This article presents a qualitative analysis of the opening section of an online improvisation session. The session, which was organized by the Glasgow Improvisers Orchestra, included an international group of musicians. It took place during the global COVID-19 pandemic where the participants were experiencing lockdown conditions. Phenomenological reflexive analysis and video elicitation techniques were utilized to develop a number of key themes related to the multimodal improvisation strategies identified as emergent in the session. The results highlight how technical, physical, and psychological constraints of online practice can facilitate new creative insights and approaches to improvisation. Particular emphasis is placed upon how an improvisation begins and the role of distributed and collaborative creativity within the overall process. The importance of the domestic environment, what we term The Theater of Home, is central to these new ideas, as is how particular scenarios/items function as psychological and creative boundary objects. The spontaneous multimodal integration of text, visual, and audio material within the domestic and virtual environment can be seen to support a new type of creative collaboration and one that draws out features of social improvisation.

中文翻译：

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开放空间：放大家庭剧院的即兴创作


本文对在线即兴创作会议的开场部分进行了定性分析。这次会议由格拉斯哥即兴管弦乐团组织，包括一个国际音乐家团体。它发生在全球新冠肺炎 (COVID-19) 大流行期间，参与者正经历封锁状态。利用现象学反射分析和视频启发技术来开发一些与会议中出现的多模式即兴创作策略相关的关键主题。结果强调了在线实践的技术、身体和心理限制如何促进新的创造性见解和即兴创作方法。特别强调即兴创作如何开始以及分布式和协作创造力在整个过程中的作用。家庭环境（我们称之为“家庭剧场”）的重要性是这些新想法的核心，特定场景/物品如何作为心理和创造性边界对象发挥作用也是如此。文本、视觉和音频材料在家庭和虚拟环境中的自发多模式整合可以被视为支持一种新型的创造性合作，并且能够体现出社会即兴创作的特征。