digraphs and no ligatures or diacritics. Where the table below lists two pronunciations, either is perfectly acceptable.

The digraphs are:

Grammar
The definite article is la and is invariable. The indefinite article (a/an) does not exist in Ido. Each word in the Ido vocabulary is built from a root word. A word consists of a root and a grammatical ending. Other words can be formed from that word by removing the grammatical ending and adding a new one, or by inserting certain affixes between the root and the grammatical ending.

Some of the grammatical endings are defined as follows:

These are the same as in Esperanto except for -i, -ir, -ar, -or and -ez. Esperanto marks noun plurals by an agglutinative ending -j (so plural nouns end in -oj), uses -i for verb infinitives (Esperanto infinitives are tenseless), and uses -u for the imperative. Verbs in Ido, as in Esperanto, do not conjugate depending on person, number or gender; the -as, -is, and -os endings suffice whether the subject is I, you, he, she, they, or anything else. For the word "to be," Ido allows either esas or es in the present tense; however, the full forms must be used for the past tense esis and future tense esos." Adjectives and adverbs are compared in Ido by means of the words plu = more, maxim = most, min = less, minim = least, kam = than/as. There exist in Ido three categories of adverbs: the simple, the derived, and the composed. The simple adverbs do not need special endings, for example: tre = very, tro = too, olim = formerly, nun = now, nur = only. The derived and composed adverbs, not being originally adverbs but derived from nouns, adjectives and verbs, have the ending -e.

Syntax
Ido word order is generally the same as English (subject–verb–object), so the sentence Me havas la blua libro is the same as the English "I have the blue book", both in meaning and word order. There are a few differences, however:
 * Adjectives can precede the noun as in English, or follow the noun as in Spanish. Thus, Me havas la libro blua means the same thing.
 * Ido has the accusative suffix -n. Unlike Esperanto, this suffix is only required when the object of the sentence is not clear, for example, when the subject-verb-object word order is not followed. Thus, La blua libron me havas also means the same thing.

Ido generally does not impose rules of grammatical agreement between grammatical categories within a sentence. For example, the verb in a sentence is invariable regardless of the number and person of the subject. Nor must the adjectives be pluralized as well the nouns –in Ido the large books would be la granda libri as opposed to the Esperanto la grandaj libroj.

Negation occurs in Ido by simply adding ne before a verb: Me ne havas libro means "I do not have a book". This as well does not vary, and thus the "I do not", "He does not", "They do not" before a verb are simply Me ne, Il ne, and Li ne. In the same way, past tense and future tense negatives are formed by ne before the conjugated verb. "I will not go" and "I did not go" become Me ne iros and Me ne iris respectively.

Yes/no questions are formed by the particle ka in front of the question. "I have a book" (me havas libro) becomes Ka me havas libro? (do I have a book?). Ka can also be placed in front of a noun without a verb to make a simple question, corresponding to the English "is it?" Ka Mark? can mean, "Are you Mark?", "Is it Mark?", "Do you mean Mark?" depending on the context.

Pronouns
The pronouns of Ido were revised to make them more acoustically distinct than those of Esperanto, which all end in i. Especially the singular and plural first-person pronouns mi and ni may be difficult to distinguish in a noisy environment, so Ido has me and ni instead. Ido also distinguishes between intimate (tu) and formal (vu) second-person singular pronouns as well as plural second-person pronouns (vi) not marked for intimacy. Furthermore, Ido has a pan-gender third-person pronoun lu (it can mean "he", "she", or "it", depending on the context) in addition to its masculine (il), feminine (el), and neuter (ol) third-person pronouns.

 * 1) ci, although technically the familiar form of the word "you" in Esperanto, is seldom used. Esperanto's inventor himself did not include the pronoun in the first book on Esperanto and only later reluctantly; later he recommended against using ci because different cultures have conflicting traditions regarding the use of the familiar and formal forms of "you".
 * 2) ri, iŝi, iĝi and by extension iri are proposed neologisms and are rare, but they are still used albeit seldom.

ol, like English it and Esperanto ĝi, is not limited to inanimate objects, but can be used "for entities whose sex is indeterminate: babies, children, humans, youths, elders, people, individuals, horses, [cattle], cats, etc."

Lu is often mistakenly labeled an epicene pronoun, that is, one that refers to both masculine and feminine beings, but in fact, lu is more properly a "pan-gender" pronoun, as it is also used for referring to inanimate objects. From Kompleta Gramatiko Detaloza di la Linguo Internaciona Ido by Beaufront:

"Lu (like li) is used for all three genders. That lu does duty for the three genders at will in the singular is not in itself any more astonishing than seeing li serve the three genders at will in the plural ... By a decision (1558) the Idist Academy rejected every restriction concerning the use of lu. One may thus use that pronoun in exactly the same way for a thing and a person of obvious sex as for animals of unknown sex and a person that has a genderless name, like baby, child, human, etc., these being as truly masculine as feminine.

