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2014-2015 September ISSUE 1 scene.

THE JOURNAL OF THE INTERNATIONAL SCHOOLS THEATRE ASSOCIATION

THIS ISSUE:

www.ista.co.uk WHO’S WHO @ ISTA… CONTENTS

Patron 2 Connections Professor Jonothan Neelands, by Rebecca Kohler National Teaching Fellow, Chair of Drama and Theatre Education in the Institute of Education 3 Comedy d’un jour and Chair of Creative Education in the Warwick Business School (WBS) at the University of by Francois Zanini Warwick. 4 Learning through Board of trustees by Mike Pasternak Iain Stirling (chair), Scotland Formerly Superintendent, Advanced Learning Schools, Riyadh. Recently retired. 8 Desperately seeking the laughs Jen Tickle (vice chair), by Peter Michael Marino Head of Visual & Performing Arts and Theory of Knowledge at The Hillel Academy, Jamaica. 9 “Chou” – in Chinese opera Dinos Aristidou, UK by Chris Ng Freelance writer, director, consultant. 11 Directing comedy Alan Hayes, Belgium by Sacha Kyle Theatre teacher International School Brussels. Sherri Sutton, Switzerland 12 Videotape everything, change and be Comic, director and chief examiner for IB DP Theatre. Theatre teacher at La Chataigneraie. grateful Jess Thorpe, Scotland by Dorothy Bishop Co Artistic Director of Glas(s) Performance and award winning young people’s company 13 Seriously funny Junction 25. Visiting. Lecturer in the Arts in Social Justice at the Royal Conservatoire of Scotland. by Stephen Finegold Honorary life members 15 How got the best job in the world! Dinos Aristidou, UK Being a , being a lady clown! Doug Bishop by Denise Arribas with Maia Knispel David Lightbody, UK Ted Miltenberger, France 16 “There was a Bangladeshi, a Pakistani Mike Pasternak, Switzerland and a bacon sandwich….” Ian Pike, UK by Jen Tickle 18 Failing forward – teaching the basic Global patrons: schools/organisations principles of Alexander Pushkin School, Russia by Tara Brodin The American School of the Hague, The Netherlands International School of Brussels, Belgium 19 It’s all about documentation International School Hamburg, Germany by Dewey McGeoch Marymount International School, , UK 21 My favourite comedy sketch St John’s International School, Belgium by various ISTA artists Taipei American School International Thespian Society, Victoria Shanghai Academy, 22 Comedy and mime Western International School of Shanghai, PRC by Bill Bowers 23 A soft, safe place to laugh Cornwall, UK offi ce – staff by Al Rae Business Director Jo Parish 24 Directing a Arts Administrators by Stephen Skelton Kathy Dunstan 26 Do what you love … sort of Beth Lane by Nikki Payne Tom Scott 27 Working with comedy Perth, offi ce – staff by Ian Pike CEO 29 Finding your comedic voice Sally Robertson by Anne Marie Scheffl er 30 The serious side of comedy 2014-2015 September ISSUE 1 Edited by Emmy Abrahamson and Sally Robertson by Sherri D. Sutton scene. THE JOURNAL OF THE INTERNATIONAL SCHOOLS THEATRE ASSOCIATION Artwork by Jo Doidge 32 Ranting through the unexpected THIS ISSUE: Comedy Front cover: Illustration by Jo Doidge by Matthew Godfrey To submit material or comments for future issues please email 33 Pulling the strings of laughter or fi nding Sally Robertson on [email protected] the ticklish point © International Schools Theatre Association (ISTA) 2014-2015 by Cendrine Belleux ISTA and its editors accept no liability for the views, opinions 34 Biographies and advice contained in this journal.The editors reserve the right to edit any materials submitted for publication. ISTA contact information: www.ista.co.uk International Schools Theatre Association (ISTA), 3, Omega Offi ces, 14 Coinagehall Street, Helston TR13 8EB U.K. Tel: + 44 (0) 1326 560398 | Fax: +44 (0) 1326 561100 | offi [email protected] Editorial By Emmy Abrahamson

One aspect of comedy that keeps coming up over and over again in the An elderly couple are sitting in their garden enjoying articles is failure. Francois Zanini describes his relief when discovering that the sunset with some wine. Suddenly the woman says: even ’s sense of timing wasn’t quite right in his early movies and that he wasn’t actually funny. “If it is possible to struggle at the beginning “I know that we’ve had our ups and downs, but in the end and still become Charlie Chaplin in the end, then there is hope”, he writes. you’ve always been there for me. I just want you to know Sacha Kyle in “Directing comedy” speaks of the importance of forgetting that I love you.” The man turns to the woman and says: your life jacket and how comedy is about stepping into the unknown. Tara “Do you really mean that?!” The woman says: ”Shut up! Brodin even teaches her improv students that failing to create a brilliant I was talking to the wine.” scene is paradoxically actually the fastest way to create a … brilliant scene. We have to embrace failure and learn from it otherwise there is no risk. And when there is no risk “your love will just become a job” as Nikki Payne in “Do what you love … sort of” puts it. Along with failure, another word that keeps cropping up is truth. “Comedy based in truth and reality is generally more successful and ultimately That’s my all-time favourite although it probably says more about more satisfying than something more wacky like a shark having a fi stfi ght me and my alcohol habits than I care to analyse right now. In this issue of with the moon” writes Tara Brodin, echoed by Peter Michael Marino who Scene, twenty-one contributors give us their very personal take on comedy encourages us to always make our comedic work honest. Bill Bowers in and what it means to them. The contributors range from international his article “Comedy and mime” says that an audience will laugh when and school teachers to clown doctors, from puppeteers to professional stand-up because they recognise something truthful. “The times I’ve gotten the most . Whether you want to direct a Shakespearean comedy, become recognition and success and more important, been happiest, is when I’ve a professional stand-up, teach a unit of comedy or simply learn about been unapologetically me,” writes Nikki Payne. Yet truth can also come at different types of comedy, it’s all here. This is also the fi rst issue that sees a high price – whose value might be debatable – as Al Rae discovers in his Scene scaling down from four issues per year to three. By doing so we hope “A soft, safe place to laugh”. And is that not the reason for the nervous and to provide more in-depth focus on particular subjects with three longer reluctant response I got when asking for people’s favourite joke? (Hmm … issues, thereby maximising both reading quality and quantity. perhaps I shouldn’t have told you that the old-couple-and-the-wine joke is my As a small fun aside I asked some of the ISTA artists for their favourite favourite in case everyone thinks I’m an alcoholic now? Maybe I should just sketch along with their favourite joke. The response was surprisingly shy have quoted some witty Oscar Wilde-remark? Nah, I’ll stick with the truth.) and embarrassed. ”I have a really lame sense of humour” was a common In “My favourite comedy sketch” a list of some of the most brilliant response as well as others excusing their sense of humour as being comedy is presented. Some artists also included the background for why ”unexciting”, ”simple” and ”corny”. Some downright refused to send me a they liked a certain sketch. More often than not it is linked to a childhood joke. It was an unexpected and surprising response. Would the artists have memory. Jess Thorpe describes how she and her used to dress up responded similarly had I asked them for their favourite tragic story? ”Sorry, I as their favourite – clip-on earrings and all - when am really lame because I love it when Medea murders her children.” I doubt she was younger and Sally Robertson writes about being raised on The Two it. So why this awkward response? Is it because of the personal nature of Ronnies: “Saturday evenings traditionally spent glued to the telly, timeless humour? Perhaps the justifi ed reason for this shyness is that what makes us laughter”. There are surveys that claim that children laugh 300-400 times a laugh gives the outside world a glimpse into who we are and how we feel day, compared to an average adult who laughs 15-20 times a day. Though about things - thereby making us vulnerable. I am usually sceptical of surveys (or as would put it: “88.2% Sadly comedy is often seen as something simple, something brainless of statistics are made up on the spot”) there must lie some truth in it. and something anyone can do – when the opposite is true. Comedy is Somewhere along the road from child to adult we stop laughing as much. rarely given as much respect as tragedy and is sometimes even seen as The puppeteer Cendrine Belleux writes how “we are so occupied in acting mutually exclusive as Stephen Finegold explores in his article “Seriously like well-behaved adults that we have gone far away from playfulness and its funny”. Yet, humour can be used as a weapon and a survival tool. In his spontaneity”. We have forgotten that an egg-cup can be so much more than piece “It’s all about documentation” Dewey McGeoch writes about how he an egg-cup if we only allow our imagination to run wild. We should all learn uses comedy to adapt to new and unfamiliar situations that he fi nds himself how to become more playful again. in and in “Desperately seeking the laughs” Peter Michael Marino turns a Something that struck me as I was reading and editing the articles professional failure into a success by turning it into a one-man show. was also the slight touch of sadness that permeates the texts from the Many of the contributors give some fantastic straight-forward rules and professional comedians. “Gritty, hard, lonely, at times sleazy; this is not tools of comedy. Anne Marie Scheffl er emphasises the importance of fi nding the life I pictured for myself,” writes Rebecca Kohler. Another warns of your own comedic voice – and how to do it – if you want a long-term the “validation monster” and the perils of constantly defi ning your overall career as a . Dorothy Bishop recommends videotaping your goodness on how funny you are. Many others write about the frustrations, comedic performances and Sherri Sutton advocates establishing exactly disappointments and depressions that seem to go hand in hand with being what kind of comedic style that suits you – do you prefer or a professional comedian. Yet, at the same time, none of them seem to ; improv or ? Are you more of a - want to change it for the world. “It’s all about being of service, healing with type or ? laughter and reminding people in their darkest time that joy is everywhere,” In his article “Learning through humour” Mike Pasternak praises the IB writes Denise Arribas, and that is ultimately what I hope this issue of Scene Learner profi le and calls it “diverse, comprehensive and politically correct”. will serve as a reminder of. The importance and value of comedy and However, there is one fl aw which he criticises it for – its lack of humour. laughter to young and old alike. Thankfully, Mike decided to make humour one of the key ingredients in his own lessons plans, and after reading his article, I hope that many more teachers and practitioners will be inspired to do the same. Emmy Abrahamson www.ista.co.uk Scene | Issue 1 | 2014-15 September 1 Connections By Rebecca Kohler

