Yes, those are column headings.
As I play with improv beyond "here are your timing/ rhythmic/ dynamic/ pitch constraints" and toss around the questions of privilege around musical skill and audience fitness and class- and culturally-proscribed behavior, I find myself delighting in questioning also my role as composer. Am I equivalent to a BDSM Dominant, calling the shots and bossing my players and producers around? Or a submissive, catering to the whims of the talent, a beneficent performing group, and ultimately the paying, soul-hungry audience? Evidence supports the conclusion that it does not matter as long as details of the arrangement are transparent to all parties and consensual.
What does this look like in practice? A few months ago, a favorite pianist at New Keys asked for additional movements to The Jots, a four-hand, sight-reading piece I dashed off earlier this year. I was experiencing a personal renaissance in ... a universal daily bodily function pertaining to internal movement. Writing the companion movement as a multi-phase improv theater pierce set my mind reeling on the topics above.
What I want to do exceeds the human resources of a conventional music concert; it needs the participants of an improv theater workshop for an audience. Further, working with the subject is helping me cope with the offensive aspects of reality like unresponsive audience and power vested in skilled artists. It's not bad; it's necessary and colorful sensation.
If you're in the SF Bay area in the upcoming weeks I'm organizing casual meetups to play theater games. No acting experience required! just respond to a scheduling poll.