Ian Brodie's A Vulgar Art: A New Approach to Stand-Up Comedy PDF

By Ian Brodie

ISBN-10: 1628461829

ISBN-13: 9781628461824

In A Vulgar Art Ian Brodie makes use of a folkloristic method of stand-up comedy, enticing the discipline’s principal approach to learning interpersonal, inventive verbal exchange and function. simply because stand-up comedy is a slightly extensive classification, those who research it frequently start via pertaining to it to anything they recognize―“literature” or “theatre”; “editorial” or “morality”―and study it for this reason. A Vulgar Art starts with a extra primary commentary: somebody is status in entrance of a gaggle of individuals, speaking to them at once, and attempting to lead them to chuckle. So this publication takes the instant of functionality as its concentration, that stand-up comedy is a collaborative act among the comic and the audience.

Although the shape of speak at the degree resembles speak between neighbors and intimates in social settings, stand-up comedy is still a career. As such, it calls for functionality outdoors of the comedian’s personal neighborhood to achieve better and bigger audiences. How do comedians recreate that surroundings of intimacy in a roomful of strangers? This booklet regards every little thing from microphones to garments and LPs to Twitter as thoughts for bridging the spatial, temporal, and socio-cultural distances among the performer and the audience.

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Additional resources for A Vulgar Art: A New Approach to Stand-Up Comedy

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And sometimes directly (“You’re going to be driving home tonight . ”). This direct engagement brings the audience even more fully into the performance, as their worldview is being either validated or impugned. In Raw, Eddie Murphy (1987*) explicitly draws the audience into his performance by speaking to women (“you”) about men (both a collective “we” and the absent “him”). Stand-Up Comedy and a Folkloristic Approach 25 {emphatic gesture with each stressed word} Men must find and conquer as much pussy as they can get do not think for two seconds that you are the only one your man is fucking he is a man and has to conquer women I see a lot of you women out there going |{emphatically} “not my man”| yes your man too [L] your man too if he’s not here with you tonight he’s fucking somebody [L] (Murphy 1987*) The performer mediates between the worldview of the group and its implied self-understanding and his or her own worldview.

If a performed text is of a type where, irrespective of the presence or absence of an audience, it would both produce an intelligible text and vary little from version to version, one is encountering something other than small talk. Stand-up comedians do not tell jokes: they do not tell stories, spout proverbs, or spread legends. They talk on a stage with an intent to be found funny. Like in small talk, they engage in a flow of discourse with “an” other; and then, often, and within this primary talking frame, they tell jokes and stories, spout proverbs, and spread legends.

He is speaking to a young child in the audience, who Murphy imagines to have expected performances of his characters from Saturday Night Live. The following section does double-duty, as he notes how inextricable his material is from the flow of his entire performance, while what he says also serves as an illustration of an extract from a performance that is not—by most definitions of the word—a joke. It is also worth noting that the bit takes place within five minutes of the end of the performance, which allows for references to elements previously performed: Here’s a little joke for y’all {Turning to crowd at large} y’all can listen to it too [L] ’cause I know lots of times people see my show and then go to work and try to they’re like | {in Caucasian voice} “and then he said ‘goonie-googoo’ [L] and he had a GI Joe up his ass!

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A Vulgar Art: A New Approach to Stand-Up Comedy by Ian Brodie

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