Some people theorise that comedians are do sometimes actually catch it, and there are few will need to make several sacrifi ces if ultimately seeking approval through laughter. I things that feel as good as that. you really want to be a stand-up comic. would partially agree with that, but I’d go further I’m now fourteen years in and so far am Stand-up IS YOUR LIFE. and say what they’re really seeking is connection. happy with the results. I’ve written for several 3) Becoming a good stand-up comic takes a When someone laughs at a joke, it’s a sign that Canadian shows, perform regularly at long time. If you went to school to be an they identify with you, that they’ve been there. ’s national chain Yuk Yuks, accountant, you’d graduate with the skills As someone who grew up moving around and have done every major my you need to be an accountant; while you the world, I think connection was immensely country has to offer. The fact that I’m able to will probably get better as you go along, important to me. I’d land somewhere new make a (modest) living out of my dream still thrills you can get a job with these credentials. and the fi rst thing I wanted to do was make a me to this day. But, like I said above, it hasn’t Stand-ups only get good with practice and connection with someone - it was like an anchor been all roses, not by a long shot. you have to practice in front of people. to my ship that was in unstable waters. I also If you’re thinking of doing stand-up, I say go Making it even harder is that when you think that spending the ages of 7-10 in Bangkok, for it. But here are some things to consider: fi rst start, it can be hard to get the stage Thailand (shout out to ISB!), helped make me 1) When you have a good show, it is time you need to get that practice, an extremely expressive person. I was often amazing, but when you have a bad show, slowing down your progress. The other dealing with kids who couldn’t speak a word of it is quite seriously one of the worst thing that makes stand-up diffi cult to English, yet somehow we’d fi nd a way to play. feelings you’ll probably ever have in perfect (you actually probably won’t ever Through body language, tone of voice and facial your life. Standing in front of a room of perfect it) is that every show is different. expressions, we were able to communicate with strangers who do not laugh at your An accountant has forms that need each other. is the loneliest place on earth. When I to be fi lled out; while different clients’ It’s funny to think that my comedic side may fi rst started, it would sometimes take me salaries may vary, doing someone’s taxes have risen out of being the child of a diplomat, a week to get over a bad set. There’s a is relatively straight forward (I say this because the life of a touring stand-up comic is sense of shame that comes along with with all due respect to accountants!). In ever so different from that of cocktail parties at “bombing”. I’ll admit to being a sensitive stand-up, there are no constant variables: ambassadors’ homes. Gritty, hard, lonely, at times person, so I may have taken it harder you’re often in a new venue, sometimes sleazy; this is not the life I pictured for myself than some, but having spoken to many there are fi ve people in the crowd, while attending parties in the shadow of the Eiffel comics over the years, I’m certainly not sometimes 5,000. Sometimes there are Tower during my stint at the American School of the only one to have been crushed by a (audience members that yell Paris in my teens. bad set. things out), you’ll have to fi gure out a way That said, I wouldn’t scrap it for the world 2) If you actually do stand-up and decide to respond to them, and no two hecklers and here’s why: I knew I wanted to be a comic to stick with it, keep in mind that the say the same thing. Sometimes you get at the age of ten. I made a joke and my brother lifestyle itself can be gruelling. Gigs are to a show and there is no microphone, and father started laughing and I thought: “Wow! often out of town, there’s a lot of driving or no lights. You must deal with all of I want this feeling ALL the time.” There was and staying in subpar hotels (I know a this while still trying to learn how to be a something that made me happy about making lot of comics who have been devoured stand-up comedian. other people happy. by bedbugs while on the road). Shows Writing this is really making me wonder how Doing stand-up remained only a distant are at night - I’ve done several shows the hell I got here. dream until I was twenty-three. I was so terrifi ed throughout my life that start at midnight Here’s the thing: funny people are like of being bad at the one thing I really wanted to - so you’re up late whether you like it or magicians but instead of tricks, we have jokes do that I kept putting it off. I went to university, not. Stand-up pays almost nothing for the and it induces a sense of wonder in others. dropped out; then I went to college (university fi rst few years, so you’re probably going When I tell people I’m a stand-up comic, their and college are different things in Canada) and to need a “Joe job” to pay the bills. Add eyes widen and I can see there’s a sense of graduated with a degree in graphic design. I all of this together and here’s your life: awe behind them (I should mention this always enjoyed the programme immensely, but deep get up at 7am to get to your job for 8. makes me extremely uncomfortable because I down I knew that what I really wanted to do was Work eight hours, go home for a quick do NOT see myself this way). People say: “You stand on stage and tell jokes. I wanted to perform. bite (though you may not have time, must be so brave”. I’m not brave, I’m just not And so, in the year 2000, I signed up for an depending on where your show is), head afraid of this one thing that a lot of other people open mic night at the Comedy Nest in Montreal, to your show. Maybe there are two are afraid of. That said, it’s a hard thing to do Canada. I had fi ve minutes and was terrifi ed I shows, one at 8pm, one at 10:30pm, day in, day out and am I proud that I can do it? wouldn’t be able to fi ll it. I went easy on myself, you fi nish at midnight, you’re home at VERY. I thought: “If I can make them laugh even just 1, up again at 7 for work … Now it’s Making people laugh is a great way to make once, I’ll be happy.” It went great! Not only did I the weekend - yay! A breather. No. Not a living. Those connections you make with fi ll the fi ve minutes and got several laughs, seven for you. Saturday morning, you’re up at mass amounts of the general population are minutes in, I could hear the host angrily snapping the crack of dawn to make the ten hour priceless. The pride you feel after your fi rst paid his fi ngers - I’d gone way over my time. drive to who-knows-where to perform at gig or your fi rst TV taping is irreplaceable (I still I was instantly hooked. It is no coincidence the Legion in a tiny town. Do the show, have the fi rst $20 bill I earned from stand-up). that “hooked” is the same word used to describe up again at dawn to get home. Maybe From club owners, to audience members to one’s addiction to say, cigarettes, because, as watch a movie and then it’s back to work other comedians, the number of characters many comics with tell you, stand-up is addictive. on Monday morning. This leaves very you’ll meet will astound you. Just remember, if While we may become a slave to our art, the little time for social life, dating, reading, you want to be the next Louis C.K. tomorrow, good news is, though we’re chasing a dragon, we relaxing, working out, ANYTHING. You adjust your expectations.

2 Issue 1 | 2014-15 September | Scene Comedy d’un jour By Francois Zanini

I love laughing. It is one of the most master pieces are not quite right at the beginning. tension. A man falling is not particularly funny by enjoyable, fulfi lling, relaxing, human activities. He became Charlot (his nickname in French, not itself (except for toddlers). But if the poor guy A man who had been diagnosed with terminal sure about the English equivalent) out of hard happens to be on the way to his wedding, his fall cancer explained that although doctors had given work. I was actually very glad to discover this takes on another dimension. On stage, this can up on him, he survived by locking himself in a early on in my training - if it is possible to struggle be translated to the clown pretending to perform room and watching for a month. This at the beginning and still become Chaplin in the a great trick, or grand singing and failing to is how powerful laughter can be. Universal and end, then there is hope. deliver. Oh-oh, the clown is in trouble … How is primitive it may be triggered by a clever “mot My clown master Alain Gautre, another he going to of this delicate situation? If he d’esprit”, a spectacular fall or a gross metaphor. Lecoq teacher, helped me to identify some has “won” us over as an audience at the beginning The beauty of comedy is that nobody has so far of my “weak points”, the ones that I would of his routine, we will care for him and we’ll want managed to completely crack the secret of it. Just unconsciously try to hide in regular social life. to know. We are with him… wherever he takes like there is no guaranteed recipe only a few tricks Overenthusiasm is one, this childish burst of us. During the French mime Julien Cotterau’s of the trade for coining a successful movie. energy about something I really like. “Your clown show he convincingly brings his audience all the What makes us laugh? This was the mouth- would push fl owers into the face of the girl he way through the intestine of the lion that has just watering title of a degree unit at Sorbonne loves, out of excitement”, he suggested after a eaten him. University in Paris. It turned out to be a very few days of workshop. Each of us have these soft And then there is the surprise factor. boring academic dissection of Bergson’s dry spots, the secret shame we are unsure of: a bum have their own, always surprising, ways study of laughter: Laughter, an essay on the too big, a squeaky voice, fear of animals, humans, of fi xing problems. and Mr. Bean meaning of the comic. In short, Bergson’s aliens … It takes time and courage to dare to are wonderful “problem fi xers” sometimes theory is that comedy comes from “something expose them in public. To accept vulnerability. pushing their solution to surrealist dimensions mechanical encrusted on the living”. Possibly … Especially in a world where the media sends us a like during the stone avalanche of Keaton’s Seven but I much prefer the lively, funny and accurate stereotypical image of success, beauty and power chances. This is when clowns fi nd their creative demonstration of Jos Houben, a clown teacher at all day long. Luckily, it is not about exposing who freedom, their chaotic fl uid, their poetic world. the Lecoq school, about what generates laughter: you are but about feeding your clown - a fi ctional Chaplin’s grandson James Thierree is a great accident, tension, surprise, loss of dignity etc. This character - with all those parts of you that are explorer of this creative world. can be found on YouTube under http://www. not totally “adapted” to society. Then you have In one of my partner’s and mine duo .com/watch?v=aUmdoXNq0ok. the freedom to push this to its funny limits with shows for children, a simple juggling ball routine Laughter can come from character. And creativity, imagination and a few basic rules of illustrates some of the basic comedy rules. It has some people just have it naturally. If you’re a bit comedy. The reward for this challenging process the great advantage of being easy to describe. chubby, move clumsily, or if you are too thin or comes when you hear the audience laughing. I’m supposed to be the clumsy juggler, proud to too long, you can use these “out of the norm” That is the second thing I love most after have just mastered juggling two balls. My partner characteristics to make other people laugh. I laughing: to hear others laugh. During a comedy is trying to challenge me by adding a third ball know some professional clowns whose vocation act, you’re constantly chasing this elusive reaction into my right hand. The fi rst time the third ball grew on them during their teen years because from the audience. You imagine it in your studio falls off my hand onto the fl oor “by accident”. they literally had to be funny so that they would or your bedroom thinking: “Whoa! That one is My partner picks it up for me, indulgent of my not be ostracised by their peers. If you don’t have good and will get them rolling on the fl oor”. You nervousness in attempting to juggle three balls. any of these comic assets, you’ll have to work can’t wait to try it and … sometimes it works. If When he puts it in my hand, the ball falls onto the harder to create your comedy character. you get some laughs, or even some smiles, you fl oor for the second time. My clown is confi dent Two examples: I recently worked with some keep it in and think about how you can improve it that he will be comforted again, but this time the Chinese acrobats for a show. Though very to make it render the best of its funny juice. And bossy nature of my partner shows up and I get athletic, they hadn’t had the chance to explore you look for the best moment when to insert it scolded. Now there is tension between us during their acting skills during their long hours of into a full routine. That’s when it becomes an art. his third attempt to put the ball into my hand. My practice. Not to mention their funny side. Once Or is it a craft? partner slows down a bit, I show a scared face to we encouraged them to “let go”, one of them From the basic rules of comedy, repeat is the audience, we both watch carefully and … the immediately stood out as “the funny one”. He the most obvious. If a gag makes people laugh, ball in my left hand falls onto the fl oor! Surprise, was not intentionally trying to make us laugh but it is a natural reaction for a clown to try it again. release of tension, laughter from the kids, kicks whenever he was performing, one couldn’t stop With toddlers, you just need to repeat it over from my partner and we can move onto the next from smiling. A natural born clown! If he ever and over, almost without limits. It’s a beautiful gag. gets the chance to further develop this side of age. But an older audience will be a bit more It took us a while to make this simple routine his personality, he would probably become very demanding and you’ll need to twist your repeat work. Because the purpose is so thin, it is all popular. Circus directors around the world have by adding something to it. As in most drama about timing, physical combination and facial been chasing these joyful talents for a long time, structures, three is the magic number, and it is expression. Of all the comedy ingredients timing as they are rare and precious for the business. generally a good idea to reach your climax on the is the most subtle, hard-to-catch and frustrating There are plenty of good acrobats around but third repeat. Buster Keaton’s Three ages is a classic one. Sometimes everything happens perfectly only a few good clowns. example of this kind of twisted repeat. and you’re in full control of the show, the joke or The counter example is the famous Charlie Accident is another powerful comedy the rhythm of the laughs. At other times you’re Chaplin. His fi rst short movies are quite painful tool. We have all watched or experienced the slightly out of synch, just like when a great joke to watch and not funny at all. With too much laugh generated by someone tripping, missing arrives one beat too late in a conversation. This bitterness in his character, Chaplin appears nasty the target or walking on the wrong side. “Fail” is probably why comedy makes you feel so alive. and annoying in front of the camera. Even the channels on the internet are full of this. But the There is no such thing as a clown on autopilot. superb sense of timing he displayed in his later funniest “fail” happens after a build-up, generating You have to be there. Fully. www.ista.co.uk Scene | Issue 1 | 2014-15 September 3 Learning through humour By Mike Pasternak