The motives for this decision were given in 'Mondo', XI, 68: Lu for the singular is exactly the same as li for the plural. Logic, symmetry and ease demand this. Consequently, just as li may be used for people, animals, and things whenever nothing obliges one to express the gender, so lu may be used for people, animals, and things under the same condition. The proposed distinction would be a bothersome subtlety ..."

Table of correlatives
Ido makes correlatives by combining entire words together and changing the word ending, with some irregularities to show distinction.

 * 1) The initial i can be omitted: ta, to, ti, ta.
 * 2) One can omit the initial a: ultempe, nultempe, ulspeca, nulspeca, ulmaniere, nulmaniere.
 * 3) omnatempe is correct and usable, but sempre is the actual word.
 * 4) Instead of irga quanto, nula quanto and la tota quanto one usually says irgo, nulo and omno.

Compound formation
Composition in Ido obeys stricter rules than in Esperanto, especially formation of nouns, adjectives and verbs from a radical of a different class. The reversibility principle assumes that for each composition rule (affix addition), the corresponding decomposition rule (affix removal) is valid.

Hence, while in Esperanto an adjective (for instance papera), formed on the noun radical paper(o), can mean an attribute (papera enciklopedio "paper-made encyclopedia") and a relation (papera fabriko "paper-making factory"), Ido will distinguish the attribute papera ("paper" or "of paper" (not "paper-made" exactly)) from the relation paperala ("paper-making").

Similarly, krono means in both Esperanto and Ido the noun "crown"; where Esperanto allows formation of "to crown" by simply changing the ending from noun to verb kroni ("crowning" is kronado), Ido requires an affix so the composition is reversible: kronizar ("the act of crowning" is kronizo).

According to Claude Piron, some modifications brought by Ido are in practice impossible to use and ruin spontaneous expression: "Ido displays, on linguistic level, other drawbacks Esperanto succeeded to avoid, but I don't have at hand documents which would allow me to go further in detail. For instance, if I remember correctly, where Esperanto only has the suffix -igi*, Ido has several: *-ifar*, *-izar*, *-igar*, which match subtleties which were meant to make language clearer, but that, in practice, inhibit natural expression."

Vocabulary
Vocabulary in Ido is derived from French, Italian, Spanish, English, German, and Russian. Basing the vocabulary on various widespread languages was intended to make Ido as easy as possible for the greatest number of people possible. Early on, the first 5,371 Ido word roots were analyzed compared to the vocabulary of the six source languages, and the following result was found:

 * 2024 roots (38%) belong to 6 languages
 * 942 roots (17%) belong to 5 languages
 * 1111 roots (21%) belong to 4 languages
 * 585 roots (11%) belong to 3 languages
 * 454 roots (8%) belong to 2 languages
 * 255 roots (5%) belong to 1 language

Another analysis showed that:

 * 4880 roots (91%) are found in French
 * 4454 roots (83%) are found in Italian
 * 4237 roots (79%) are found in Spanish
 * 4219 roots (79%) are found in English
 * 3302 roots (61%) are found in German
 * 2821 roots (52%) are found in Russian

Vocabulary in Ido is often created through a number of official prefixes and suffixes that alter the meaning of the word. This allows a user to take existing words and modify them to create neologisms when necessary, and allows for a wide range of expression without the need to learn new vocabulary each time. Though their number is too large to be included in one article, some examples include:
 * The diminutive suffix -et-. Domo (house) becomes dometo (cottage), and libro (book) becomes libreto (novelette or short story).
 * The pejorative suffix -ach-. Domo becomes domacho (hovel), and libro becomes libracho (a shoddy piece of work, pulp fiction, etc.)
 * The prefix retro-, which implies a reversal. Irar (to go) becomes retroirar (to go back, backward) and venar (to come) becomes retrovenar (to return).

New vocabulary is generally created through an analysis of the word, its etymology, and reference to the six source languages. If a word can be created through vocabulary already existing in the language then it will usually be adopted without need for a new radical (such as wikipedio for Wikipedia, which consists of wiki + enciklopedio for encyclopedia), and if not an entirely new word will be created. The word alternatoro for example was adopted in 1926, likely because five of the six source languages used largely the same orthography for the word, and because it was long enough to avoid being mistaken for other words in the existing vocabulary. Adoption of a word is done through consensus, after which the word will be made official by the union. Care must also be taken to avoid homonyms if possible, and usually a new word undergoes some discussion before being adopted. Foreign words that have a restricted sense and are not likely to be used in everyday life (such as the word intifada to refer to the conflict between Israel and Palestine) are left untouched, and often written in italics.

