My personal approach to improv is that it is acting (reacting) and writing (responding) in real time. Good improv needs both. 

As a little (and yes, a little, often my writing professors would ding my lack of proofreading, and I say no, dis my VOICE), I was so enraptured by ballet, while the participation in it left me with many complices*. Orchestra did not fix that, nor did acting. Improv actually healed a lot.  I wanted to connect, not compete. There is room for all of us here.

I’ve quit improv three times since 2008. In fact I quit so badly in the beginning, there was a 5 year gap, so I always say I started in 2013. 

Like any relationship, you learn to move with it, it moves through you. 

Currently the improv phoenix has re-risen in the form of more musical improv, but this time the latest plumage includes musical accompaniment (keys, dare I bring out the violin?!) and the desire to be collaborative, experimental, and flexible, rather than continuing to bang a beloved drum. That’s just the way things seemed to have gone after the pandemic. 

Additionally, I’m trying to add to the improv zeitgeist how much physical embodiment can contribute to scene/songwork. Let your body speak. It has so much to say.

(*nonstandard or rare)