According to the annals of our family history, maniacal hoots of laughter. With my fourteen-year the fi rst sound I made when entering this world old pride in shatters, I defi antly stomped out of Kid comes home from 1st day at was not a hearty scream but a bawling belly laugh. the classroom, found a quiet corridor corner and school. Mum asks: Later, I suspected that the reason for this was cried. This lesson in the implicit effects of humour “What did you learn today?” my philosophical view on the of life as a had been painfully learned and would heavily terminal illness but it may rather have been due infl uence a sensitive use of laughter as a learning Kid replies: “Not enough. to the attending nurse preferring a tummy tickle medium in my future years as a teacher. I have to go back tomorrow.” to a bum slap. Over the next few years, through my sodden nappies I began to learn the meaning of humour1 (from the Greek umour meaning wet Pupil (on phone): My son has a bad cold teacher these three percepts were attractive and moist referring to the four body fl uids whose and won’t be able to come to school today. and seemed effective. So humour became one balance, according to Hippocrates, decides of my key ingredients in lesson plans. Humour, School Secretary: Who is this? our state of health) and the peek-a-booing2 of however, that had to be inclusive resonating with various aunts and uncles as they appeared and Pupil: This is my father speaking! the memories of an aching corridor cry many disappeared from my worldview. As I chortled years before. My classes began lesson with a and chuckled through these early years, humour giggle, had intermittent chortling breaks and was a positive experience with the knock-knock The multidimensional, simultaneous and ended – like all Shakespearean comedies – with a joke and riddle–de-dee3 periods of my comic unpredictable milieu of the classroom in which happy denouement. development being stimulated by many attentive the teacher operates wearing the multitude Most teachers are instinctively aware of relatives. Then came school. of different role mantles is a stress-producing the classroom benefi ts of a sense of humour4 habitat. These tensions on the teacher can easily and, in certain situations, use this attribute to affect student-teacher relationship making the enhance learning or the ambience of the learning Why do doctors slap babies’ bums classroom a proverbial battlefi eld. But one shared environment. Awareness of the use of classroom right after they are born? human attribute can break these tensions and sense of humour has led to many different To knock the willies off the forge a learning ensemble that is both precious research threads linking laughter outcomes to smart ones! and durable. The clichés that describe the quality learning climate, relationship building and cognitive of laughter, such as “laugh and the world laughs understanding. In her seminal book, Using humor with you”, attest to the power of learning through to maximise learning (2008), Mary Kay Harrison My initial encounters with humour in a humour. proposes four different areas that she outlines as scholastic setting seemed, on the surface, to Arthur Koestler in his book The act of creation benefi tting through the inclusion of humour in the be fun. We, as a class, all laughed uproariously (1964) lists three possible strands of the creative classroom. These can be seen in the diagram on together at the teacher’s comments on “the hole process, which could be considered analogous the opposite page. Each of these areas is affective in Wee Wullie’s troosers” (even although we all had to ways of learning. The fi rst of these is the in nature and, Harrison proposes, is positively holes in our trousers) or our group guffawed at “Ahh” approach where, according to Koestler, nurtured through the considered use of a sense the ridicule the baldy heided maister (as we called we acquire fresh ideas through building on of humour in the classroom. out teacher … and she did not like that much) already existing knowledge bases or as Newton showered on Fat Maisie because of her leaky phrases it in a letter to Robert Hooke in 1676 Teacher: “Are you talking back to me?!” nose (I thought my nose was bleeding but it’snot “(i)f I have seen a little further it is by standing – she would religiously reply – get it?) So we all on the shoulders of Giants.” The second line of Student: “Well yeah, that’s kinda how belly-laughed together, as a group, out loud, with Koestler’s creative inspiration is the “Aha!” slant communication works.” much energy except … there was a dark side. where learning occurs through an instantaneous I never thought much about this ritualistic holistic re-organisation of pre-existing elements mob pressure until one day in secondary school, to reveal a fresh gestalt perspective. The third, According to Harrison, core relationships in a French class, the domine (old Scots word for and most relevant to our humour journey, (learner-teacher, learner-learner, teacher-teacher) teacher) picked up my painfully completed, but Koestler terms the “Ha ha!” moment that occurs in a school environment depend on the sharing inadequate homework, and threw the book out when, because of a learning instant, we emit an of laughter as a “visible sign of humor in action the classroom door. The whole class, as one involuntary laugh elicited by suddenly perceiving and refl ects the social side of humor” (Harrison – my former partners in humour – broke into something in a different way. For me, as a young 2008). In other words, laugh and the world laughs with you for, as suggested by Provine (2000), “laughter can be considered a distinct 1 Throughout this article, the UK spelling of ‘humour’ will be generally used by the author except in quotations from vocalisation that usually occurs during positive American sources where the spelling ‘humor’ will be used. 2 According to the ‘ages and stages of humor development’ (Morrison 2008). social interactions”. 3 Ibid. In our ISTA ensemble sessions, games and fun 4 Throughout this article I will use the phrase ‘sense of humour’ to refer to group responses to joke telling, riddles, activities are used to build a caring and nurturing funny stories plus games and activities, which produces spontaneous laughter. work group. This same ensemble state where

4 Issue 1 | 2014-15 September | Scene BUILDS RELATIONSIPS WITH FRIENDS AND COLLEAGUES

CREATES A NURTURING SUPPORTS CLASSROOM HUMOR ENVIRONMENT FOR LEARNING MANAGEMENT

Source: Taken from Using Humor to Maximise Learning (2008), M. K. Harrison HELPS PEOPLE COPE experiences in developing communication, the processes of making people laugh and thus cooperation and affirmation builds trust through fosters young learners who develop skills and the sharing of humour and laughter which, in level of arousal in the automatic nervous understanding of one of nature’s panaceas. turn, cultivates a nurturing and safe risk-taking system so we’ll get children to relax at the The early class ensemble activities – using environment necessary for the learning adventure. central level.’” (Rayl 2002) humour – set an atmosphere of charged As a young probationary teacher I can This ability to relax through humour- anticipation. The games and fun activities gradually remember the dilemma of fearing that a joke or induced optimism allows young people to focus the place and into a positive funny story would open the floodgates and lead cope not only with the everyday pressures of learning environment where open-minded to classroom chaos. I would stand at the front growing up in a stressful certificate-demanding students can approach acquisition of the delicate of my class, give instructions and feel in control world but also with the added burden of what skills of making people feel good enough to and secure so that when I got my classroom visit is often a multilingual, multicultural learning laugh. The techniques of humour and grasp of from the administrator I would be regarded as a environment. However, I am in danger here of the exciting suspense of comic unpredictability teacher with class management skills. And then I doing to the reader of this article what, according that goes with improvisation equip the theatre re-discovered humour! Or, to be more accurate to Ron Harwood in All the world’s a stage (1984), learner with an empathy that fosters deep and I found that with a little laugh or funny comment an invitation to a discussion on the nature of considerate human contact. I could defuse potentially disruptive situations. A comedy did to Aristophanes – it put him into a Simplistically, in theatre (and film), we try to little “kidding” as Sylwester (2005) calls it could snoring sleep. make people laugh by using three different comic convey the respect and yet at the same time So why discuss when a quick chart components. These are: switch the responsibility of classroom crises from summarises some of the benefits of humour • The physical – exploring funny and an unbalanced power play to a shared status in the learning environment. Below is a table exaggerated body movement, falls and farts! relationship. Harrison (2008) makes the categorical developed from a TV programme This emotional • The verbal – using words to illuminate, statement that “fun and laughter must be life (2010) exploring humour and distributed by change perspective, confuse and frustrate. in the teacher’s tackle box” as a strategy PBS. The physical, cognitive, emotional and social • The situational – playing with relationships for class management and, after many teaching benefits of mirth and laughter are evident and, and places to produce unexpected outcomes. years, numerous classroom crises and a host of although I do find some of the claims (which are Combinations of these elements have, at funny stories, I wholeheartedly agree! based on research by a team of psychologists) different periods in history and places of culture, surprising, the overall tone of the work led to varying types of comedy traditions. A quick emphasises the positive effects of humour on the internet search exposes a million different genres, individual which must be a plus in any individual types and groups of comedy approaches that and group learning situation. quickly move the reader into a comatose state When we move into the theatre studio, not of oblivion. I find the list provided by The Folger only do we have the opportunity to use humour Shakespeare Library (2007) easy to handle for as a supportive learning tool, we are also able students in our quest of learning about humour. to explore the nature of humour through the The headings are simple and direct and offer a practical study of comedy in theatre. This process broad description of practical on-stage actions that of “learning about humour” offers real insight into can be used to evoke humour.

Physical Cognitive Emotional Social

Increased endorphins Increased creativity Elevated mood and Bonding with friends and dopamine feeling of well-being and family Source: http://blogs.worldbank.org/edutech/re-thinking- school-architecture-in-the-age-of-ict Increased relaxation Improved problem- Reduced depression, Reinforcement of response solving ability anxiety and tension group identity and The trials of learning weigh heavily on all of cohesiveness us especially in this modern world of PISA tests Reduced pain Enhanced memory Increased self-esteem Increased friendliness and international standards. For global nomad (for humorous and resilience and altruism students, to whom identity becomes a real issue, material) the opportunity to share a laugh or a smile is critical for as suggested by Rayl: Reduce stress Increased ability to Increased hope, Increased “’We’re not hypothesizing that humor will be cope with stress, optimism, energy attractiveness to others curative or that it is going to take the place by providing an and vigour of any other kind of therapy, but we [believe] alternative, less serious that humor is going to have an additional perspective on one’s benefit over and above simply removing or problems reducing stress,’ explain Stuber. ‘What I’m hoping is that we’ll actually be changing the Source: http://www.pbs.org/thisemotionallife/topic/humor/benefits-humor www.ista.co.uk Scene | Issue 1 | 2014-15 September 5 sympathetically empathise with yet, at the same time, laugh at as we recognise the vulnerable comic weaknesses of our own individual temperaments. Thus, an outward learning voyage about humour has led to a personal journey into the inner recesses of our inner selves.

What’s the difference between humor and aroma? Humor is a shift of . Source: http://forum.index.hu/Article/showArticle?go=51542881&p=1&t=9083967

Types of comedy and the potential humour in their status-laden I am sitting with a cup of coffee chortling Comedy of ideas: relationships. The humour-eliciting techniques in my way through a YouTube video of the Two • Characters argue about ideas Commedia well cover the Folger list types thus Ronnies6. This “finishing sentences” sketch • Characters use wit and clever language to ensuring a comprehensive base upon which to epitomises the second comic component mock form an understanding of the diversity of comedy mentioned above – the use of words and phrases • Characters use to laugh at that which practices and this become a fertile learning about to provoke in the listener a series of intellectual is dear – family, friends, religion, politics, theatre conduit. gymnastics – the verbal. Of course, the Two marriage, etc A typical approach to learning about Ronnies are following in a fine Commedia : Commedia begins by experimenting with the first tradition where buffoni7 used language in the form • Verbal wit, skilful use of language to elicit comic component of the physical body – how it of joke telling and the concetti8 of the Lovers humour from ordinary situations moves – how it cuts out space – how it interacts explored the intricacies of the spoken word (often • Amorous intrigues among upper classes with other bodies - these simple explorations leading to hilarious situations, but more of that • “Drawing room” comedy of clever speech open a technique door to acquiring comedy later...). and witty language So the next stage in Commedia training is : playing games with language. From improvised • Plot is full of coincidences, mis-timings, shaggy-dog stories filled with rambling details misunderstandings, mistaken identities that lead to an anti-climactic to • Characters are puppets of fate short sharp pun use in a simple unobtrusive • Loss of identity because of fate or an dialogue; the world of verbal comedy tickles accident our ears and minds alike. The verbal antics of : an Arlecchino are acquired through playing • games such as Fortunately and unfortunately • Pratfalls, dirty gestures, jokes about bodily where the would-be comedian begins telling functions, sex, and physical deformities story in happy circumstances, then switches : Source: http://www.squidoo.com/commedia-dellarte to an unlucky situation triggered by something • Plays that make us uncomfortable, uneasy, positive, then back to a joyful state and so on until unsure of whether there is any order, sense, skills. This physical “banana-skin-slipping” type disaster happens or an anti-climax resolves the or meaning in existence comedy is sometimes called slapstick5 after the predicament in an often humorous unexpected • “Theatrical” rather than realistic, often setting wooden implement carried by the Commedia fashion. All the verbal gymnastic humour forth obviously impossible situations with zanni Arlecchino that he frequently uses to beat techniques lie in the Commedia characters’ obviously unreal characters other characters (and sometimes the audience) armoury from the sly (and often sexual) innuendo • Serious but often (or at least intermittently) as a means of lifting low energy moments in to irony and sarcasm passing through the oral comic, especially satiric the action by provoking crazy, zany chaos. The minefield of unintentional malapropisms, running • Basic themes include: catlike athleticism of Arlecchino offers students gags and on to the simple, but rib-splitting, joke. - human loneliness in a world without God the opportunity to free the body and wildly As the Commedia student learns about verbal - the inability to communicate explore movement potentials unknown. Whereas humour a door into a world of literary and - the dehumanization and impotence of studio work on the lumbering jerky-stepped spoken dexterity is opened. individuals in a bourgeois society Pulcinella encourages the young performer Before moving on to look at the situational - the meaninglessness of life to think carefully about altering the centre of component of humour, it is perhaps worthwhile [Source: http://www.folger.edu/documents/ gravity, sometimes to creating a stock character to mention the dynamic between the physical PlayingtheFool1new1.pdf] with an audience shocking pelvic thrust. Gender and verbal. If the verbal aspect of the comedy The original komos was used as a tool by difference understanding by exploration of gesture dominates the performance then we move society to “licence satire on its kill-joys and and the subtle intricacies of body language stem towards the ever-popular, modern stand-up repressors, and on aspects of its own behaviour from movement study of the female Colombina comedian type. This style is best exemplified by which worked against the forces of life … [and character. Through a series of activities, games performers such as Shimmy Isaacs (), that] one of the healthiest ways of dealing with and fun applications, young performers, initially Kumali Nanjiani (Pakistan), (United the intolerable was to make fun of it.” (Harwood, unmasked, acquire the knowledge, skills and States), Katie Burch (Australia) and Michael 1984) No more so is this defensive aspect of understanding of communication of a range of McIntyre () - to mention but a humour apparent than in the Commedia dell’arte. emotions through corporeal exaggeration and few. These wonderful funny storytellers – such This Italian 16th and 17th theatre tradition body part emphasis. The whole body then laughs; as our own Sherri Sutton – carry on that age-old manages to mock “the intolerable” but, at the the whole body cries, inspiring affective life into tradition of encouraging us to look (and giggle) same time, depersonalise the mockery through the fixed façade of the mask. A stock character at ourselves whilst, at the same time, uniting the use of generic stock characters, masks is thus created whose movements we can us through the common human resonance of laughter. 5 This stick consists of a central wooden rod with two moveable pieces on the sides to amplify the ‘beating’ sound. The final laughter-inducing component is, 6 https://www.youtube.com/watch?v=LYjE07yWR7w perhaps, the glue that brings the verbal and 7 Early stand-up comedians. together – the situational. This 8 Stock passages usually recited by the Lovers element should not be confused with situation

