Experimental Comedy Part 2: A Game Of Hoss
Introduction to the Essay
Hello everyone!
Thanks for clicking on this! You must be a comedy nerd or some kinda stalker. Either way - I'm grateful that you are here.
So this is another of my experimetal comedy blogs. Instead of dressing up as Hitler this time, I dress up as Jon Snow.
This is QUITE academic of an essay. It's a bit hoighty toighty. But it is interesting. I explain what I'm on about during the essay - but the gist of it is - How do a get an audience to get fully behind my Game Of Thrones show despite people having not known the prior references.
It's that fun all the way through.
However I would be happy to release the footage - if there were enough interest. I don't want to put it it out public yet. But if there are enough people keen to see it - just tweet at me (@matthosscomedy) .
Here we go. My experimental comedy essay about Game Of Thrones.
How can you make a successful stand-up show despite varying
levels of knowledge from within the audience?
Introduction
For my
experimental comedy show, I wanted to experiment with references and how they
are used when engaging an audience. References are a staple for comedians’
jokes. They offer a workbench for joke-crafting and are “the basic blocks of
knowledge from which the joke is built” (Double,2014;221). References are a
shorthand for getting across comedic images within moments, however as it
requires the audience to have prior knowledge, it can be simultaneously
inclusive and excluding.
Double writes: “In
order to understand it, the audience must recognise whatever words, names, places,
news stories, songs, movies, TV shows or other cultural artefacts it may
contain. It’s a process of shared understanding” (Double,2014;221). These
references are common in stand-up, with references to films, idioms and celebrities;
however these references can be significantly more acute than these.
My experiment
was to do a show based on a single pool of knowledge, in which consists of the
references from a solitary source. This
project is similar to Phill Jupitus’ Star Wars show entitled Jedi Steady Go and also Paul Sinha’s The Sinha Carta, which comically discusses The Magna Carta. Doing similarly
niche routines, are comedians like Robin Ince on science[1],
Bridget Christie on feminism[2]
as well as Mark Steel’s series of comedy lectures[3],
alongside others.
From seeing this,
my show was to do routines associated exclusively with the book and television series:
Game Of Thrones. As an obsessive of the franchise, my show was to create
references on which I could write an entire show exclusively about Game of
Thrones.
The challenge is
that the audience is divided in regards to their knowledge of the series, as
they may be book fans, television fans or uninformed, thus there are three
demographics that I have to perform to. Stewart Lee in 90’s Comedian refers to this situation as a “mixed-ability room”
(Lee;2006). My experiment was to make all parties enjoy the show and have the
audience simultaneously laugh, regardless of their prior Game Of Thrones
knowledge. Did the audience need knowledge of a subject to laugh at it? I had
to make Game Of Thrones universally funny for the non-fans whilst appeasing the
well-read fans and negotiate between the differing knowledges. Failure, in this
show, meant alienating a part of my audience.
In this essay, I
will discuss the writing process of the show in terms of how my research
influenced my decisions whilst creating the show. I will also discuss the show
itself and analysing the successes, the results and the effectiveness of my
Game Of Thrones show.
The process of writing the show
Shared Knowledge, Bisociation and Springboarding.
The writing
process was difficult, as I had the challenge of making a show entirely
structured from Game Of Thrones. Whilst there was material that I could make
about Westeros’ logic, the reference points had to be carefully selected. The
skill in the show was to negotiate with the audience in both writing and
performance. The writing had to be meaningful and fun for the audience that
understood the references, but the context, set-up and inferences had to be coherently
enjoyable for the uninformed.
