Impromptutoring is my humbly coined figment for improvised pedagogy: the use of extemporaneous unplanned teaching in the conext of edutainment in hopes of making TEFL an art, and not just a matter of pedantic configuration of methods. Improvisation is usually used in the territories of music, choreography, and theater, and so it has to do with performance, of which teaching is a legitimate subcategory. Impromptutoring, either assumed ambitiously as a method or modestly as a gimmick, is a lively humanistic typology of teaching via which creating a learning environment is prioritized over teaching per se, where pasrticipants strive to conglomerate the expected with the unexpected in a harmonious way to establish a better ecosystem of classroom. Many of our routines are carried out in the form of improvisations, e.g. in emergency situations or in our everyday dialogs that are filled with offhanded acts and talks. So, extemporaneity is an elemental part of our life, and the life lived in classes. To further the quest for the state-of-the-art, teachers may wish to resort to more naturalistic techniques and thereby reduce the chances of tedium and inattention in the class ambience. Besides, lesson plans in real classes are frequently abandoned or digressed and classroom encounters are performed ad lib.

Skillful teaching is more than merely good lesson planning, therefore, the right teacher to do the job of impromptutoring has to have the ingredients befitting a vintage pedagogue and a competent improviser, such as: physical flexibility, sociability, conviviality, vibrancy, enthusiasm for performing arts and acting, world knowledge, philology and lexicology, ability in dramatizing ideas, humor, repartee, pun, and virtuosity in handling a liberal classroom, etc.

What is attempted in this research is to discover the artistic undertones of pedagogy, and to display teaching in its new metaphoric image; i.e. teaching as improvisation. The exigencies of the era we live in prompt us to adopt less authoritarian and more democratic tenets in pedagogy to loosen the shackles of syllabi and to forge a friendlier façade for class proceedings. In fact, rather than performers of curricula, teachers become creative designers of curricula. Impromptutoring, however, does not pose an obituary for the method or death to the classical teacher or to the syllabus designer. Yet, the area is pubic enough to give the researcher the impetus to venture an investigation. The main objective of the present study is to investigate the effectiveness of improvised teaching as compared to scripted teaching, to call for the inclusion of improvised teaching into the syllabi, to enhance creativity in teachers, to ask for transforming static classes into dynamic workshops, and to curricularize impromptutoring into a teachable framework. Another aim of this article is to offer a symbiosis between art and education, to reawaken the creative teacher that resides in all of us, and to introduce improvisation as quintessential in teaching English.

The present study is a composite of qualitative-quantitative multimethod inquiry, mainly through (non-participant) observation, stimulated recall, interview, video/audio-taping, photography, and questionnaire to arrive at understanding the mechanism of improvised teaching and the attitudes of both teachers and students towards this kind of teaching which hopes to affect the status quo of pedagogy.