Ido, unlike Esperanto, does not assume the male sex by default. For example, Ido does not derive the word for "waitress" by adding a feminine suffix to "waiter", as Esperanto does. Instead, Ido words are defined as sex-neutral, and two different suffixes derive masculine and feminine words from the root: servisto for a waiter of either sex, servistulo for a male waiter, and servistino for a waitress. There are only two exceptions to this rule: First, patro for "father", matro for "mother", and genitoro for "parent", and second, viro for "man", muliero for "woman", and adulto for "adult".

Sample
The Lord's Prayer:

Literature and publications
Ido has a number of publications that can be subscribed to or downloaded for free in most cases. Kuriero Internaciona is a magazine produced in France every few months with a range of topics. Adavane! is a magazine produced by the Spanish Ido Society every two months that has a range of topics, as well as a few dozen pages of work translated from other languages. Progreso is the official organ of the Ido movement and has been around since the inception of the movement in 1908. Other sites can be found with various stories, fables or proverbs along with a few books of the Bible translated into Ido on a smaller scale. The site publikaji has a few podcasts in Ido along with various songs and other recorded material.

Wikipedia includes an Ido-language edition (known in Ido as Wikipedio); in 2018 it was the 93rd most visited Wikipedia, and is second most viewed Wikipedia edition in artificial language (after Esperanto).

Symbols of Ido

The Ido star or Jankó star is the main symbol of Ido. It is a six pointed star, with the points representing Ido's six source languages: English, French, Italian, German, Spanish and Russian. Alternatively, the six points represent the six continents (excluding Antarctica). The emblem was originally a six pointed white star on a circular blue background, consisting of two concentric, equilateral triangles, with one vertically flipped. However, this was soon changed due to the similarity it presented with the Star of David, since a true international auxiliary language should not have religious affiliations.

After a search to find an appropriate new symbol, the Ido-Akademio decided on the current Ido symbol, created by their secretary, Paul von Jankó (hence the alternative name the Jankó star). The current Ido Star is a concave isotoxal hexagon, with a vertically flipped equilateral triangle overlaid on top. This new shape also had the benefit of being able to be copyrighted.

International Ido conventions
ULI organises Ido conventions yearly, and the conventions include a mix of tourism and work.

 * 2019: Berlin, Germany, 15 participants from 2 countries (Information)
 * 2018: Provins, France, 11 participants from 5 countries (Information)
 * 2017: České Budějovice, Czech Republic, 8 participants from 5 countries (Information)
 * 2016: Valencia, Spain, 10 participants from 7 countries (Information)
 * 2015: Berlin, Germany, 14 participants (Information)
 * 2014: Paris, France (Information)
 * 2013: Ouroux-en-Morvan, France, 13 participants from 4 countries (Information)
 * 2012: Dessau, Germany, 12 participants (Information)
 * 2011: Echternach, Luxembourg (Information), 24 participants from 11 countries
 * 2010: Tübingen, Germany (Information)
 * 2009: Riga, Latvia, and Tallinn, Estonia, 14 participants from 7 countries (Information)
 * 2008: Wuppertal-Neviges, Germany, 18 participants from 5 countries (Information)
 * 2007: Paris, France, 14 participants from 9 countries (Information, Photos)
 * 2006: Berlin, Germany, approx. 25 participants from 10 countries (Information)
 * 2005: Toulouse, France, 13 participants from 4 countries (Information)
 * 2004: Kyiv, Ukraine, 17 participants from 9 countries (Information)
 * 2003: Großbothen, Germany, participants from 6 countries (Information)
 * 2002: Kraków, Poland, 14 participants from 6 countries (Information)
 * 2001: Nuremberg, Germany, 14 participants from 5 countries (Information)
 * 2000: Nuremberg, Germany
 * 1999: Waldkappel, Germany
 * 1998: Białobrzegi, Poland, 15 participants from 6 countries
 * 1997: Bakkum, Netherlands, 19 participants from 7 countries
 * 1995: Elsnigk, Germany
 * 1991: Ostend, Belgium, 21 participants
 * 1990: Waldkappel, Germany
 * 1989: Zürich-Thalwil, Switzerland
 * 1987: Eschwege, Germany
 * 1985: Antwerp, Belgium
 * 1983: York, England
 * 1981: Jongny, Switzerland
 * 1980: Namur, Belgium, 35 participants
 * 1979: Uppsala, Sweden
 * 1978: Cambridge, England
 * 1977: Berlin-Tegel, Germany
 * 1976: Saint-Nazaire, France
 * 1975: Thun, Switzerland
 * 1974: Kyiv, Ukraine
 * 1973: Cardiff, Wales
 * 1972: Chaux-de-Fonds, Switzerland
 * 1971: Trollhättan, Sweden
 * 1970: Luxembourg City, Luxembourg
 * 1969: Zürich, Switzerland
 * 1968: Berlin, Germany
 * 1967: Bourges, France
 * 1966: Biella, Italy
 * 1965: Lons-le-Saunier, France
 * 1964: Kiel, Germany
 * 1963: Barcelona, Spain
 * 1962: Thun, Switzerland
 * 1961: Zürich, Switzerland, c. 50 participants
 * 1960: Colmar, France
 * 1959: Freiburg im Breisgau, Germany
 * 1957: Luxembourg City, Luxembourg
 * 1952: Berlin, Germany
 * 1951: Turin, Italy
 * 1950: Colmar, France
 * 1939: St. Gallen, Switzerland
 * 1937: Paris, France
 * 1936: Szombathely, Hungary
 * 1935: Fredericia, Denmark
 * 1934: Oostduinkerke, Belgium
 * 1933: Mondorf, Luxembourg
 * 1931: Lauenburg/Elbe, Germany
 * 1930: Sopron, Hungary
 * 1929: Freiburg im Breisgau, Germany
 * 1928: Zürich, Switzerland
 * 1927: Paris, France
 * 1926: Prague, Czechoslovakia
 * 1925: Turin, Italy
 * 1924: Luxembourg City, Luxembourg
 * 1923: Kassel, Germany
 * 1922: Dessau, Germany
 * 1921: Vienna, Austria

