A Quote by Elizabeth Olsen

I'm terrified of improv. Improv in a show or in front of an audience sounds terrifying. — © Elizabeth Olsen
I'm terrified of improv. Improv in a show or in front of an audience sounds terrifying.
The hardest part about improv is getting the audience to relax and enjoy themselves, because most improv is not very good, and the audience is nervous for the performers the whole time. Not that they don't even like the show, but they feel bad for the performers.
I do an improv show on Sunday where we have a class, and then afterwards we go and do a live performance in front of an audience.
It's so much harder to make a living off improv. Improv is so rarified and for such a specific audience.
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.
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.
Improv requires your audience to be informed about what improv is. With stand-up, anybody can sit down and watch stand-up and laugh at jokes.
I think it's a lot richer than what we call fleshy improv, I think it's very funny, puppet improv and fleshy improv.
I was on the improv team in high school, and after I graduated, I joined an improv company that had been established 10 years prior to me getting there. They did longform improv, and I fell in love with it. It's acting, character creation, collaborative, artistic expression and comedy - and it's scary. It was a big rush.
I had been on this improv team at this really great improv theater. It's called iO now. It used to be called Improv Olympic. They have showcases for Lorne Michaels and other writers and people who work at 'SNL' usually about once a year, although I don't know if it always happens.
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.
But the classic Tenacious D songwriting is Jack or myself will have an idea - I might have a riff - and we'll improv. And once Jack's feeling it, we turn on the tape recorder and start jamming, improv on that riff, improv on those lyrics, and then go back and see if there's anything good in there.
Improv is more than just spitting out a bunch of funny stuff that's unrelated to the material. You have to stay in character, you have to react and respond as the character you're trying to play. You have to service the story, and I think improv training has helped with my listening, responding, and my audition technique. It's sounds so silly, but it's true. Because not only do you improvise during the audition, but once you get the part, they'll say, "Throw away everything. Just improv this scene. Do whatever you want." Someone could panic if they're not used to doing something like that.
I take improv classes. Improv is something I can use in any aspect of life.
When you're doing improv for seven years, you're an old soul of the improv world.
Generally, I've found that a heckler in an improv audience is just enjoying the show so much that they want to be in it.
I'm an improviser. I came up doing improv at the U.C.B. Theater in New York for seven years. That's where I started, so improv is what I love.
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