Stewart Lee
explains finding a perfect reference for his Scottish audience in Stand-Up Comedian. Lee needs a location
which shows his knowledge in Scottish culture and chooses “Glamis Castle”
(Lee,2006). He discusses this reference:
“[T]he trick was to find somewhere suitably obscure that would delight an
audience by its apparent oddness, but at the same time ring enough bells to get
laughs. I suppose that’s a trick many of us employ throughout our stand-up –
trying to employ a reference or a structural device that’s just close enough to
the edge of comprehensibility to make the audience feel flattered, whilst at
the same time not doing something arcane that it deliberately freezes out the
majority of the room”
(Lee;2010,89)
What Lee
describes as the “edge of comprehensibility” acts as my show’s starting point
by only discussing one thing. This means that the writing must be universally funny,
to stray away from this ‘edge’. Failure would mean toppling off and success
would be a balancing act. This was my writing aim.
When I had
workable references, the struggle was how to utilise them. The first hurdle was
addressing the challenge within the room: the lack of ‘shared knowledge’ puts
me at a disadvantage. Shared knowledge is a powerful tool to for a comedian, as
it has the power to create to big laughs and unite the audience.
An example of this
is to analyse how reincorporation gags work[4]:
the comedian delivers information on a subject and the audience adopts this
comedic knowledge. Later, the comedian will surprise the audience by referring
back to the earlier joke, which simultaneously impresses the audience and makes
them laugh.
Shared
knowledge, however, does not always refer to the information given by comedians
in a single performance. It may reference an earlier joke in the comedian’s
career, like a catchphrase or routine[5]
and the comedian plays with the audiences’ knowledge. Steve Martin shows this in action in A Wild And Crazy Guy.
Steve: If you bought my album and came down here expecting me to do a-lot routines from the record and I didn’t do them, maybe one or two, there is a reason for that. I think performers have to move on. You just can’t do the same old material over and over and over. I think it’s a cheat to have to rely on the same stuff. And if you don’t agree with me: WELL EXCUUUUUSSSEE MEEEEEE [Roars of applause].
(Martin, 1978)
This joke gets a
howling response, as it directly references his first album: Let’s Get Small, in which Martin (under
comic conceit) askes the technical crew for lighting which the technicians
ignore:
Steve: I come out here and can’t
get a little co-operation from the BACKSTAGE
CREW?! [Laughter] EXCUUUUUSSSEE MEEE! [Laughter and
applause].
(Martin, 1977)
As Martin
references his own work, he gets an extreme response. Martin gains some laughs
from his joke, but gains the extreme wave of applause by reemploying his
renowned gag. This shows that shared
knowledge, when universal can have an impact, especially if it feels like an
inside joke. It makes the audience feel like insiders. Whilst shared knowledge
is lacking in my piece, I wondered if there was a way in which I could relay
information to the audience. Then the uninformed could understand the references
and laugh, as well as have the fans enjoying the inside information, making my
show successful.
I then looked at
Alexei Sayle as he has potentially alienating jokes. Sayle mentions Chekhov,
Kierkegaard and Russian history. If Sayle is able to make these references
without alienating his audience but gain laughter that means that my challenge
would be achievable.
Sayle does a
routine about Josef Stalin staying around his house in Cak, like he was an uncle. Sayle concludes his list of associations
with:
Alexei: Just stay away from
the fridge young Trotsky! [laughter]”.
(Sayle,1982)
This is an
incredibly niche reference. It refers to Leon Trotsky being assassinated by an
ice-pick by the orders of Stalin. There is a high risk to alienate the audience
with this joke due to lack of knowledge (the stakes are drastically less than
my show, but the effect is the same). Sayle proves, however, the knowledge is
not wholly needed. Double says whilst discussing Sayle: “It’s wrong to
underestimate an audience’s ability to cope with more difficult references” (Double,2014;232). Sayle, as quoted in Double’s book, states:
“It’s about finding the telling phrase”.
With gestures,
inflections and joke-craft, Sayle infers lots of information upon the audience.
The audience assumes the gist of the joke, without knowing specifics. This is a
significant discovery. Double points out something significant: “All that
matters is that the audience share the comedian’s understanding of the
reference”(Double,2014;235). This meant that I could discuss the references which
I wanted and the uninformed audience would infer the information, given the
comedian’s context is strong enough.