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Ido


text:
Improvisational theatre

Improvisational theatre, often called improvisation or improv, is the form of theatre, often comedy, in which most or all of what is performed is unplanned or unscripted, created spontaneously by the performers. In its purest form, the dialogue, action, story, and characters are created collaboratively by the players as the improvisation unfolds in present time, without use of an already prepared, written script.

Improvisational theatre exists in performance as a range of styles of improvisational comedy as well as some non-comedic theatrical performances. It is sometimes used in film and television, both to develop characters and scripts and occasionally as part of the final product.

Improvisational techniques are often used extensively in drama programs to train actors for stage, film, and television and can be an important part of the rehearsal process. However, the skills and processes of improvisation are also used outside the context of performing arts. This practice, known as applied improvisation, is used in classrooms as an educational tool and in businesses as a way to develop communication skills, creative problem solving, and supportive team-work abilities that are used by improvisational, ensemble players. It is sometimes used in psychotherapy as a tool to gain insight into a person's thoughts, feelings, and relationships.

History
The earliest well-documented use of improvisational theatre in Western history is found in the Atellan Farce of 391 BC. From the 16th to the 18th centuries, commedia dell'arte performers improvised based on a broad outline in the streets of Italy. In the 1890s, theatrical theorists and directors such as the Russian Konstantin Stanislavski and the French Jacques Copeau, founders of two major streams of acting theory, both heavily utilized improvisation in acting training and rehearsal.

Modern
Modern theatrical improvisation games began as drama exercises for children, which were a staple of drama education in the early 20th century thanks in part to the progressive education movement initiated by John Dewey in 1916. Some people credit American Dudley Riggs as the first vaudevillian to use audience suggestions to create improvised sketches on stage. Improvisation exercises were developed further by Viola Spolin in the 1940s, 50s, and 60s, and codified in her book Improvisation For The Theater, the first book that gave specific techniques for learning to do and teach improvisational theater. In 1977, Clive Barker's book Theatre Games (several translations and editions) spread the ideas of improv internationally. British playwright and director Keith Johnstone wrote Impro: Improvisation and the Theatre, a book outlining his ideas on improvisation, and invented Theatresports, which has become a staple of modern improvisational comedy and is the inspiration for the popular television show Whose Line Is It Anyway?

Viola Spolin influenced the first generation of modern American improvisers at The Compass Players in Chicago, which led to The Second City. Her son, Paul Sills, along with David Shepherd, started The Compass Players. Following the demise of the Compass Players, Paul Sills began The Second City. They were the first organized improv troupes in Chicago, and the modern Chicago improvisational comedy movement grew from their success.