6 Issue 1 | 2014-15 September | Scene comedy or, as these television dramas are This effective contrapuntal play on emotion Provine, R.R. (2000) Laughter, a scientific most commonly termed “”; but are the can also be seen in Japanese theatre where investigation, Viking Penguin, New York, USA storylines, places and circumstances in which our the slow, stately, sombre elegance of the Noh Rayl, A.J.S. (2002) Humor: a mind-body comedy routines, verbal or physical, take place. performance is counterbalanced by the zesty, connection, The Scientist, 14 (19), 1. slapstick, madcap humour of the Kyogen kaja and Rémy T. (1997) Clown scenes, Ivan R. Dee, shujin9. For the theatre student, the disciplined Chicago, USA “Humor is reason gone mad.” and focused master-led Noh skill lessons, where Sylwester, R. (2003) How to explain a brain, “If you find it hard to laugh at physical control underscores verbal innuendo, Corwin, Thousand Oaks, CA, USA are complimented by uninhibited frolicking Websites: yourself, I would be happy to do it in physical and verbal humour. www.pbs.org/thisemotionallife/topic/humor/ for you.” The contrasting theatrical outcomes not only benefits-humor evoke emotional extremes but, to the student www.readingprof.com/papers/Brain-Friendly%20 learning about humour, instil an appreciation of Strategies/7_Brain-Friendly%20Humor%20 The Marx brothers, masters of modern the multicultural nature of laughter in its diverse in%20the%20Classroom%20(map).pdf movie Commedia, use this situational component forms. www.uab.edu/Communicationstudies/richmond_ to place their comedy skits in a simple storyline. So there it is. From a baby bottom slap to a files/Richmond%20Humor%20in%20Classroom. If one watches the filmsGo West (1940) or Duck tummy tickle and on to a consideration of learning pdf soup (1933) then one becomes aware of high through and about humour – a journey of laughter and low moments in the action. This energy in education. But this journey is not a cohesive turbulence lies in the plot structure where short narrative or a reasoned academic treatise on scenes (termed lazzi in Commedia dell’arte) are humour but more of a teacher’s smörgåsbord of slotted in to a barely credible storyline to create a ideas and anecdotes to stimulate the appetite of piece of comedy theatre. During their the mind. My Favourite Joke tours, the Marx brothers had already sampled The IB Leaner profile offers insight into the comic effectiveness of these lazzi by the a collection of attributes considered essential immediate live audience feedback that confirmed for learners in our dynamic globalised I make no apologies about my the quality or weakness of the humorous action. environment. The qualities described are diverse, cultural exclusivity when it comes This meant that when screenwriting the movies, comprehensive and politically correct. But, in my to humour. has an approach was employed which linked their opinion, one universal, essential attribute is lacking been such a huge part of my life already-tested comedy routines through a in the IB Learner profile list – a sense of humour. and defines so much about who series of contrived situations which also offered Some schools of thought perceive laughter in opportunity for comic intrigue. When, in the 18th the classroom as an impediment to learning and I am. So for my favourite joke century Carlo Goldoni began developing the will, at the first , call out the “fun police”. (actually I’m including four) I, once Commedia dell’arte material he had collected, his But wouldn’t the world be a better place if our again unapologetically, turn to writings recorded the storylines – the situational approach to the tensions of life were to seek the Tommy Cooper… – that, some felt, did not really convey the vibrant positive and optimistic perspective through the spontaneity and improvised tension of the true lens of sensitive humour and a shared laugh? “I said to the gym instructor: ‘Can Commedia spirit. There is a wonderful resource As I struggle to find appropriate words to you teach me to do the splits?’ He by Mel Gordon entitled Lazzi (1983) which culminate my ramblings on laughter and learning, said: ‘How flexible are you?’ I said: ‘I offers the young Commedia player a range of I am drawn to the sayings of those who have can’t make Tuesdays’.” skit ideas, ranging from the “acrobatic and mimic” adeptly summarised thoughts that resonate with to the “transformational” lazzi, any of which can mine, such as cartoonist, writer and animator “Heard the one about two aerials be woven together by the context of situation to Theodor Seuss Geisel who declared: meeting on a roof, falling in love, create original plays laced with effective verbal and “I like nonsense, it wakes up the brain cells. and getting married? The ceremony physical humour. Another must for the humorous Fantasy is a necessary ingredient in living. It’s a was rubbish but the reception was theatre department library is the collection Clown way of looking at life through the wrong end of a brilliant.” scenes (1997) by Tristan Remy. Again, these telescope. Which is what I do. And that enables short, sharp verbal and physical comic interludes you to laugh at life’s realities” offer the student theatre practitioner material to or, comedian, painter and teacher Yakov Smirnoff “Doc, I can’t stop singing the green explore timing, develop expressive physical action who observed that: green grass of home.” and construct effectual comedy theatre thus “Everybody laughs the same in every language “That sounds like Tom Jones learning about theatre. because laughter is a universal connection” syndrome. “ No article on humour would be complete but, the final few words must go to writer e e “Is it common? “ without reference to that genius of comedy cummings who proposes that: “It’s not unusual.” and sensitive contrasts, Charlie Chaplin. The “… the most wasted of all days is one without power of engaging theatre lies in the emotional laughter”. And the one that makes me extremes between the seemingly superficial So put on your red clown nose quickly and don’t chuckle every time… optimism induced by comic antics and the state waste today. of sad, deep melancholy educed through tragic Selected Bibliography “There are only three different types action. In The Kid (1921), Chaplin uses all his skills Books: of people in the world. Those that as a tragedian and Commedia-type performer Adamson, J. (1973) Groucho, Harpo, Chico and can count, and those that can’t.” to induce this antithesis of feeling resulting in a sometimes Zeppo, Simon and Schuster, NY, USA cathartic bathos effect. In one particular scene, Gordon, M (1983) Lazzi, Performing Arts Journal Sally Robertson through the combined synergy of music and Publication, NY, USA mime, Chaplin draws tears as the child he loves Harwood, R. (1984) All the world’s a stage, is torn away from him by social services but the Martin, Secker and Warburg Ltd, London, UK little man triumphs and recovers his “kid” through Koestler, A. The act of creation (1964) Hutchison, a series of hilarious slapstick chases across roofs London, UK and alleyways. Morrison, M.K. (2008) Using humor to maximise learning, Rowman and Littlefield Education, 9 kaja = servant, shujin = master , Canada www.ista.co.uk Scene | Issue 1 | 2014-15 September 7 Desperately seeking the laughs By Peter Michael Marino

“Change the title!” cast me in my fi rst Off-Broadway showClass That was the fi rst thing my long-time comedy clown. It was a children’s show about illiteracy and mentor Steve Kaplan advised me when I sought I was playing the illiterate kid at the centre of the his guidance for a solo comedy show I was story. Perhaps there was some typecasting. But developing about my taxing experience writing Steve knew how to make it funny, and a hit. He a huge West End fl op. I resisted. After all, my had previously created Manhattan Punch Line, original title Bloody holiday perfectly summed which presented new comical plays, monologues up my feelings about the two-year experience and sketches Off-Off-Broadway. It was there that this novice American writer had adapting the I learned that comedy was an art and that there fi lm Desperately seeking Susan into a big were rules and tools. And like any art, comedy splashy London musical featuring the hit songs needed to be studied and practiced. When I of Blondie. I emerged from my two-year British studied theatre in college, we learned how to be “holiday” bloody and beaten, and so did the dramatic – not how to be funny. How does one show. It closed within a month after devastating learn comedy? reviews. Boo! Flash forward to 2011, and Steve and I are “Well, what should I call it?” I dubiously having that title-changing breakfast in a London inquired. diner. Ironically, he was in the United Kingdom “Name it after one of the review headlines. that weekend teaching his world-renowned Now, that would be funny.” comedy workshops and I was teaching improv

Now, the damaging headlines ran the at the Actor’s Centre. I have always enjoyed confusion, it Photo credit David Rodgers gamut from: “Desperately avoiding closure” doing improv. The choices one makes as an could actually be funny. to “Desperately seeking the excitement” to improviser are honest and in the moment. The So I collaborated with “Desperately seeking the exit”. Where was the characters in (good) improv scenes are usually director/writer John Clancy, a co-founder of the funny in that?! in unusually diffi cult situations and need to make New York International Fringe and a multiple Steve saw comedy gold in the title things better. This is what makes them human. award-winner at the Edinburgh Fringe. Since we Desperately seeking the exit. I saw it as a painful And this is what comedy is. To quote the brilliant knew the show would be performed in a bar, reminder of how the words of the critics killed my American actor/clown : “Comedy is we agreed that the only production elements spirit. But, it did hint at the name of the musical someone in trouble, trying to get out of trouble”. would be a barstool and a boom box, so that I and the fi lm. It mirrored my own feelings of This quote perfectly captured my predicament. could play Blondie’s music while setting up why I wanting to get out of the messy hell that the show Steve encouraged me to tell the tale from thought their songs fi t the plot of theDesperately and my reputation were in and not being able to the point of view of who I was then... not who I seeking Susan fi lm so perfectly. We didn’t want escape. And, it also showed that I was embracing was now. I had to put all of my negative feelings it to feel like a traditional one-man show, so we the experience (and the critics) and boldly aside and write it from the point of view of decided that it should be written and performed wearing it as a badge of merit. someone who was optimistic about the success like a conversation one might have with a new Instantly - over runny eggs, greasy bacon, of the show, which I was. Someone who was in friend having drinks at a bar. I booked some dates and three cups of crappy coffee – it became the a foreign country, doing something they’d never in the basement of a bar in New York City to title. This led to a much more diffi cult discussion done before, coming up against roadblocks and try it out before Edinburgh. After all, you don’t of how to turn the tone of the whole tragic story communication barriers, yet valiantly trying to want to bring a brand new show to the largest into something funny. I didn’t want it to be a rant overcome the obstacles that life threw me without arts festival in the world without giving it a few about how everything went wrong and how giving up hope. Looking back at my detailed blog, previews. Soon it was time to tell the tale in New angry, depressed, and disappointed I was at the all I saw was hope. I also saw confusion. And, as York City. outcome; but a show that would give people Steve always said: “Comedy is confusion”. This Within the fi rst fi ve minutes, the packed hope and make them laugh out loud. I wanted was perfect. I couldn’t have been more hopeful house was falling out of their chairs. I thought to create a show that would condense three or confused. it might be because of the stifl ing heat or the years of highs, lows, surprises, frustration and I spent the next six months rewriting the amount of cocktails they were consuming, but depression into a 60-minute comical monologue. show and I had a major deadline – for I had it was clearly a response to the story and to my I was stuck. The fi rst draft, based on my decided that the show would debut at the situation. And it threw me for a loop. I wanted detailed private blog was written. But it was dark. Edinburgh Festival Fringe the following August. laughs, but I didn’t expect to get a laugh every And bitter. And sad. The tone was all wrong. Yes. That seems crazy. What kind of person thirty seconds; and before long I was going up Just like the title. There were funny lines and bits would want to relive an awful experience for on my lines because I hadn’t anticipated such a about the differences in British and American twenty-four nights in the very country where it rapturous response. Trusty director John was culture but it mostly felt like complaining. Lots of all went down in a comedy venue battling for on book at the back of the house and soon I complaining. And that ain’t funny. I needed Steve attention amongst 2,500 other shows? This crazy was calling out for line every ten minutes. John Kaplan. person, that’s who. As long I remained honest would yell back: “This is where you talk about I fi rst worked with Steve in 1990 when he and human, and showed my faults, hope and the fi rst preview!” or “This is where you talk