With this, I
looked at some of Jupitus’ Star Wars material to prove this hypothesis. Jupitus
uses colloquialisms to describe Star Wars. Whilst discussing the Mos Eisley Cantina
scene, he illustrates Luke as a nervous teenager:
Phill: Luke, behind him, is
like your nephew. You know when you take your nephew to the pub for the first
time and he is about 15? You take them in there and they got that look about
them – that kinda [Gaunt, chewing and nervous expression]. [Laughter] They are
really red. And-and you come around to them: What would you like Steven?
Steven: Uh-Ah! A Lager?! [Laughter].
Steven: Uh-Ah! A Lager?! [Laughter].
(Jupitus,1995)
Jupitus
demonstrates that the reference is not laughing at a Star Wars observation, but
a real-life observation about teen-drinkers. Jupitus introduces the uninformed
audience to the world of Star Wars with a recognisable situation. Jupitus states: “I’ll tell the whole story of
the film…so if you don’t know the story of the film-don’t worry-this is one
long plot spoiler” (Jupitus,2015).
By using Koestler’s theory of “Bisociation”[6] I believed that I would be able to develop my material even further. Bisociation is where we take two incongruous “frames of references” (Koestler,1975;37) and intersect the two ideas for comic effect.
Koestler
theorises that “the sudden bisociation of an idea or event with two habitually
incompatible matrices will produce a comic effect, provided that the narrative,
the semantic pipeline, carries the right kind of emotional tension”
(Koestler,1975;51). Koestler has a diagram showing two matrices of logic (M1
and M2 respectively) intersecting and a line charting it where laughter (L)
would be.
My theory was
that if I use Game of Thrones as a single plane of logic, I can intersect this
matrix with infinite of other ideas. M1 would always be Game Of Thrones but M2
could be anything, meaning that it could still be relatable for the uninformed.
By having M2 bypassing the knowledge of M1, it still results in ‘L’. Through
bisociation, my Game Of Thrones jokes can be unitedly funny. Put into the correct gag structure, the
audience would infer the appropriate Game Of Thrones knowledge for the joke.
Robert Newman
demonstrates this bisociation during a performance of The Brain Show, a show about neuroscience. Newman establishes a bitesize fact about the brain and bisociates
it with an incongruity. He uses the established logic as a starting point for
his comedy and ‘springboards’ into a routine sparked by the bisociation. The
audience do not need to know the neuroscience, just the incongruity which the comedian
has highlighted. This can be seen with a
routine beginning with an absurd academic neurological claim that Japanese
people cannot differentiate between fear and surprise. Newman ‘springs’ from
this by impersonating Yoko Ono being unable to understand the emotionless Paul
McCartney (Newman,2016). Neuroscience to Newman, as Game Of Thrones is to me,
is simply a starting point.
Newman shows his
‘spring-boarding’ capabilities through his previous work as well. In History Of Oil, Newman discusses the Iraq
invasion in World War One and discusses the idea of a “Special Poets battalion”
and how they wouldn’t last very long at war. From this point his springs into a
flight of fancy which builds upon the foundation of his bisociation:
“Robert: You are in the map
room…the general is saying:
General: IF the special poets battalion decides to pitch camp here (touches
map) they’ll cut our supply line in two…Fortunately however they have decided
to pitch camp here: where doppled shade falls on rustic farm equipment
[laughs]… near an almond grove where walks a young shepherd’s boy with an unblemished
complexion [laughter]”
(Newman,2006)
By being faced
with the problem of a broken shared knowledge and a disparate audience, through
research I have found a way to discuss Game Of Thrones: through bisociating its
logic with more universal subjects. Therefore the audience is only required to
know of the ‘M2’ subject and the contextual information for Game Of Thrones
that I infer. The audience then will interpret the necessary information into
the bisociation. In theory, the audience should be able to follow. In short, I
would be discussing Game Of Thrones, but I’m only discussing its unique incongruities
to help fuel more universally engaging routines. I developed this throughout my
entire show, but this can be seen within my ‘Westeros Sex-positions’ as they
take the theme of Game Of Thrones, but ultimately relate to sex in a comedic
context. This can also be seen with my bisociation between Sansa Stark singing
Alanis Morrisette. The audience are not necessary laughing at the Game Of Thrones
reference but at the incongruity of both ideas intertwined.
