Real life drama queens of all genders and persuasions are invited to tell all to the folks at Bay Area Theatresports, aka BATS.

Whether your love life is the stuff of a Danielle Steel bodice-ripper romance or more of a Harold-and-Maude or Rocky-Horror thang, BATS is looking to dish on it -- live, in person and onstage. The best lovers' stories of how boy meets girl (or boy meets boy) will be dramatized on the spot at San Francisco's only all-improvisation theater house. Because good improv is a lot like romance, "when it goes right it's magical," according to Valentine's Day show director Jill Bourque, likening it to an aphrodisiac.

For this show, narrator William Hall will interview three or four couples onstage, and the BATS troupe will recreate their stories on the spot. Bourque is looking for the real-life stories of how couples fell in love. "I hope we'll find a diversity of couples -- gay couples, widows, older couples," Bourque says.

The company, which makes its home in the 200-seat Bayfront Theater at Fort Mason Center, has something of a love affair with fans. "We have a real cult following. We see the same faces night after night," says Bourque, noting that the company of 120 players has three theater troupes that play Thursdays through Sundays.

Why is improv the arts trend of the moment? Bourque thinks it may be due to the spread of Net culture; both forums are immediate and intimate. "If you have an idea, you put it out there (on the Net). With improv, it's that same sense of immediacy and intimacy -- which is different than television, which is immediate but not intimate." Bourque grows reflective, meditating on pop culture entertainments and diversions.

"E-mail is intimate, TV isn't. A chat room is definitely intimate and immediate. There's a lot of parallel between the Internet and improv -- it's definitely a community ... a very eclectic, responsive community."

At BATS, there are three styles of improv, an interactive and participatory theater form. Theatresports features teams of three or four players (sans director), while Micetro is an individual competition with two directors -- "It's very sporting-like," says Bourque. "You get a number and they call it out, and numbers get eliminated -- there's a lot of empathy and oohing and aahing." And in Gorilla Theater the director works with players on the spot to win bananas, or points, in the competition.

While many comedy clubs are named "improv clubs," that's really a misnomer, says Bourque. "It has its roots in commedia dell'arte. There's a framework of cast and characters, but we make up the dialogue." BATS doesn't do sketch improv. "Improv isn't all about being funny," she says, explaining that many improv pieces are so touching the audience weeps. "It's very powerful," she says. "It can be more powerful than scripted theater, because everyone knows it's never going to happen again."

Bourque, who studied acting with American Conservatory Theatre, took a class in improvisational theater with Barbara Scott and has been hooked ever since. She's done straightforward drama, but keeps coming back to improv. What's the allure? "You're an actor and a playwright on the spot," she explains. "There are moments of complete awe every night."

The art of improvisational theater balances precariously on a combination of troupe skill and audience rapport -- and it's hard to do well, Bourque concedes. "Players need to be fearless; the ability to take a risk is rewarded highly in improv. And storytelling ability helps -- to figure out on the spot what's the best place for the narrative to go."

Training in the spontaneous art is essential, and BATS offers a curriculum featuring classes every month. She estimates there are 200 students studying improv at a given time. The program is rigorous, according to Bourque. "It takes a couple of years to get through the courses -- and no one makes it through the first time. It's kind of like the bar, I guess."

Once acting students have completed their training they may join a troupe. The premiere troupe of 20 players features name talent, some of whom have been doing improv for decades, like founder William Hall, Micheal McShane and Greg Proops. (The latter two performers appear regularly on the British and American versions of the improv comedy show "Whose Line Is It Anyway?" on Comedy Central and ABC.)

At BATS, the Belfry troupe of 30 plays on Thursday evenings and features players with five to seven years of training. The Sunday Players is a large group 70 people who have taken classes and have graduated.

While training and a penchant for risk are good attributes for improvisational acting, Bourque notes that the best improv seems effortless when the audience identifies with the story -- "when the choices you make onstage are the choices that they would make," explains Bourque.

If you'd like to submit your own tale of how you met the love of your life, send it to jill@paiz.com or call 474-8935. To check out BATS, log onto www.improv.org. Tickets are $15 to $20 for the Valentine's Day "How We First Met" show, available by calling (415) 474-8935