8 Issue 1 | 2014-15 September | Scene about how hard it is to tell time in London!”. And the audience ate it up. It was that very human behaviour of trying to tell a story and getting lost and frantically trying to get back on track that kept the comedy rolling “Chou” – the along. They thought it was part of the act. It stuck. I’ve been stopping the show to ask the audience where I left off for the past two and a half years. Not only was this “bit” funny; the story was funny – because I told it from the optimistic point of view of who I comic actor was then. The change in tone didn’t change the story, but it changed the writing and delivery. I felt it was important to not only rely on the delivery for the comedy, but to make sure that the writing itself was funny. in Chinese It worked. Desperately seeking the exit has now been performed over 125 times on three continents and the word “hilarious” has been used in nearly every review. Mission accomplished. Sure, I’ve learned how to deliver certain opera lines for maximum comedic effect, and how to massage a moment of silence or confusion for maximum comic payoff. But ultimately, By Chris Ng the show is funny because I wrote honestly about the situation I was in at that time and because I didn’t give up hope. I was a normal person in an extraordinary situation. This is My earliest memory of a theatre performance what makes stories universal... and funny. was the Chinese opera. As a child growing up in Steve Kaplan took his years of comic a small village in Melaka, Malaysia, the Hungry knowledge and turned it into a fantastic Ghost Festival was an event not to be missed. book called The hidden tools of comedy. This This was when temples in the neighbourhood book has been a valuable resource in my would invite Chinese opera troupes to perform Flying solo: funny stuff classes in New York on makeshift stages erected on open fi elds near City as well as in my Comedy essentials the temple (the poorer temples would erect a form. It workshops at the Actor’s Centre in London. screen and show movies instead). I was always incorporates singing, If you’re serious about comedy, this book is told never to watch the fi rst performance because dance, mime, stylised gestures and symbolic props, a must-have. Just don’t be too serious. Have it was dedicated to the dead – the “souls” that had elaborate costumes and make up, monologues, a laugh at yourself. Find that optimistic part been set free during this period. dialogues, acrobatics and martial arts. of you that we all have inside. Find the fl aws, For me going to the Chinese opera was What is signifi cant to note is the evolution of celebrate them and focus on the hope. Make an event. I would even carry a stool for my role types. The early Beijing opera repertoire was your work honest and universal. Mining that old aunt to sit on to enjoy the performance. I mostly civilian plays centring on love stories, martial material will make your work funny. would go early to catch the opening act, usually fi delity and religious pieces. The principal role type Finally... be smart about your title. a mini-concert featuring a loud band and girls was the “dan” or female role. At that time, these singing the favourite songs of the day. After that, roles were played by men. As the military type the Chinese orchestra would play signalling the plays gained popularity and heroism became the My Favourite Joke start of the proper show. To a child, the colourful dominant theme, the “sheng” or male role took glittering costumes, the swordfi ghts and the prominence. Along with that, the “jing” (painted fl ying across the stage was a visual feast. The face) role developed. Last but not least, maintaining cacophony of sounds that came from the shrill These are by : its importance in the hierarchy of roles in Chinese high-pitched singing and the noisy orchestra were opera, was the “chou” or the comic actor. Of but an inconvenience to be endured. Even more You could talk about same-sex course, within these broad categories of roles fascinating was going backstage where actors there were many other variations. marriage, but people who have applied makeup, got into costumes or played cards The chous were the clowns; their task was been married say: “It’s the same and smoked cigarettes. What a fascinating world, the same as that of Western clowns – to keep sex all the time.” I thought. the audience laughing and to improvise quips at What I did not know at that that the right moment in order to break the tension in Politics: “Poli” a Latin word the Chinese opera that I saw was one of many serious plays. They were easily recognised because meaning “many”; and “tics” regional theatre styles; each developed to cater to of the distinctive white patch in various shapes meaning “bloodsucking a particular area or region in China. That explained painted around the eyes and nose. Sometimes creatures”. the different styles of costumes and the different these white patches were outlined in black. dialects used by the different opera troupes that Because of that the chou was also known as “xiao Do you think God gets stoned? I had made Malaysia their home. However, when hua lian” or “partly painted face”. In the Beijing think so . . . look at the platypus. one speaks of Chinese opera today, one can safely opera, the chou was relegated to a minor but assume that it is the Beijing opera. The Beijing important role. Rob Warren opera (“Jingju”) is by far the most widespread and The comic actors had existed long before popular form of Chinese opera in existence today. the chou was defi ned in the Beijing opera. It is the culmination of theatre styles and traditions In fact, they were the public storytellers and that were adopted, adapted, refi ned over the fairground entertainers who had roots in popular various dynasties and celebrated in its current in China. Even from as early as www.ista.co.uk Scene | Issue 1 | 2014-15 September 9 comedies were longer as they were often full the plot and performance of Chinese opera. He stories being played out rather than slapstick skits. revelled in his special position as the one actor They also had extensive use of songs. With the sanctioned to use colloquial speech, indulge in Mongol’s conquest of Southern Song, the centre personal or topical allusions and identify himself of playwriting took root in Hangzhou. A greater with the crowd out there. To the audience, the variety of themes were introduced and a shift away chou always remained a likeable character. from the slapstick comedy began. The female role For me, having had that opportunity to be type with a strong emphasis on singing emerged part of a major Beijing opera production was a and the clown role was cut down in size. real joy. It was part of the Asian theatre courses With the rise of the imperial power in the Ming I took as a student studying for my Masters in dynasty (AD 1368 – 1644) and the emergence of Children’s Theatre at the University of Hawaii at the literati through the civil service examination, Manoa. We were trained by masters who were there was a profusion of plays being written. stars of the Beijing opera in their own right. Since Playwrights were men of immense learning. They I didn’t have the body type, nor the singing voice, also had great knowledge of music. In addition, required to be a “sheng”, I was naturally cast as a Ming society was affl uent due the rise of trade. The chou. It was not as glamourous as the main leads elite (corrupt offi cials, eunuchs, literati, merchants but it was defi nitely fun to play. Though I went and landlords) now infl uenced the development of through the movement training as required for all the plays that they patronised refl ecting a taste and role types - learning all the different “walks”, playing outlook that was much different from the general with the water sleeves, going round in circles, and population. working on postures - I didn’t need to apply most There were of these moves for my chou role. I had a lot more theatre groups freedom to “act” as I please because the chou role within the allowed it. A fellow cast member who played the imperial court cuckold husband was also a chou character. He and outside added a southern accent to his character and it the Zhou period the imperial worked brilliantly. While the audience would clap (1046-256 BC), there courts, there in approval of the singing of the “qingyi” and the existed the “yueren” were theatre “sheng” leads, they always laughed when we - the or music-man who groups funded chous appeared. played the role of the I was also amazed at how many court entertainer. These chou roles appeared in a play. In court entertained Yu tang chun, I was the adulterer as through music, witty well as a guard and I understudied language and satire. the role of a jailor (we had been They also had the invited to bring the performance to additional function of giving advice or warning as by the rich and a Chinese audience and performed they deemed fi t. They stood out by virtue of their powerful and in Shanghai, Nanjing and Wuxi). physical difference from the ordinary man; they the professional With each variation of make-up were either dwarfs or exceptionally tall. Their role acting troupes. and layering of costumes for the earned them a special position with the rulers who Categorising different chou roles, I was amazed were often arbitrary tyrants. actors into role at how the fi nal look brought forth The court jesters gave way to a more types continued a different character with different slapstick kind of comedy in the “adjutant” or what to be the practice mannerisms. Regardless of the is known as the helper-assistant plays. A simple and served as a different characters, we all shared categorisation of roles began to emerge – an general guidance the one distinct feature. We all offi cial and a lowly man. One was the comedian for specialisation in had a white patch around our while the other was his foil. In the Song and Jin singing and acting eyes and nose. We were the period (AD 960 – 1234), farcical comedy ruled roles. A performer chous - and we had fun! in the main drama tradition of the day - Song would select a type “zaju” and the “yuen ben”. In the Song “zaju”, of role suitable for there was singing, recitation and jesting while his or her natural in the “yuen ben”, the fi ve player troupe was voice and body dominated by the “fujing” (clown) and the “fumo” build. This specialisation in role types was further (). The comedy sprung from the way the refi ned during the Qing period (AD 1644–1911). main lead (“fujing”) played off his partner (“fumo”) By then the comic actor became the chou and his through clever verse exchanges, , was a minor role in the Beijing opera repertoire. riddles and caricatures while the physical comedy While the chou was a minor role, it that followed involved being hit by a soft leather nevertheless offered more characters than cushioned cudgel. The slapstick themes were often the “sheng”, “dan” and “jing” roles. The chou love affairs, ghosts, gods and demons, doctors and represented the common people. He was also maidservants. the high ranking offi cials, the servants and soldiers, By the Yuan dynasty (AD 1271 -1368), the the scholars, woodcutters and boatmen as well as clown roles grew more elaborate. The plot farmers and traders. He could be old, young, male became more intricate and the humour and or female. He could be deaf, blind or lame. He slapstick expanded. More songs were incorporated could be kind-hearted, loyal, simple and sincere into the performances. The use of costumes or evil, sinister and mean. He could even be an and make up as well as props became part and adulterer. Above all, he was the jokes and humour parcel of the performance. Meanwhile a shift that peppered what is often a long play set. While was beginning to happen. The Southern plays the chou might have seen his role cut down over (“nanxi”) were gaining prominence. The love the centuries his role was of great importance to

