The imagination is essential to drama, but teachers, and leading practitioners rarely examine it in detail. This article considers the sources of the imagination, and the relationship it has with creativity within the context of improvisation. The significance of originality as a criterion of quality, and the place imitative practices have within it, are considered. Alternative functions of the imagination are suggested to counter the concern that intertextuality and self-referencing stifle creativity.
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Mark Cremin (1998) studied this question.
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