Many of the current "rules" of comedic improv were first formalized in Chicago in the late 1950s and early 1960s, initially among The Compass Players troupe, which was directed by Paul Sills. From most accounts, David Shepherd provided the philosophical vision of the Compass Players, while Elaine May was central to the development of the premises for its improvisations. Mike Nichols, Ted Flicker, and Del Close were her most frequent collaborators in this regard. When The Second City opened its doors on December 16, 1959, directed by Paul Sills, his mother Viola Spolin began training new improvisers through a series of classes and exercises which became the cornerstone of modern improv training. By the mid-1960s, Viola Spolin's classes were handed over to her protégé, Jo Forsberg, who further developed Spolin's methods into a one-year course, which eventually became The Players Workshop, the first official school of improvisation in the United States. During this time, Forsberg trained many of the performers who went on to star on The Second City stage.

Many of the original cast of Saturday Night Live came from The Second City, and the franchise has produced such comedy stars as Mike Myers, Tina Fey, Bob Odenkirk, Amy Sedaris, Stephen Colbert, Eugene Levy, Jack McBrayer, Steve Carell, Chris Farley, Dan Aykroyd, and John Belushi. Simultaneously, Keith Johnstone's group The Theatre Machine, which originated in London, was touring Europe. This work gave birth to Theatresports, at first secretly in Johnstone's workshops, and eventually in public when he moved to Canada. Toronto has been home to a rich improv tradition.

In 1984, Dick Chudnow (Kentucky Fried Theater) founded ComedySportz in Milwaukee, WI. Expansion began with the addition of ComedySportz-Madison (WI), in 1985. The first Comedy League of America National Tournament was held in 1988, with 10 teams participating. The league is now known as CSz Worldwide and boasts a roster of 29 international cities.

In San Francisco, The Committee theater was active in North Beach during the 1960s. It was founded by alumni of Chicago's Second City, Alan Myerson and his wife Jessica. When The Committee disbanded in 1972, three major companies were formed: The Pitchell Players, The Wing, and Improvisation Inc. The only company that continued to perform Close's Harold was the latter one. Its two former members, Michael Bossier and John Elk, formed Spaghetti Jam in San Francisco's Old Spaghetti Factory in 1976, where shortform improv and Harolds were performed through 1983. Stand-up comedians performing down the street at the Intersection for the Arts would drop by and sit in. In 1979, Elk brought shortform to England, teaching workshops at Jacksons Lane Theatre, and he was the first American to perform at The Comedy Store, London, above a Soho strip club.

Modern political improvisation's roots include Jerzy Grotowski's work in Poland during the late 1950s and early 1960s, Peter Brook's "happenings" in England during the late 1960s, Augusto Boal's "Forum Theatre" in South America in the early 1970s, and San Francisco's The Diggers' work in the 1960s. Some of this work led to pure improvisational performance styles, while others simply added to the theatrical vocabulary and were, on the whole, avant-garde experiments.

Joan Littlewood, an English actress and director who was active from the 1950s to 1960s, made extensive use of improv in developing plays for performance. However, she was successfully prosecuted twice for allowing her actors to improvise in performance. Until 1968, British law required scripts to be approved by the Lord Chamberlain's Office. The department also sent inspectors to some performances to check that the approved script was performed exactly as approved.

In 1987, Annoyance Theatre began as a club in Chicago that emphasizes longform improvisation. The Annoyance Theatre has grown into multiple locations in Chicago and New York City. It is the home of the longest running musical improv show in history at 11 years.

In 2012, Lebanese writer and director Lucien Bourjeily used improvisational theater techniques to create a multi-sensory play entitled 66 Minutes in Damascus. This play premiered at the London International Festival of Theater, and is considered one of the most extreme kinds of interactive improvised theater put on stage. The audience play the part of kidnapped tourists in today's Syria in a hyperreal sensory environment.

Rob Wittig and Mark C. Marino have developed a form of improv for online theatrical improvisation called netprov. The form relies on social media to engage audiences in the creation of dynamic fictional scenarios that evolve in real-time.

Comedy
Modern improvisational comedy, as it is practiced in the West, falls generally into two categories: shortform and longform.

Shortform improv consists of short scenes usually constructed from a predetermined game, structure, or idea and driven by an audience suggestion. Many shortform exercises were first created by Viola Spolin, who called them theatre games, influenced by her training from recreational games expert Neva Boyd. The shortform improv comedy television series Whose Line Is It Anyway? has familiarized American and British viewers with shortform.

