A Quote by Kurt Braunohler

When you're doing improv for seven years, you're an old soul of the improv world. — © Kurt Braunohler
When you're doing improv for seven years, you're an old soul of the improv world.
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.
If there's one regret I have of my time in comedy it's that I really I was so obsessed with improv for so many years and I exclusively did improv for the first 6 years or 7 years. I was doing comedy and then I started doing solo work and stand up, a bit of writing, making videos, and really going into it on that end.
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 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.
Ladies like improv stilts, and I think men like improv giant cocks. But one of the great things about improv is that you get to play some roles you'd never get to play otherwise, you know, like the old Italian pizza-maker who's passing on the business down to his son. You get to play it all when you improvise.
One thing my old improv teacher taught me is when you're not in the improv scene and you're standing back watching your partners, you ask, 'What does the scene need?'
We started off in improv and sketch comedy, and with improv the most important thing is to listen and make sure you're not stepping over someone, so we've been trained for such a long time doing that.
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.
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.
I did improv for about 10 years professionally, and before that, I had done it in high school as part of an improv team. It was definitely a big part of my upbringing.
I know now for a fact that improv can't hold a candle to doing standup. It's not the same buzz, it just isn't. It feels infantile to me at times. When you see guys who do it really well, great. But improv needs a rewrite.
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.
I think sometimes when people start doing improv there's some regression towards trying to replicate the "good" improvisers that they've read about in their improv books or heard about from their teachers. That's understandable, because they're trying to learn technique and stuff, but I actually think that my favorite performers are ones who have unique improv technique but also have a unique point of view that you can feel with them and their performances.
I can rap. Not openly in the world, but it's important that people know! I can rap for a very specific reason, which is that in college I was in an improv comedy group, and we did musical improv.
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