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

By Ian Brodie

In A Vulgar Art Ian Brodie makes use of a folkloristic method of stand-up comedy, attractive the discipline’s valuable approach to learning interpersonal, creative verbal exchange and function. simply because stand-up comedy is a slightly wide type, those who examine it frequently start by way of pertaining to it to anything they recognize―“literature” or “theatre”; “editorial” or “morality”―and research it therefore. A Vulgar Art starts with a extra basic remark: an individual is status in entrance of a gaggle of individuals, chatting with them without delay, and attempting to cause them to snort. So this booklet 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 level resembles speak between buddies and intimates in social settings, stand-up comedy is still a career. As such, it calls for functionality outdoor of the comedian’s personal neighborhood to realize better and bigger audiences. How do comedians recreate that surroundings of intimacy in a roomful of strangers? This e-book regards every little thing from microphones to garments and LPs to Twitter as suggestions for bridging the spatial, temporal, and socio-cultural distances among the performer and the audience.

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

Sample text

It just wasn’t that way 40 The Opener: From Folk Talk to Stand-Up I had the goods but a lot of people had the goods but a lot of people didn’t have the balls (2005a) These transcending skills—the balls—concern the cultivation of reputation. Being funny is honed through a growing competency and fluency with the group’s ideals of performance and its repertoire. Eventually, a comic voice begins to take shape: a style and a repertoire that are recognizable as genetically related to established modes but are simultaneously distinct.

Furthermore, one of the distinctions between both an amateur and a professional and the various tiers of professionalism is the skilful use of the media to aid in reputation cultivation. There are two further qualifications for this model’s immediate applicability to stand-up comedy: firstly, whereas the musician may require an Stand-Up Comedy and a Folkloristic Approach 41 apprenticing stage in which technique is honed and group expectations of performance and group repertoire are learned, for the comedian, with standup’s emphasis on novelty and “originality,” the requirement to develop new texts necessitates writing one’s own material from the very beginning.

Other relationships beyond that of audience and performer—male/female, elder/youth, employer/employee, oppressor/oppressed—have an influence on how balanced that back-and-forth movement may be in practice, but a surfeit of egalitarianism and collaboration is maintained. On occasion, focus may be drawn (or may be given) to one of the participants as he or she elaborates on a particular point. This focus is typically granted through implicit consensus by those present on the anticipation of meeting expectations of a culturally and contextually appropriate performance and, should those expectations not be met, the granting of focus may be withdrawn.

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