10 Issue 1 | 2014-15 September | Scene Sense of humour is also a big one. Rather than limit tastes welcome them. Encourage the exploration into surreal, sketch, dark, improv, satire, observational, burlesque, physical, farcical, slapstick, Directing situational, stand-up … to name a few. This will encourage an open dialogue and an interesting exchange and analysis into these different types of comedy. All of this research will pave the way for their own creative exploration. A thorough comedy understanding into how comedy works will directly tie in with rehearsals and improv sessions as they By Sacha Kyle begin to put their learning into practice. Some sources of inspiration to check out are: TV comedy: Mr. Bean (original BBC series), “Laugh as much as possible, always laugh. It’s out. It was just who I was. , , The offi ce/ the sweetest thing one can do for oneself and It takes an equally serious, driven, focused, Extras, , Only fools and horses, Modern one’s fellow human beings.” analytical, intellectual work ethic as one would use family, Whose line is it anyway? Maya Angelou in presenting drama to deliver high quality funny Old school comedy: , Chaplin, I have been a fan of comedy and all things stuff. Fact. Marcel Marceau, Buster Keaton, Tommy Cooper, comical for as long as I can remember. Some of Comedy rule #3: when you try to make , Black Adder, . my fi rst memories are from around the time when funny funny, it’s just not funny. Contemporary theatre comedy: Theatre de I was about fi ve years old and living in Scotland. When I begin a project that involves comedy complicité, Jos Houben, Jacques Le Coq, Steven Our family gatherings always involved singing it’s important to take away the fear of being funny. Berkoff. and storytelling and I can vividly remember the So this means taking down a sign outside the door Stand-up comedy: , Lee Evans, atmosphere as each person took centre stage in that reads: “Once you enter I’m expecting to David O’Doherty, Robin Williams, . the living room to present their “piece”. Each family laugh hysterically at everything you do”. Comedy Some books: Impro by Keith Johnstone, Groucho member, and sometimes neighbours or strangers comes out of being playful. It’s about creating an & me by Groucho Marx, Why is that so funny?: off the street, always seemed to be naturally environment in which a young child would be a practical exploration of physical comedy by funny (I’m sure whisky may have helped in these comfortable – a space where things can happen, John Wright, The moving body: teaching creative situations) and the wonderful effect that a room a space where possibilities are encouraged. What theatre by Jacques Lecoq and Through the body by full of laughter had on everyone was imprinted kind of director/facilitator are you? Consider Dymphna Callery. in my memory. Comedy brings people together. your behaviour in the room, your body language, Comedy rule #5: forget your life jacket It’s a force that unites people instantly and one your approach. Is it relaxed and open, playful and Comedy is about stepping into the unknown. that can cross both social and language barriers. encouraging? Directors too need to relinquish It’s about not looking back. Sometimes you will Travelling with ISTA around the world has proven control and block out any worries. Comedy comes fi nd yourself swimming with the sharks but that’s this to me time and time again. As a director I really out of being fearless. To be funny one fi rst needs OK. If you eventually get the sharks laughing the love working in comedy and have gathered a few to be relaxed, warm, and open. It’s important for sea will be a very happy place. The point is to not helpful rules along the way: the director/facilitator to allow creative freedom be afraid. Give yourself some guidance, a starting Comedy rule #1: trust your instinct and play within rehearsals rather than restrict the point. This could be an action, movement, a line My work as a director has always involved performers to deliver and perform in a certain way. of dialogue, a situation, a piece of music, a prop comedy. It’s in my blood. I wouldn’t say I have And try, try, try! If it doesn’t work try a different or a line from the show that you are working on. funny bones as I can never seem to remember a way, add a look, a beat, and in desperation a funny Once you have this safety net in place jump right punch line, but I somehow instinctively know the hat. Which way is the funniest? It is OK to be in. Approaching comedy with as free a body and difference between what is funny and what is not wrong. You can always come back to an original mind as possible will reward you with those wee within the way a line is delivered, a look, a beat. It way of doing it but you will never discover the hidden gems. Once you play you will discover, and is important to trust this instinct as a director or an funniest way of doing it unless you are open to once you have discovered then you can begin to actor working in comedy. This will be your most experimenting. This also gives the actors the space fi ne tune. powerful tool. Think of your comedy instinct like to develop and explore which in turn gives them A question I am often asked is: “What if we a pair of strong biceps – just like going to the gym the individual ownership and commitment to over-rehearse and lose the funny?” The answer you need to keep it in shape, toned and fl uid. So present the material with confi dence. of this goes back to rule #1: trust your instinct. make sure you read, research, observe, or invite Remember, if a performer is anxious, restricted Feel the moment, the atmosphere in the room, a group of actors to play and create without the or terrifi ed they will receive a very odd stifl ed laugh the energy of the actors and decide if you really pressure or an end product in sight. The more from the audience and a request for a ticket refund. do need to see that moment again. Sometimes it’s comedy you experience, the more you will hone Comedy rule #4: watch other comedy useful to take a break, have a doughnut and come and develop your strong comedy biceps. I would suggest when seeking inspiration back. Sometimes it works to look at a different Comedy rule #2: comedy is serious that it is a good idea to mix it up – for example it section of the show and come back. Sometimes In high school I was always cast in the funny may be useful to have some understanding and it’s useful to get a small trusted audience in as a parts and joined an improv group. This improv knowledge of classic comedy before approaching fresh pair of eyes. Or why not try all three. The group did wonders for my confi dence and brought contemporary work and likewise there may be important thing is to listen to your inner comedy me out of my shell – if you have the resources to potential in revamping a comedy classic with a heartbeat. All the answers are in there and you set up such a group for all those funny wallfl owers contemporary twist. just need to trust it. waiting in the wings, please do it. My time at high Look to your students to fi nd out current Comedy is all around us. We all know a funny school really defi ned my interest in theatre and comedy trends. Social media is now such an story, have seen a funny situation or have heard gave me the confi dence to explore its possibilities. integral part of their lives with instant sketches a funny joke. I believe it’s what keeps us all going. My university experience at a lovely posh drama on YouTube/Facebook you can create and Without comedy life would be pretty bleak. When school tried to encourage the disposal of my love upload comedy straight away. Allow them to I’m directing a project whether it be in TV, theatre of comedy. They said that “it was too easy” and if experiment with all the different roles associated or radio I love the instant energy that comedy I wanted to “coast” through my degree I should with presenting comedy – let them try directing, provides and the buzz that funny actors bring into continue the way I was going but if I wanted to acting and writing comedy to get a real feel for rehearsals. And then of course, the crème de la grow I should start getting serious. I took their comedy inside and out. This will make them better crème is when the performance is put in front advice and for four years did serious things, acted directors, writers, actors and will give them a feel of a live audience. Absolutely nothing beats the in serious ways even getting artistically and partially for which role is most suited to them as a potential feeling of being in the middle of a room fi lled with seriously naked at times – but the comedy shone career further down the line. laughter. www.ista.co.uk Scene | Issue 1 | 2014-15 September 11 Videotape everything, change and be grateful By Dorothy Bishop

I graduated from Yale University in 1992 with heads?”. If you can make them laugh and forget – and learn from them, copy them, don’t take things my Master’s degree in Opera and six major opera you did your job. personally, serve your audience, know that every roles under my belt. After one rough bus and truck Love her or hate her but one of my favourite gig is not going to be as fulfi lling as others, try to tour I went straight to New York City where I idols is . Especially off camera when she fi nd a support job that compliments your artist jobs immediately began waiting tables. just talks about her life in comedy, her philosophy – and, hey, when you do get to do it fulltime – be Throughout my fi rst turbulent ten years, I on performing and what she has survived. Find grateful. managed to get cast in a First Broadway National your idol/mentor/inspirational performer and tour of Master class with Faye Dunaway. I also watch them constantly. Bette Midler is another made my debut at Carnegie Hall with the New favourite of mine. York Pops, but mostly I did small regional opera – Most of the bigger paying gigs are going to be which we jokingly called BYOW opera (bring your corporate. Even Broadway is corporate and so is My Favourite Joke own wig... heck, bring your own costume if you much of television. Be humble. Be grateful. But be can). Because, well the wigs were just hideous. honest with yourself. Some of my highest paying During all of this time between temping and performance gigs have been the least fulfi lling as So my favourite joke is one buying dime store wigs, I began to laugh a lot. an artist. That doesn’t mean anything in the big that was told as part of a show And I began to make people laugh both on and off scheme of things. You have to fi nd a balance stage. Once the opera directors fi gured out I could between the really great nights, the terrible nights I made a few years ago called do comedy (a funny soprano? No, really?) I spent when everything goes wrong and the nights when From where I’m standing with most of my stage time in comic opera. you are just paying the bills. It’s hard not to take the young company I work with The question I was always asking myself was: things personally. Corporate gigs are when the called Junction 25. The show was ”How can I make more money at this?” Most guys in the suits judge your show by numbers and about the relationships between regional productions paid very little. My frustration weird charts and money. But they pay. So learn to teenagers and their parents and with my support job (secretary) was not fulfi lling. dance with them when you have to. was created and performed by When my frustration with opera became I also fi nd that the best teacher – THE BEST the group and their own parents. unbearable, I wrote a pop opera show and sold it TEACHER – is video. I videotape most of my to the big cruise ships. For eight years I went out shows. Sometimes it hurts to watch. Mostly, it’s the One particular part of the show as a pop opera singer with a glamorous and semi best teacher and my best artistic friend. Sometimes featured Scott (who was fi fteen at humorous show called Viva la diva. I also booked it I wait a week or two before I watch it. But when the time) and his mum Nora – she in many of the big gay clubs in New York City and a show gets rusty, like if I haven’t done it in a while was trying to embarrass him in Florida. I saw the world, had a blast and sang on or if I think I bombed (it’s usually not as bad as it front of the audience by telling as some of the most beautiful stages on the seas. felt) or if I broke in new material – the video tells many bad jokes as she could think I have found that pretty much everything me in the end. of. Scott used to fi nd it really cringe eventually changes (some would use the word My comedy chops are now stronger than “end” but change is a more empowering word). ever and I still am often introduced as: “This is worthy (which was the point) but I If you are in the performing arts there is going the girl that did Sarah Palin in New York City all used to laugh out loud at her every to be a lot of change. And most gigs – even the those years”. And it got me started as a comedy night. My favourite was: longer term ones - will eventually end. Or as I say: vocal as I had contacts with so many CHANGE. agents who would say: “Hey, Sarah is over – who Nora: “Scott, what’s this?” (Flaps Because of a parody song that I did in a show, else can you do?”. So I invented my latest The using only one arm.) and my brunette updo, I suddenly found myself dozen divas show, a quick change fast paced multi- working as a Sarah Palin imposter for three years. imposter show as Cher, Madonna, Barbra, Judy, Scott (mortifi ed): “I’ve no idea, My Sarah Palin was defi nitely the “liberal” opinion Stevie Nicks, Adele, Joan Rivers, Dolly and many Mum ... Stop doing that.” of the “Thrilla from Wasilla” so I didn’t go over so more. And yes, every now and then, I put on the well in corporate. But I did go crazy viral – most red suit and do Sarah. Nora: “It’s a seagull coming back of which I deleted because the comments were I am currently running The dozen divas show from the library.” so mean and I started losing work on the ships. at a beautiful room in Chelsea called The So when the cruise ships stopped calling … I Metropolitan Room. I also started doing master Jess Thorpe reinvented once again. classes – my fi rst of which is at Converse College My advice to young people is: “Always think in South Carolina this fall. So my advice for up outside the box” and “What kind of experience can and coming performers/comedians is this: stay I give the audience that will take them out of their malleable, videotape everything, fi nd a mentor/idol