Longform improv performers create shows in which short scenes are often interrelated by story, characters, or themes. Longform shows may take the form of an existing type of theatre, for example a full-length play or Broadway-style musical such as Spontaneous Broadway. One of the better-known longform structures is the Harold, developed by ImprovOlympic co-founder Del Close. Many such longform structures now exist. Actors such as Will Ferrell, Tina Fey, and Steve Carrell found their start in longform improv.

Longform improvisation is especially performed in Chicago, New York City, Los Angeles, Austin, Dallas, Boston, Minneapolis, Phoenix, Philadelphia, San Francisco, Seattle, Detroit, Toronto, Vancouver, and Washington, D.C., and is building a growing following in Baltimore, Denver, Kansas City, Montreal, Columbus, New Orleans, Omaha, Rochester, NY, and Hawaii. Outside the United States, longform improv has a growing presence in the United Kingdom, especially in cities such as London, Bristol, Glasgow, and at the Edinburgh Festival Fringe.

Non-comedic, experimental, and dramatic, narrative-based improvisational theater
Other forms of improvisational theatre training and performance techniques are experimental and avant-garde in nature and not necessarily intended to be comedic. These include Playback Theatre and Theatre of the Oppressed, the Poor Theatre, the Open Theatre, to name only a few.

The Open Theatre was founded in New York City by a group of former students of acting teacher Nola Chilton, and joined shortly thereafter by director Joseph Chaikin, formerly of The Living Theatre, and Peter Feldman. This avant-garde theatre group explored political, artistic, and social issues. The company, developing work through an improvisational process drawn from Chilton and Viola Spolin, created well-known exercises, such as "sound and movement" and "transformations", and originated radical forms and techniques that anticipated or were contemporaneous with Jerzy Grotowski's "poor theater" in Poland. During the sixties, Chaikin and the Open Theatre developed full theatrical productions with nothing but the actors, a few chairs, and a bare stage, creating character, time, and place through a series of transformations the actors physicalized and discovered through improvisations.

On the west coast, Ruth Zaporah developed Action Theatre, a physically based improvisation form that treats language, movement and voice equally. Action Theatre performances have no scripts, no preplanned ideas and create full-length shows or shorter performances. Longform, dramatic, and narrative-based improvisation is well-established on the west coast with companies such as San Francisco's BATS Improv. This format allows for full-length plays and musicals to be created improvisationally.

Applying improv principles in life
Many people who have studied improv have noted that the guiding principles of improv are useful, not just on stage, but in everyday life. For example, Stephen Colbert in a commencement address said,

"Well, you are about to start the greatest improvisation of all. With no script. No idea what's going to happen, often with people and places you have never seen before. And you are not in control. So say 'yes.' And if you're lucky, you'll find people who will say 'yes' back."

Tina Fey, in her book Bossypants, lists several rules of improv that apply in the workplace. There has been much interest in bringing lessons from improv into the corporate world. In a New York Times article titled "Can Executives Learn to Ignore the Script?", Stanford professor and author, Patricia Ryan Madson notes, "executives and engineers and people in transition are looking for support in saying yes to their own voice. Often, the systems we put in place to keep us secure are keeping us from our more creative selves."

Applying improv principles is also commonly used to enhance ideation in teams and groups.

In film and television
Many directors have made use of improvisation in the creation of both mainstream and experimental films. Many silent filmmakers such as Charlie Chaplin and Buster Keaton used improvisation in the making of their films, developing their gags while filming and altering the plot to fit. The Marx Brothers were notorious for deviating from the script they were given, their ad libs often becoming part of the standard routine and making their way into their films. Many people, however, make a distinction between ad-libbing and improvising.

The British director Mike Leigh makes extensive use of improvisation in the creation of his films, including improvising important moments in the characters' lives that will not even appear in the film. This Is Spinal Tap and other mockumentary films of director Christopher Guest were created with a mix of scripted and unscripted material. Blue in the Face is a 1995 comedy directed by Wayne Wang and Paul Auster created in part by the improvisations during the filming of Smoke.

Some of the best known American film directors who used improvisation in their work with actors are John Cassavetes, Robert Altman, Christopher Guest, and Rob Reiner.

Improv comedy techniques have also been used in hit television shows such as HBO's Curb Your Enthusiasm created by Larry David, the UK Channel 4 and ABC television series Whose Line Is It Anyway (and its spinoffs Drew Carey's Green Screen Show and Drew Carey's Improv-A-Ganza), Nick Cannon's improv comedy show Wild 'N Out, and Thank God You're Here. A very early American improv television program was the weekly half-hour What Happens Now? which premiered on New York's WOR-TV on October 15, 1949, and ran for 22 episodes. "The Improvisers" were six actors (including Larry Blyden, Ross Martin, and Jean Alexander – Jean Pugsley at the time) who improvised skits based on situations suggested by viewers. In Canada, the series Train 48 was improvised from scripts which contained a minimal outline of each scene, and the comedy series This Sitcom Is...Not to Be Repeated incorporated dialogue drawn from a hat during the course of an episode. The American show Reno 911! also contained improvised dialogue based on a plot outline. Fast and Loose is an improvisational game show, much like Whose Line Is It Anyway? The BBC sitcoms Outnumbered and The Thick of It also had some improvised elements in them.