Jupitus
summarises my findings with his explanation of Jedi Steady Go: “It starts off with someone explaining Star Wars to
you for an hour, with jokes, that’s what the show was. So even if you hadn’t
seen it – it still worked” (Jupitus,2015).
Creating material: The persona perspective.
With research in
mind, I wanted two halves to the show: material based upon my persona relating
to the subject and material based upon the storyline. With the persona segment,
the audience would be initially laughing at my obsession, my passion to the
world’s logic and not necessarily at Game Of Thrones itself. Therefore, this
made the show universal for the audience, as the comic points comes from my persona,
thus no prior knowledge is needed.
An example of
this was my material about my getting my first ever kiss:
Matt: My first ever kiss was
with my second-cousin….it was a disgusting thing to happen but equally I was
like: YES I’M ONE OF THE BIGGEST FANS OF GAME OF THRONES...Anyone else in the
room would get memorabilia for Game Of thrones. Not me – I go the extra mile. I
make out with second cousin. [Pause, followed by laughter].
The stories are made
funny because of my weird persona. The show is firmly rooted with Game Of
Thrones, however my persona is a tool which transcends this and allows the
audience to be united in laughter, as my jokes are aimed at myself. These jokes
give justification for my obsession, as I demonstrate the reasons why I love it.
My persona vividly works consistently through my piece but is established in this
segment.
Creating material: Narrative.
The second half
of my show would be discussing the narrative of series two, to avoid spoilers.
I wanted to avoid spoilers entirely to avoid the risk of alienating or
aggravating an audience member who were currently reading or watching the
series. In this half, though the risk of alienation was high, unexpectedly the
writing for this was far easier compared to normal routines. Since I was
discussing a pre-existing storyline, it was inherently easier to springboard
from different routines, as the plot acts as a vehicle to get the next piece of
material.
The plot which
acts as a vehicle, is similar to Stewart Lee’s Pea Green Boat. Lee reads a stanza and then narrates The Owl’s
increasingly deranged logs (Lee,2007). Lee uses the poem to allow the character
to escalate over the period of the show. Equally, this is similar to Sinha’s
Magna Carta show, as he narrates this history of the document, in-between
spring-boarding into different material (Sinha,2015). This device was significantly useful in
creating the second half of my show. The Game Of Thrones material slotted into
place with easy-to-follow structure.
Manipulating responses.
I stumbled
across a final way to reach out to my audience: by using verbal devices to
allow the audience to understand when they are meant to laugh. Max Atkinson
writes: “three out of every four displays of approval occur in response to
about half a dozen verbal devices” (Atkinson,1984;xvii).
By using
well-trodden comic devices, audiences will assumingly laugh at the punchline,
regardless of their knowledge to Game Of Thrones, because it would sound like a
joke. The joke could relate to the audience in separate way other than from the
stem material.
To analyse these
‘packing’ techniques I looked at comic formulas, to find generic patterns of
writing to manipulate audiences to know when to laugh. Ronald Wolfe lists comic
devices: “Reversals, exaggerations, comparisons, switching, role reversals,
surprise” (Wolfe,2003;22). I also looked Tony Allen’s rule of three:
“Establish, reinforce, surprise” (Allen,2002;42) to develop material. These
helped build my jokes as I made snappy lines which involved reveals, twists and
surprises. I built material around the Game Of Thrones universe but connected
to more relatable references, for example:
Matt:[Daenerys]
has three dragons. One of them is called Drogon, the other is called Viserion
and the other is Jeremy Clarkson.
That
joke is a surprise as it breaks the pattern of dragon names and incongruously
involves a celebrity, insinuating he is a dragon. Sophie Quirk writes that
“audiences…understand that the completion of a three-part list is a prompt to
applaud” (Quirk,2015;99) and by that logic that joke, and my others, would be
funny and unifying. Upon this finding, I made this occur throughout my
material, but especially during the narrative segment.
