A Quote by Lauren Lapkus

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.
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 take improv classes. Improv is something I can use in any aspect of 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 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.
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 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 know how to have a conversation, but I've never done improv. I've never taken improv classes.
When I finished grad school, I moved to Chicago proper, and I was at all the different improv schools, taking classes or interning.
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?'
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.
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'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.
Life is improvisation. All of those [improv] classes were like church to me. The training had seeped into me and changed who I am.
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.
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