Psychology
In the field of the psychology of consciousness, Eberhard Scheiffele explored the altered state of consciousness experienced by actors and improvisers in his scholarly paper Acting: an altered state of consciousness. According to G. William Farthing in The Psychology of Consciousness comparative study, actors routinely enter into an altered state of consciousness (ASC). Acting is seen as altering most of the 14 dimensions of changed subjective experience which characterize ASCs according to Farthing, namely: attention, perception, imagery and fantasy, inner speech, memory, higher-level thought processes, meaning or significance of experiences, time experience, emotional feeling and expression, level of arousal, self-control, suggestibility, body image, and sense of personal identity.

In the growing field of Drama Therapy, psychodramatic improvisation, along with other techniques developed for Drama Therapy, are used extensively. The "Yes, and" rule has been compared to Milton Erickson's utilization process and to a variety of acceptance-based psychotherapies. Improv training has been recommended for couples therapy and therapist training, and it has been speculated that improv training may be helpful in some cases of social anxiety disorder.

Structure and process
Improvisational theatre often allows an interactive relationship with the audience. Improv groups frequently solicit suggestions from the audience as a source of inspiration, a way of getting the audience involved, and as a means of proving that the performance is not scripted. That charge is sometimes aimed at the masters of the art, whose performances can seem so detailed that viewers may suspect the scenes are planned.

In order for an improvised scene to be successful, the improvisers involved must work together responsively to define the parameters and action of the scene, in a process of co-creation. With each spoken word or action in the scene, an improviser makes an offer, meaning that he or she defines some element of the reality of the scene. This might include giving another character a name, identifying a relationship, location, or using mime to define the physical environment. These activities are also known as endowment. It is the responsibility of the other improvisers to accept the offers that their fellow performers make; to not do so is known as blocking, negation, or denial, which usually prevents the scene from developing. Some performers may deliberately block (or otherwise break out of character) for comedic effect—this is known as gagging—but this generally prevents the scene from advancing and is frowned upon by many improvisers. Accepting an offer is usually accompanied by adding a new offer, often building on the earlier one; this is a process improvisers refer to as Yes, and... and is considered the cornerstone of improvisational technique. Every new piece of information added helps the improvisers to refine their characters and progress the action of the scene. The Yes, and... rule, however, applies to a scene's early stage since it is in this stage that a "base (or shared) reality" is established in order to be later redefined by applying the "if (this is true), then (what else can also be true)" practice progressing the scene into comedy, as explained in the 2013 manual by the Upright Citizens Brigade members.

The unscripted nature of improv also implies no predetermined knowledge about the props that might be useful in a scene. Improv companies may have at their disposal some number of readily accessible props that can be called upon at a moment's notice, but many improvisers eschew props in favor of the infinite possibilities available through mime. In improv, this is more commonly known as 'space object work' or 'space work', rather than 'mime', and the props and locations created by this technique, as 'space objects' created out of 'space substance', developed as a technique by Viola Spolin. As with all improv 'offers', improvisers are encouraged to respect the validity and continuity of the imaginary environment defined by themselves and their fellow performers; this means, for example, taking care not to walk through the table or "miraculously" survive multiple bullet wounds from another improviser's gun.

Because improvisers may be required to play a variety of roles without preparation, they need to be able to construct characters quickly with physicality, gestures, accents, voice changes, or other techniques as demanded by the situation. The improviser may be called upon to play a character of a different age or sex. Character motivations are an important part of successful improv scenes, and improvisers must therefore attempt to act according to the objectives that they believe their character seeks.

In improv formats with multiple scenes, an agreed-upon signal is used to denote scene changes. Most often, this takes the form of a performer running in front of the scene, known as a "wipe". Tapping a character in or out can also be employed. The performers not currently part of the scene often stand at the side or back of the stage, and can enter or exit the scene by stepping into or out of the stage center.

Community
Many theatre troupes are devoted to staging improvisational performances and growing the improv community through their training centers.

In addition to for-profit theatre troupes, there are many college-based improv groups in the United States and around the world.