The Show
My final
performance featured formulas, persona and improvisations on my favourite subject,
as I put research into practice. It was important to understand why I was
attaining laughter: was it my writing or my performance merits? Were the
moments which the experiment failed? Within the audience there were
approximately sixteen people whom had watched the show, two people who’ve read
the books and four people whom haven’t seen the show.
My writing:
I discovered
that the more obsessed and nerdy I got towards a subject, the funnier I was, because
I was performing the references passionately. Therein lays a two-fold comic
response: people were laughing for either understanding the comical use of
reference or they were laughing at the persona indulging his greatest pleasure.
They were laughing at my enjoyment onstage; shown with the ending of the show,
in which I was murdered onstage by men in cloaks (fitting with the Game Of
Thrones nature).
Matt: Shit! [Laughter]
Two cloaked men come onstage and stab Matt.[Laughter]
Man: Jaime Lannister sends his regards.
[Laughter throughout]
Matt falls down and has his throat slit.
Offstage mic: Valar Morghulis
This showed that
it did not matter that the audience did not understand the references to Valar
Morghulis or to Jaime Lannister: they were laughing at my obsession, my
dedication and the onstage ridiculousness created by the performer. The uninformed
understood that this was in the nature of Game Of Thrones and enjoyed my
portrayal of it. This showed that the research into bisociation, inferences and
contextual knowledge succeeded within my piece; helped by Newman and Jupitus.
In the moment:
I created
universal laughs within the show by making instant jokes and reacting to what was
happening in the room. Allen describes this as “The Now agenda” (Allen,2002;28). This could be talking to audience,
commenting on a mistake or improvising upon an idea. Naturally, these moments are improvised and
they required me to think on their feet.
These ‘in-the-moments’
bits occur in my experimental piece, for example I make people laugh from
messing-up a punchline:
Matt: ‘What’s The Wall?!’
Some of you might say it’s a massive plaice of ice which separates the wildings
from the civilised people. And this Wall is entirely endorsed by Tonald Drump
[titter]. Tonald Drump?! (High-Pitched voice) Messed up that punchline! (Matt jumps and clicks heels) [laughter].
This was able to
gain laughter by addressing the obvious mistake. Not only that, but I utilised
my persona to rectify the mistake. It showed the audience it was impromptu and
exclusive to that audience, which creates a group unity and a shared knowledge
that I had made a mistake. This resulted in group laughter as they engaged with
me for that moment, which transcended the Game Of Thrones theme.
Whilst these
moments are improvised and organic, I strategically placed a section within the
show to specifically bring these moments out. This was the Q&A session, in
which the audience could ask me anything about Game Of Thrones. I had planned
to make the audience laugh at my improvisation skills and they will be more
inclined to laugh as they could see the unique wit. Since it was in-the-moment,
laughter would come from the rapidity of the response, as opposed to the
references. Whilst my ripostes were improvised, I had to make jokes from the
questions that were asked:
Audience[7]:
What’s the name of two upcoming books in the Game Of Thrones series?
Matt: See-Good Question! It is-A-The Winds Of Winter And A Dream Of Spring. (Celebrates) WHAPOO!(Starts singing accidently) I’ve got… Big Books and I cannot lie?! [Big Laugh].
Matt: See-Good Question! It is-A-The Winds Of Winter And A Dream Of Spring. (Celebrates) WHAPOO!(Starts singing accidently) I’ve got… Big Books and I cannot lie?! [Big Laugh].
The audience
enjoyed this in particular as they didn’t see this coming, but more importantly
and more hilariously is the fact that I, as a performer, did not know what I was about to say. This is shown with my
hesitation and the inclination of my voice poses uncertainty. The audience
could tell this was occurring, thus they laugh at my genuine surprise when
those specific words came out. They saw the genuine challenge in that moment
and I played with it, creating a unified laughter. Another example:
Audience: Who do you think Jon Snow’s father is?
