A Quote by Tatiana Maslany
I think the improv also helps with the imagination of dealing this person across from me who's not physically there. When you do an improv scene, you're usually working on a blank stage and creating the props and creating the environment.
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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.
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 think in the inception and creation of the characters, improv was the most important part for me, because I wanted to feel at home in those characters. I wanted to feel like I could commit to them. And so much of improv is saying yes and committing, so I think that's where the improv came in. Even if I'm saying yes to the X across the room from me, or the tennis ball on a stick, I have to stay alive.
As a writer, I use improv to write. Exploring characters and stories through improv and sitting at the computer and thinking about what this character would say or do helps me creatively.
Scorsese is a fan of improv and is always pushing actors to think up something that would make the scene more fun. He loves any idea that helps the scene be alive.
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.
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 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.
Improv is... gods creating worlds.
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 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 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 love creating characters that are ridiculous and flawed. To me, the most important thing about comedy is the joy it can bring to the performers and the audience alike. I love making people laugh and not over-thinking things. Some of my favorite moments are when I am doing an improv scene with friends, and I can't stop laughing during it.
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.
Improv is like writing. It's actually a different discipline to acting. It helps acting greatly, but it's completely different. It's the same side of your brain when you write as when you improv.
Sometimes you have to say the words exactly how they are on the page, but sometimes when you improv, it only helps to get across what's on the page, and I just love working with directors who allow that.
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