In Europe the special contribution to the theatre of the abstract, the surreal, the irrational and the subconscious have been part of the stage tradition for centuries. From the 1990s onwards a growing number of European Improv groups have been set up specifically to explore the possibilities offered by the use of the abstract in improvised performance, including dance, movement, sound, music, mask work, lighting, and so on. These groups are not especially interested in comedy, either as a technique or as an effect, but rather in expanding the improv genre so as to incorporate techniques and approaches that have long been a legitimate part of European theatre.

Notable contributors to the field
The Brave New Workshop Comedy Theater (BNW), is a sketch and improvisational comedy theater based in Minneapolis, Minnesota. Started by Dudley Riggs in 1958, the artists of the BNW have been writing, performing and producing live sketch comedy and improvisation performances for 62 years – longer than any other theater in the nation. Notable alumni of the BNW include Louie Anderson, Mo Collins, Tom Davis, Al Franken, Penn Jillette, Carl Lumbly, Paul Menzel, Pat Proft, Annie Reirson, Taylor Nikolai, Nancy Steen, Peter Tolan, Linda Wallem, Lizz Winstead, Peter MacNicol, Melissa Peterman, and Cedric Yarbrough.

Some key figures in the development of improvisational theatre are Viola Spolin and her son Paul Sills, founder of Chicago's famed Second City troupe and originator of Theater Games, and Del Close, founder of ImprovOlympic (along with Charna Halpern) and creator of a popular longform improv format known as The Harold. Others include Keith Johnstone, the British teacher and writer–author of Impro, who founded the Theatre Machine and whose teachings form the foundation of the popular shortform Theatresports format, Dick Chudnow, founder of ComedySportz which evolved its family-friendly show format from Johnstone's Theatersports, and Bill Johnson, creator/director of The Magic Meathands, who pioneered the concept of "Commun-edy Outreach" by tailoring performances to non-traditional audiences, such as the homeless and foster children.

David Shepherd, with Paul Sills, founded The Compass Players in Chicago. Shepherd was intent on developing a true "people's Theatre", and hoped to bring political drama to the stockyards. The Compass went on to play in numerous forms and companies, in a number of cities including New York and Hyannis, after the founding of The Second City. A number of Compass members were also founding members of The Second City. In the 1970s, Shepherd began experimenting with group-created videos. He is the author of That Movie In Your Head, about these efforts. In the 1970s, David Shepherd and Howard Jerome created the Improvisational Olympics, a format for competition based improv. The Improv Olympics were first demonstrated at Toronto's Homemade Theatre in 1976 and have been continued on as the Canadian Improv Games. In the United States, the Improv Olympics were later produced by Charna Halpern under the name "ImprovOlympic" and now as "IO"; IO operates training centers and theaters in Chicago and Los Angeles. At IO, Halpern combined Shepherd's "Time Dash" game with Del Close's "Harold" game; the revised format for the Harold became the fundamental structure for the development of modern longform improvisation.

In 1975 Jonathan Fox founded Playback Theatre, a form of improvised community theatre which is often not comedic and replays stories as shared by members of the audience.

The Groundlings is a popular and influential improv theatre and training center in Los Angeles, California. The late Gary Austin, founder of The Groundlings, taught improvisation around the country, focusing especially in Los Angeles. He was widely acclaimed as one of the greatest acting teachers in America. His work was grounded in the lessons he learned as an improviser at The Committee with Del Close, as well as in his experiences as founding director of The Groundlings. The Groundlings is often seen as the Los Angeles training ground for the "second generation" of improv performers and troupes. Stan Wells developed the "Clap-In" style of longform improvisation here, later using this as the basis for his own theatre, The Empty Stage, which in turn bred multiple troupes utilizing this style.

In the late 1990s, Matt Besser, Amy Poehler, Ian Roberts, and Matt Walsh founded the Upright Citizens Brigade Theatre in New York and later they founded one in Los Angeles, each with an accompanying improv/sketch comedy school. In September 2011 the UCB opened a third theatre in New York City's East Village, known as UCBeast.

Hoopla Impro are the founders of the UK and London's first improv theatre. They also run an annual UK improv festival and improv marathon.

In 2015, The Free Association opened in London as a counterpart to American improv schools.

Gunter Lösel compared the existing improvisational theater theories (including Moreno, Spolin, Johnstone, and Close), structured them and wrote a general theory of improvisational theater.

Alan Alda's book If I Understood You, Would I Have This Look on My Face? investigates the way in which improvisation improves communication in the sciences. The book is based on his work at Alan Alda Center for Communicating Science at Stony Brook University. The book has many examples of how improvisational theater games can increase communication skills and develop empathy.

title: Improvisational theatre