Matt: I believe it is Rhaegar Targaryen
[Silent Pause]. It’s not funny but it is accurate [Huge Laughter].
Again the
audience witness me reacting to a situation. In this case there was a lull
after I had answered the question, ergo I pointed out what was occurring within
the moment and created a unified laugh because of it. This honesty to the room
and playing the moment with encompassed the success of unifying the audience.
Moments of where the experiment
failed.
With my proposed
theories on how formulas worked as well as my research, I had an idea of what
the show would be like and how I would attain laughter. However there were some
jokes which simply were not good. They may have fit the verbal devices, but
they simply were not funny. This can be seen with this rule of three:
Matt: If you wanna be a bigger
fan than me you have to murder a king, pillage a village and make out with your
sister.
In terms of
quality control, some of the jokes could have been removed from the set;
however I was eager to see whether the verbal devices would allow the uninformed
to laugh. Although this did not create
alienation, as it was universally unfunny, as opposed to being funny for a
specific demographic. The audience were united in their lack of laughing.
There were moments
of alienation, as I tested the audience’s knowledge upon my subject, to test
the obsessed fans seen with:
Matt: Catelyn Stark is
a lovely person, but if you get on the wrong side of her and she has a bit of a
Stoneheart [titter].
This joke
alienates the audience, as simply not many people understand the reference, as
it is a book-exclusive reference. It does get a titter, as it sounds like a
joke. Having prepared for this alienation, I did have something bring the
audience back with.
Matt: That’s a joke for
two people who have done the recommended reading...It’s not your time you’re
wasting it’s mine [Laughter].
The whole show
did not fail because of this, as I took a risk within this isolated joke and I
was able to keep the momentum going, however, testing the audience’s knowledge
proved to be a failure.
A negative
effect of the formulaic writing was that it made my performance feel
overly-rehearsed. My strength as a comedian is telling life-stories. An area
where I struggle is memorising observational material and set-up-and-punch
structures. This show was mainly compromised of the latter. Acknowledging this
weakness, I militantly rehearsed these lines so I could remember the show,
which affected my delivery. I sound relaxed when discussing a life-story and I
sound wooden in my observational routines: it sounded like I was trying to remember the lines, and ergo
sounded a little rushed and unnatural in the pace of my delivery. One of Mark Thomas’ rules of comedy is: “This
is an encounter not a recital” (Thomas,2015). Unfortunately my performance
seemed to be like a recital. This didn’t fail the show but reduced the volume
of laughter of what it could have been.
Similarly, this
lead to a couple of stutters in my speech pattern as well, which disrupts the
rhythm of the jokes. This reduced the audience to a titter from a laugh, thus
creating a negative impact to my show.
On the contrary,
my mess-ups (for example my stutters) did not make the show worse but made the
show more authentic and got laughter from it. It was an unintended necessity as
a counter-balance to the over-rehearsed segments. In the mispronunciation of
the ‘Donald Trump’ line, an example I mentioned earlier, I acknowledged the
failure, played the moment and gained laughter. Another example:
Matt: Before-I actually came out
here, Jack Lock, the first act tonight went:
Jack: Matt-are you dressed like Samwell Tarly?
Jack: Matt-are you dressed like Samwell Tarly?
Matt: (Grinning and flicking
robes)No-I’m dressed as Jon Snow.
Jack: No –you are dressed as Jon
S-eurgh.
Matt:(Hands on hips)I messed up
that joke [laughs]. But imagine it
was really funny [Big Laugh]. I think you got the gist of it anyway. But-eurgh:
I’m Fat –there you go [Laughter].