12 Issue 1 | 2014-15 September | Scene Seriously funny By Stephen Finegold

I have often come across a curious assertion and genial host the next. During ‘Blow winds, and funny?” more elusive. Comedy needs laughter, in the practice and teaching of theatre that comedy crack your cheeks’, he talked to the wind and rain so what is laughter? I don’t mean in the technical and tragedy are in some way mutually exclusive, as if they were friends he was inviting round to tea. or anatomical sense, we know that laughter is a that one cannot survive in the company of the We all had a great time except the Principle of the physiological response to certain situations but other. “For the summer term we must perform a school and his immediate acolytes, who all loathed this is not useful in helping us to discover what tragedy because we did a comedy last term”, or it. They described our interpretation as disrespectful comedy is, or how we create it. “the focus of this season’s programming will be to the text and accused me of reducing tragedy to My fi rst experience of John Wright as director comedy as it sells better than tragedy”, are just farce and of behaving irresponsibly. I was stunned. I came in 1997 at the Gate Theatre in London, a a couple of quotes I have heard in passing. I am had never met such prurience.” production of King Ubu by Alfred Jarry. The fi rst fascinated by this view and have spent the last thirty Later when Wright and his students were thing I noticed about rehearsals was that Wright years exploring and investigating its reasoning. able to de-brief, Henry, who had excelled himself didn’t use games simply as a way of warming the I’m not, of course, suggesting that comedy on the thunder-sheet, told a traditional story fi rst performers up in the morning and after lunch but and tragedy are never found in the same piece recorded in an ancient book, The Kojiki written as a way in to the text. For Wright, games are or that or even comitragedy are not about 712 AD in Japan: how we make dramatic action. In order for us to considered acceptable genres or tones in theatre, “The story tells of the great Sun Goddess who discover what the life of the play is, we fi rst have to rather that there seems to be a reluctance to seek became petulant and fl ew into a rage after an discover the games within it. When we are playing the comic in the tragic and vice-versa. argument with her brother. She hides herself in a games and improvising we are in the present, the In his book The life of drama, the eminent deep dark cave and plunges the world into darkness. “here and now” and the “there and then” of the literary critic and playwright, Eric Bentley, writes: All the other Gods start to gather around the mouth play can only really be illuminated by the actors “Where says: these of the cave and try to persuade her out. A young in the rehearsal room doing, by getting up and aggressions can be transcended, and realistic Goddess who is particularly frustrated by the darkness getting on with it. The life of the play will not be comedy says: these aggressions will be punished, sees an old wooden bathtub by the cave and turns revealed by sitting around a table and chatting tragic-comedy … says: these aggressions can it upside down to make a platform from which to about it, you have to get up and play. The second neither be transcended nor brought to heel, they have her tantrum. Like a small child she starts to thing I noticed about Wright’s rehearsal room was are human nature, they are life, they rule the world. stamp up and down on the base making a huge that there always seemed to be invited guests at The peculiar, unparalleled ruthlessness of the genre noise. The other Gods turn to see what is happening, every session. He wanted to gauge the reaction suggests a wrestling match with no holds barred.” embarrassed she laughs and they laugh and they all to our work/play as we went along. One eye on With these words Bentley points out the want more. She stamps louder and she punches the us the other on his guests, he wanted to see if our power, the purpose and the effect of mixing tone, ground, she laughs and they laugh and they all want “audience” was laughing. If they were he let our colour and texture in theatre. Comedy alone, more. Her stamping turns to a silly little dance, she games and improvisations continue, if the laughter Bentley argues, creates an unreal world, either laughs and they laugh and they all want more. The waned he stopped us and asked for something where humanity transcends evil or where the evil number of Gods increases until there is a huge crowd else. In other words, Wright wasn’t only interested face certain punishment. Tragedy alone excludes of them watching. The dance turns more graceful in the technical, comedic aspects of the text, he most of our experiences because of its emphasis and delicate, she laughs and they laugh and they was looking for the laughs in our playing of it. on “beauty, nobility, heroism, higher truth”, but all want more. She turns the dance into a horrifi c, Not only was he seeking out and nurturing comedy shot through with tragedy offers us a violent mutation and stamps and kicks and punches laughter but he was mentally noting, what form truth that we can accept. until she collapses, exhausted. Before she dies, she of response the laughter took. Wright categorises As a young actor I was introduced to the laughs, they laugh and they want more. In the depths laughter into four distinct types: work of teacher and director, John Wright, of the cave the sulking Sun Goddess, hears the roars • the laugh resulting from surprise or shock; co-founder of Trestle Theatre and Told By An of laughter and, fearful she is missing out, comes • the laugh resulting from the visceral or Idiot theatre companies. With his help, I was charging out of the cave and the world is suddenly instinctive; able to begin the process of seeking answers to fi lled with light again.” • the laugh resulting from recognition or the questions: “Why is that so funny?” and “Can Henry went on to explain that this is the experience and; comedy truly exist in the context of tragedy?”. story of the fi rst performance ever – before • the laugh resulting from the surreal or strange. In his book, conveniently entitled Why is that rules. Wright expands on what Henry meant, Laughter from shock is perhaps the most so funny? (2006 NHB), Wright describes an early proposing that, at this time of the fi rst ever diffi cult to elicit and requires a deft hand. There experience as a fl edgling director: performance, there was no such thing as genre. is a very narrow space between laughter from “One of the fi rst jobs I had was to stage ‘the The performance of the young Goddess was shock and anger from shock. During one scene blasted heath’ scene from King Lear as an exercise a mixture of comedy, drama, aesthetic, and from King Ubu, Wright set up the audience into at a North London Drama School. The student I eventually tragedy all of this blended into one thinking a certain character, which had hitherto found to play Lear, was a loveable lunatic with a great whole, as Henry says, “no rules”. Before elicited feeling of compassion and pity, was about huge sense of humour. He was a bear of a man rules, before genre, there was no conscious to be saved from the brutality of the Ubu’s tyranny. – Hungarian I think – and had very little English, acting, no conscious art and this performance Suddenly, just as she is about to be set free, a metal but what he lacked in language he made up for in was simply created from the desire to keep the door opens into her and she falls down dead. passion. The wind and the rain were created by audience’s attention, to keep them amused – to Horrifi c yes, but in the context set up by Wright Henry (Lear’s Fool) a small Japanese actor, who make them laugh. this produced a very curious type of laughter from would throw himself across the room and attack Perhaps, then it is better to talk about laughter the audience every night. At fi rst stunned silence, a thunder sheet and throw buckets of water over rather than comedy. Laughter is less conceptual, then nervous laughter scattered throughout the himself and the King. This would send Lear into blind less abstract; laughter is more specifi c. Comedy auditorium followed by sustained raucous laughter. terror one minute but, as he tried to control the is not a science, it is an art and that makes the As Wright states: “Disturbing violence and raucous text with his wayward English, he became a gentle answers to such questions as “Why is that so laughter are a hairs breadth apart”. www.ista.co.uk Scene | Issue 1 | 2014-15 September 13 This may explain why some psychologists drum, to reach out for the new and exciting and that far ahead. He maintained that they would classify humour as one of the mature defence mistrust the normal. So it is interesting to note always be more taken by the uniform than by mechanisms we invoke to guard ourselves against that the vast majority of our comedy is based on what it represented. overwhelming anxiety. Being able to laugh at recognition and experience. We laugh because Wright’s four elements of laughter are an traumatic events doesn’t cause us to ignore them, we have been there ourselves, the very typicality expression of how we break down comedy and but instead seems to prepare us to endure them. provides the spark. We share the understanding of course, they rarely happen in isolation of each In this case, the result would have been very not only with the performance but also with each other but either alongside one another or in different if the scene had not been meticulously other. Going back to the Japanese myth told by sequence. Great comedy will elicit laughs across planned and the timing rigorously applied. Of Wright’s student, Henry, although it is a story the entire spectrum. course the word shock could just as effectively be involving gods living among the stars, the reason Returning to the assumption that comedy and replaced by the word surprise. Slava Polunin, the we respond to it in the way we do is because tragedy are mutually exclusive we can now see Russian performance artist and clown, is a master here, our gods are just like us, they argue, have that despair can, given the right circumstances, of extracting laughter from surprise. In one set petty tantrums and sulks and we recognise this give rise to laughter. Few scenes in Shakespeare piece from his famous Snow show the sound of a way of behaving. can provoke more laughter than the Porter’s helicopter is heard, first in the distance then rising There is a relatively new wave of TV comedy, scene in Macbeth, (act II, scene 3) yet it is often in volume until the noise becomes unbearable. which is now starting to make advances into cut by directors because it appears incongruous On stage, Slava joins the audience in simply theatre and which relies heavily on recognition to the surrounding tragedy or because it may, acknowledging the increasing sense of foreboding. laughter. Shows like The office, or in some way, belittle the greatness of drama. Suddenly he looks terrified into the wings and a The Royale family appear to be spontaneous and Some critics also go as far as suggesting that the gigantic house fly sweeps in and carries him off. entirely naturalistic, nothing dramatic happens, no scene is merely interpolation by Shakespeare The surprise here is not the size and strength of climatic endings, nothing which reminds us that or, indeed, another writer sometime after the the fly, but the fact that it is a fly at all. this is a performance by actors. The audience play was written. Yet the dramatic importance of Laughter resulting from the visceral or the are presented with an illusion that it can totally the scene cannot be denied. The introduction instinctive is less easy to pin down and often empathise with. Here we have bickering families, of a drunken porter cursing and keeping the merges with laughter from the bizarre, more of office workers negotiating social niceties and noblemen outside in vile weather until he is good which later. Visceral laughter surfaces when life workplace politics. There are no set ups, no and ready is a brilliantly placed ray of light, but also overtakes us, when things seem to be getting gags, no physical humour, the laughter is entirely the comedy serves to rack up the tension with out of control. Our intellect says one thing, our generated by our own total understanding and each thundering knock. experience suggests something else. The BBC experience of the situation presented. We have become a little obsessed in theatre Fawlty Towers is rich with this type of Laughter from the surreal or strange is with the need or desire for genre and also with humour. , the hotel owner played by psychologically more complex, it defies logic, empathy and reverence. I believe theatre to be , is constantly challenged by his life, it is weird or nonsensical. Although examples far more robust than that. It is possible to feel situations overwhelm him resulting in over-the-top of this often start out as naturalistic or more in pity, even despair for a character then laugh out panic and temper tantrums which, to the other keeping with recognition humour, it is frequently loud at some shocking revelation. To cry with characters, can appear completely out of context. the unexpected punchline or denouement, the sadness one minute and then laugh in self-parody Our laughter is the result of his physical bizarre juxtaposition or simply the absurdity of the because you have recognised a similar situation rhythms, the way he moves, what he looks like situation, which seems so unconnected to any within yourself. To witness bitterness one minute as he flies around the set, all the time making obvious reality as we understand it, that makes and find the comedy in the bizarre the next. To matters worse. We have empathy with his terror, us laugh. Surreal or strange comedy is, perhaps watch deep intellect descend into chaotic, visceral his panic but we also see how preposterous the exact opposite of recognition humour, the clowning. Emotional agility is a skill we quickly his behaviour is and so feel free to laugh. In laughter comes as a result of not recognising the learn in life and I see no reason why it shouldn’t Why is that so funny?, Wright quotes the French situation. Monty Python’s flying circus is perhaps energise the great contrasts we are able to philosopher Henri Bergson writing in the 1890’s: one of the best examples of this. The programme conjure up in our theatres and in so doing, make “A man running along the street stumbles and was one of the first TV sketch shows in the our stories more credible. As Wright concludes: falls. The passers-by burst out laughing... They laugh United Kingdom to bring surrealism into our “Laughter may momentarily our feelings of because he is sitting down involuntarily … Perhaps homes as popular culture. The images were empathy away from the protagonist, but for the there was a stone on the road. He should have certainly bizarre, philosophers playing football, audience, laughter is a huge empathetic boost. A altered his pace and avoided the obstacle. Instead communist leaders as contestants in a game show shared laugh is a shared feeling, instantly we are of that … the muscles in his body continued to hoping to win the star prize (a lounge suite), fish all in each other’s shoes. Comedy throws the perform the movement when the circumstances of slapping dances and dead parrots. All this showed dynamic to us in the auditorium and drama draws the case called for something else. This is the reason us that comedy does not need explanation to be it back onto the stage.” for the man’s fall and also for the people’s laughter.” funny, it can be funny just because it is. I love the laughter a great comic moment Here, as with Basil Fawlty, Bergson maintains The clown is a valuable source for this type of can elicit, I love the tension of tragic drama, both that sustaining a rhythm in inappropriate humour. Clowns live in a total state of bafflement, can have me in tears. When they co-exist in circumstances makes us laugh. In a cartoon, they don’t need text or context, they are not the same space, serving the same drama, each a sneeze can result in being blown across the actors, they demolish the fourth wall and exist acts to amplify the other. Each can exist without room, or a car running out of road seems to alongside the audience. There is no logic to the the other, but put them together and you have hover in mid-air, allowing us to see the resigned way they perceive the world. They are lead a complete dish which offers a richer, far more look on the driver’s face, before it plunges to from one situation to the next, one thing leads to satisfying experience. the canyon floor. We laugh at the incompatible another, a spontaneous and undirected condition, context in both situations. the only place a clown can go is the bizarre. Laughter resulting from recognition or Clowns are simple, honest and naïve and they experience, unlike the previous two categories, take us to a place where we no longer need to ask My Favourite Joke comes when the audience laughs at the normality the question “why?”. The surreal laughter comes of a situation. This is the mainstay of many directly from this sense of simple, naïve honesty. What is E.T short for? stand-up comedians, instead of telling a “joke” John Wright talks about a well-known debate they tell a story which has a familiar ring to it in the 1950’s between Jacques Lecoq and Dario He’s got wee legs. and reminds the audience of the ridiculousness Fo about whether clowns could ever be political. Sacha Kyle of life. Throughout our lives, at school, college Fo suggested that they could but Lecoq refuted and work, we are encouraged to be original. this stating that clowns couldn’t be political or We are all told to avoid the cliché, the hum subversive because they are incapable of seeing

