A Quote by Chris Gethard

In 2002, I was taking an improv class because, as a white male with glasses who was born between 1978 and 1994, it's legally required that I take at least one improv class in my life.
I took an improv class in 2005 in Chicago at ComedySportz, which was short-form, more of a games-based improv. I remember it being real fun and helping with my stand-up. If I did an improv class, and then I did stand-up later, I felt looser on stage and more comfortable.
I had a teacher who recommended I take improv classes in Chicago - I'm from Evanston, Illinois - so I did improv classes at Improv Olympic, and that kind of opened me up.
When I moved to New York at 22, I didn't know what I wanted to do. I took an improv class, and the first scene I did, I felt like 'I want to do this for the rest of my life.' It was the first time I ever felt like that about anything. I tried to make a living off improv.
I take improv classes. Improv is something I can use in any aspect of life.
I think improv training really orients you to character development, more than taking a Strasberg class or Meisner class. Not only is it about developing character really quickly, but it's also about being a good partner in the scene.
When I started stand-up, the first thing I did was to take an improv class.
Well, actually, the Second City thing came about because I was taking a few improv classes there. I thought that the improv classes would help with my wrestling career, which it has.
I took an improv class, and after my first class, I was like, 'Oh, I just want to do something like this. This is super fun.'
I put so much energy into with improv. You can only perform it at a place where people are, essentially, taking improv classes so that they just appreciate what's happening.
There was an improv class in our high school, and we all ended up taking it and loving it. Then we just started our own thing.
I think with improv - and I say it all the time because it's become such a catch thing that you talk about improv - if the scene is well-written, you don't need to improv. But that being said, if something strikes you in the moment and, most importantly, you know where the scene is supposed to go, it's no different than method acting.
I took one class at Second City called Improv for Actors, and that was it, and that was only because my agent told me I had to.
The biggest thing that comes out of improv that gets built on is just character traits. You know, for me the singing was born out of improv.
I met Kevin when I was 19, at a Second City workshop. We were paired up together in the first class I went to. By the end of the class we formed our improv group, and over the next three years we performed leading up to the formation of The Kids in the Hall.
We live in a time where improv is king and people love improv, and I think there's a time and a place for that and people who are really good at structuring improv.
I think it's a lot richer than what we call fleshy improv, I think it's very funny, puppet improv and fleshy improv.
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