From messing-up this
situation, I was able to gain more laughs and potentially bigger laughs than I
would have gotten from that joke alone. This is similar to Daniel Kitson, whom
has a stutter which affects his performances. Kitson occasionally draws
attention to it:
“Daniel: Once it had b-been
r-r-really really really cold. F-F-F-F-For about a week. You see, quite often
having a stutter is quite annoying cos f-from time to time, like then, it will lend
undue precedence to a seemingly innocuous word [Laughter]. I will repeat that
sentence and I will emphasise the correct word, cos my stutter is a fucking
idiot [big laughter]. My stutter has no grasp of grammar-Ey! [laughter] AND my stutter
is a racist [laughter]…Once it had been really really cold for a week [Laughter
and applause for saying the line]. Don’t do-Don’t do that! Fucking hell -It’s
not a gang show- I’m not doing well –
y’know? [Huge laughter] Fuck- what was that?!
Audience member: Oh
bless him, he’s having a crack at it [Huge laughter] He’s so brave – he makes
me wonder what I could do in my life [Huge Laughter]. We’ve all got our demons
– haven’t we? We all have our demons [laughter]. He’s got a stutter and I'm a
fuckwit- we’ve all got our demons! [Huge Laughter]
(Kitson,2005).
Ergo this shows
that Kitson and I do not fail in this moment, but we actually make the show
better as we play the moment, and make jokes which are not the ones we planned
to put onstage. Rob Deering says “the material is just a means to an end” (Deering,2012)
meaning that you do not have to be rigid with your material, as long as you are
funny. Through failure, it made the entirety of the room laugh, ergo it could
be stated that recovering from the failures, was significant in uniting the
audience.
Conclusion
After the
experiment, I have observed some key things. I discovered a generic rule of
comedy is that you can discuss anything in stand-up. It matters not what the
subject is. Anything can be placed onstage and made funny. Katherine Ryan
states “everything can be approached in the right honest way…There are parts of
anything which people can relate to and can be funny” (Ryan,2014). Regardless
of knowledge people could relate to it in some way, whether they we responding
to the source material or to my persona. Comedians have successfully discussed
more obscure and more controversial subjects than Game Of Thrones.
Overall my experiment
was successful. Despite some joke failures, I manage to keep a consistent flow
of comedy throughout the entire performance from the entire audience. Not at
one point was a demographic truly alienated; there may have been some disparate
knowledge towards some references, but the audience understood my
interpretation of the references. Through inferences and context my writing was
able to succeed.
I feel that the
formulaic responses did not work as planned, simply as it did not work to my
styling. The audience were more accepting, the more obsessed I was towards the
subject- as it was natural. The formulas however distanced me from the material
and the jokes in place were not good enough to make up for it.
In conclusion,
my biggest finding of the show is not a generic comedy rule, but a personal
one. I believe my biggest success with dealing with the disparate-levelled
audience was by playing the moment. By doing this, it allowed an instantaneous
shared knowledge with the audience which unified them beyond their Game Of
Thrones knowledge. This is partly to do with my stagecraft and partly my
persona, both of which trump the bisociations and written material, as they
create an instant connection with the audience. The writing makes a gigantic
effort, but the experimental truly succeeded with the skilled improvisations.
Word Count: 5000
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On Being A Comedian. 1997, Published by Methuen, London.
Koestler, Arthur: The Act Of
Creation. 1970 (Picador Edition), Published by Pan Books Ltd., London.
Lee, Stewart: How I Escaped
My Certain Fate: The Life and Deaths of a Stand-Up Comedian. 2010,
Published by Faber and Faber Ltd., London.
Quirk, Sophie: Why Stand-Up
Matters. 2015, Published by Bloomsbury, Meuthen, London.
Wolfe, Ronald: Writing Comedy: A Guide To Scriptwriting for
TV, Radio, Film and Stage. 2003,
Revised Edition, Published by Robert Hale Ltd., London.
Live Performance[8]
Christie, Bridget: A Book For
Her. 24th August 2015, The Stand 1, Edinburgh, Edinburgh
Festival Fringe 2015.
Jupitus, Phill: In
Conversation With Oliver Double. 29th September 2015, Templeman
Library Lecture Theatre 1, British Stand-Up Comedy Archive. Canterbury.
Newman, Robert: The Brain
Show. 13th February 2016, Gulbenkian Theatre, Canterbury.
Thomas, Mark: The Linda Smith
Lecture. 20th May 2015, Gulbenkian Theatre, British Stand-Up
Comedy Archive, Canterbury.
Recorded Performance
Goldsmith, Stuart and Deering,
Rob: Stuart Goldsmith- The Comedian’s
Comedian Podcast: 1 - Rob Deering. 19th March 2012, Itunes.
Podcast.
Herring, Richard and Ryan,
Katherine: Richard Herring’s Leicester
Square Theatre Podcast- Episode 46: Katherine Ryan. 8th October
2014, ITunes. Podcast.
Ince, Robin: Happiness
Through Science. 2013, Go Faster Stripe, GFS-48. DVD.
Jupitus: Phill: The Stand-Up
Show. 15th April 1995, BBC1. VOB.[9]
Lee, Stewart: Pea Green Boat.
2007, Go Faster Stripe, GFS-4 .CD.
Lee, Stewart: Stand-up Comedian. 2005 2 Entertain Video, Avalon Television,
2005. DVD.
Lee, Stewart: 90’s Comedian.
2006, Go Faster Stripe, GFS-1. DVD.
Kitson, Daniel: The Stand- August 2005. 2005, Bandcamp[10].
Album.
Martin, Steve: A Wild And
Crazy Guy. 1978, Published by Warner Bros. Records. Album.
Martin, Steve: Let’s Get
Small. 1977, Published by Warner Bros. Records. Album.
Newman, Robert: History Of
Oil. 2006, Published by Tiger Aspect Productions. DVD.
Oswalt, Patton: Finest Hour. 2011, Published by Comedy
Central Records. Album.
Oswalt, Patton: Werewolves And Lollipops. 2007,
Published by Sub Pop Records. Album.
Sayle, Alexei: Cak. 1982,
Published by Springtime/Island Records. Album.
Sinha, Paul: The Sinha Carta.
2015, BBC Radio 4 Extra. Audio.
Steel, Mark: The Mark Steel
Lectures: Series 2: People With A Passion. 2001, BBC Radio 4. Audio.
Steel, Mark: The Mark Steel
Revolution. 1998, BBC Radio 4. Audio.
Youtube
Youtube
Hoss, Matt: Matt Hoss Experimental Comedy Part 1. 16th
March 2016, https://youtu.be/VphnLoZ4UTU?t=29m30s - [Accessed 16th
March 2016]
Hoss, Matt: Matt
Hoss Experimental Comedy part 2. 16th March 2016, https://www.youtube.com/watch?v=untaCgs8JHI
- [Accessed 16th March 2016].
[1]
Robin Ince’s shows largely consist about science and philosophy particularly: Happiness Through Science. (Ince,2013)
[2]
Christie has three live shows about feminism: A Bic For Her, An Ungrateful Woman and A Book For Her. A Book For Her is
also the title of her book on feminism (Christie,2015).
[3]
Mark Steel has informative lectures on famous revolutions (Steel,1998) and on historically important people like Da
Vinci, Aristotle and Karl Marx (Steel,2001).
[4]
Reincorporation gags are explained by Double in Stand-Up! On Being A Comedian
(Double,1997;230).
[5]
Patton Oswalt does a routine in The
Finest Hour (Oswalt,2011) about the reaction he gets from his routine about
KFC Famous bowls in Werewolves And
Lollipops (Oswalt,2007).
[6]
Bisociation is a term coined by Koestler in The Act Of Creation
(Koestler;1975,35)
[7] In
my transcriptions, the performer and the characters they possess are shown in
bold and underlining. Audience are shown in italics.
[8]
Each live performance, for the sake of academic accuracy, was annotated upon
immediately after each show.
[9]
Ideally, I would have liked to have seen Jupitus’ Jedi Steady Go however it was never filmed nor written down.
[10]
Accessed through the Bandcamp website: https://danielkitson.bandcamp.com/album/the-stand-august-2005