14 Issue 1 | 2014-15 September | Scene How I got the best job in the world! Being a clown, being a lady clown! By Denise Arribas with Maia Knispel

Denise: spreading happiness and being of service. About eight years ago I was approached by Not because you like being the funniest an amazing artist, Vincenzo Tortorici, to audition person in the room, but because you to be part of the Big Apple Care have unselfi shly reminded someone Unit in Atlanta. Clown Care is a non-profi t that life, even with all its challenges, can community outreach program which employs have moments of joy. You are there to skilled professional performers to make “clown heighten those moments and remind rounds” as “clown doctors” in paediatric hospitals. them of those moments. So, Denise, It is the original hospital clowning program in the you do this job at the hospital because world. The program has a team of over eighty you ARE a clown, embrace it and clowns who work in sixteen hospitals across become it!” After this very serious the country. The clowns work in pairs and visit talking to (given to me by a clown; children in all areas of the hospital. The program the irony was not lost on me), I felt was designed to bring the unique service of inspired and was ready to become laughter and levity to young people undergoing THE BEST CLOWN the hospital treatment in paediatric hospitals. As an actress/ had ever seen. Sadly, just two weeks singer/dancer I thought: “What? A clown?”, but I after that life changing conversation, went anyway. In the audition I wowed the room my clown sensei, Vincenzo Tortorici, suddenly the male full of other hopeful clowns and clown judges - at passed away. My inspiration was gone. I was clowns did. However, I’d least that’s what I thought - but some other girl completely lost. always get the “honey, are you OK?” from a nurse did an amazing clown routine and she got the Death was not something new. Being a clown or a parent which discouraged my attempts. spot. I got the coveted spot of “clown in waiting”. doctor at a children’s hospital means that my My fi rst time working with Maia opened a lot of I immediately got THE phone call … four years theatre space is a hospital room and my audience doors for me in terms of clowning possibilities. later. “Denise, the other girl left the team - you is a child battling some awful disease that may My inspiration was back. With Maia’s help I was are in.” I jumped up and down with excitement. take his or her life. It’s not just a “tough crowd”. able to fi nd my own kind of funny. Lady-clown Finally the fulfi lling job that I’d been praying for. It’s unfair, cruel and devastating to witness. After funny. The job that would give me purpose was here. a very small hiatus from the hospital and with the And now without further ado, I introduce to Here, HERE! The excitement lasted for about fi ve help of a great hospital staff it was time for the you my clown nemesis - my clown best friend, minutes and then I immediately froze with fear. clowns to dust off the pain, get back on the fl oor inspiration and mentor: Maia Knispel! This actress/singer/dancer knew nothing about and make our partner and leader proud. So we Maia: clowning. put on our red noses and started doing what we A clown teacher once told me: “It’s not So I started working as a clown - sort of. I do best: heal with laughter. what you do, it’s how you do it”. While this is faked my way through and got away with being As luck would have it “the clown girl” that fundamentally true, my years working as part cute and singing and dancing. When asked about had gotten the job instead of me (her departure of the Big Apple Circus Clown Care Unit have my job, I’d be quick to point out that I wasn’t made space for my position) had re-joined the shown me that for this particular job it needs to really a clown. I was an actress/singer/dancer team. Right after Vincenzo’s death we had the be more. It is what you do, AND how you do that had to wear a red nose as part of her work chance to clown together. I’d never clowned with it, AND with whom you do it AND for whom uniform. Luckily, in one of my “thanks-guys-but- another female before and there I was, working you do it. The hospital environment needs this I’m-not-really-a-clown” rants, my boss and clown with another woman, which can be competitive; deeper understanding of performance. Our sensei stopped me and gave me one of the and this was no ordinary woman. She was … my audience can change drastically from room to most terrifying and eye opening lectures of my clown nemesis. Life has a way of throwing curve room; or even moment to moment as we travel life. He said: “Denise, being a clown is not about balls that frighten us because of their challenges, the halls. Analysing rooms/audience situations in doing birthday parties, juggling 5,000 things on but the fi rst day I clowned with Maia Knispel terms of age, gender, severity of illness, genre your head or making a woolly mammoth out of was one of the best days of my life. In clowning of illness, culture, social dynamics, family stress, a balloon. Being a clown is about not letting that with her I found a terrifi c partnership, amazing physical and/or cognitive restrictions etc is inner child ever go to sleep; it is about listening to chemistry and a new clown role model/ teacher. essential in hospital clowning. Denise has a very your impulses and following through with them; As a clown I had invested time trying to learn high level of awareness and this part of the job but most importantly, being a clown is about how to make a fall funny or bump into walls like of hospital clowning came easily and naturally to

Scene | Issue 1 | 2014-15 September 15 her. It was the “how you do it” part that Denise was still searching for when she started the work. And that is what we worked on fi nding together. Not just “how you do it” but “how YOU do it”. “There was a Making assets out of seemed liabilities. As Denise and I worked together we learned to juxtapose our femininity with grossness, our sweetness with fi erceness, our grace with complete lack of social decorum. Let me give Bangladeshi, you an example. Many of the clowns on the Big Apple Circus Clown Care Unit Atlanta team carry “tooters”. These are little hand-held rubber devices that make fl atulation sounds when you a Pakistani squeeze them in the right way. Many of the male clowns on our team will use the tooter when picking up a dropped juggling ball or a fallen hat. Denise and I both tried this method and a bacon of “tooting” with the results being awkwardness and embarrassment for the audience. Flatulation is funny. What were we doing wrong? We were only taking advantage of what we were doing not how or with whom. So, we took all factors into sandwich …” consideration and changed the way we use the tooter. Typically, now, we do some version of this: Audience: teenage male By Jen Tickle Maia/Dr. Me Me: “Hey, can we ask you something? In your honest and unbiased opinion whose sounds better. Mine?” (toot) So began one of my grade ten Denise/Dr. Clo Flo: “Or mine?” (toot) Drama student’s fi nal attempts at (Big smiles and bat eyelashes. Repeat as stand-up comedy. I’ve taught the appropriate.) unit in other international schools, In this simple example we take into and student-developed material consideration the what (tooting), the how (with has always been broad, varied big smiles and batting eyelashes), and with whom and fairly “teenage” in its content. (another female clown). The combination of the The unit question asks students femininity of two female clowns, the seriousness to explore whether culture can of an honest competition, and the crassness of transcend barriers or whether it is tooting yields a level of absurdity and surprise that specifi c to age and culture. It also is quite hilarious. asks whether being internationally The use of the tooter is one example of minded allows a comedian to room. Despite the fact that many of them hold fi nding the what, how, whom. What we discovered reach a broader audience. passports from Canada, the United Kingdom, as we continued to work together is that it’s not This time, however, the journey through France and the , our student base only about fi nding the “lady-clown” way to do discussions on culture, race, religion and is fi rmly rooted in the region, with the majority something, it is about fi nding the “your-clown” way the nature of being internationally minded of students being from South and South East to do something. And that is part of the beauty and was accompanied by a backdrop of riots Asia. magic of clown. Clown is you to the extreme, it’s about the fi lmThe innocence of Muslims. Students had to engage in research, you concentrate. It’s the opposite of acting. Acting Research work ground to a halt as YouTube choosing and stand-up is using yourself to be someone else. Clowning is was blocked to prevent the emotional fi res comedians who they really liked, analysing being more yourself than you ever allow in real life; being further fuelled*. School was closed for their style and material. It was interesting that being honest and vulnerable. a day as a precaution against anti-American many students chose comedians who focused Denise and I do have the best job in the demonstrations down the road. Students on race – and world. It is artistically fulfi lling and challenging and worked online from home, emailing me draft were favourites. Mencia’s most famous show different every day. And it is more emotionally material and refl ections on the nature of is called Not for the easily offended and students and spiritually fulfi lling than anything else I have humour as, outside their apartment windows, were quite clear that responsibility for offence ever done. I don’t think I’ve ever been in a play tyres burnt and buses were overturned. lay with the audience, not the performer. They that brought so much levity to people who really There are a number of well-known decided that they would follow in Mencia’s needed it. comedians who bring their international footsteps and tell their audience that if they Denise: education into their material. didn’t like their material, they should just leave. Some jobs feed your ego and some jobs fi ll and Thom Tuck (who actually attended the This was a brave decision and put to the test your bank account, but you seldom fi nd a job American International School here in Dhaka) one day when I had to leave class for a brief that nurtures and nourishes your heart and soul both refer to their expatriate upbringings in time and my students were left trying out raw because you have fi nally found a purpose and you their routines. Thom Tuck says that he thinks material on the Head of Secondary. They got are able to use your skill set or your superhero his experience as a student at AISD made him away with it – just. powers for the greater good. Vincenzo was right. “worldlier”, and both these comedians tend to Despite political and cultural differences, It’s all about being of service, healing with laughter use their experiences as a way of playing on what the majority of students in my class share and reminding people in their darkest time that their sense of being an outsider in the world is a fairly conservative religious upbringing, with joy is everywhere. You just need someone to of their home audience. This has usually been the majority of them being practicing Muslims. remind you. What’s the best job in the world? the same for my own students when they bring As the row about the anti-Islamic fi lm grew Being a clown. Being a lady-clown. Being my their internationalism into their routines. on our doorstep, and the French cartoons lady-clown. Being Dr. Clorinda Florinda La Niña Looking around my current drama class, published by Charlie Hebdo raised the bar on La Pinta La Santa Maria de Arribas! I realized that I was the only Caucasian in the levels of intolerance and misunderstanding, I

16 Issue 1 | 2014-15 September | Scene asked my students again if the responsibility for offence lay with the audience or the performer. All of a sudden, when it was the Prophet being offended rather than the people of , it seemed a different issue and they were far, far less certain who was at fault. As a Brit who grew up in the 1970’s when comedians were paid to make “Paki” jokes on TV, I have an inbuilt paranoia about the way comedy can be used to reinforce racist views. The class and I had a long conversation about routines that play on cultural stereotypes in the way that Peters and Mencia do, and the dangerous ground this can lead one into. This discussion led to one student raising his arms in exasperation. “Well,” he exclaimed, “it seems to me that you can either be funny, or internationally minded but you can’t be both.” Students really struggled with that grey borderland between culture based humour and insensitivity/racism. There were times when they overstepped the mark. One of the joys of the drama classroom is that this is a safe place to make mistakes. Instead of being penalised for their callowness, students were given the opportunity to explore their lack of understanding and reach a new awareness of how their thoughts and students to develop a assumptions about different races show some of basic set of ground rules their own deepest-rooted cultural biases. for humour within an One boy told a Jewish joke and I challenged international context. his right to do so. In his workbook he refl ected 1. You are always going on the fact that Bangladeshis can’t get visas for to go down better , but don’t need them for Palestine, and that with the audience if “someone Jewish telling this joke would be OK you begin by making but coming from me it just sounds racist. It made fun of your own me realize that comedy is about more than just culture. telling jokes – this feud is huge and it affects all of 2. You can make fun at us. I don’t want to make it worse.” the expense of other their own, and neighbouring cultures. It has also Another boy raised his hand in the middle of cultures/races if you do so with a sense of allowed me to identify gaps in their understanding rehearsing a group sketch to ask: “Miss, how do kindness, and an understanding that no one’s that need addressing. Next year I will be looking black people dress?” After a lengthy discussion culture is better or worse than another’s. for partnerships with schools in Africa and about Black history, it became very clear to me 3. You can probably only tell jokes about Israel, to see if we can fi nd a way of building that the majority of my students were working on cultures/races that are either your own or a some bridges, and growing our intercultural complete stereotypes, with and part of your audience demographic. understanding further, through comedy. In the Will Smith plus a handful of rap artists, as their 4. Culture based humour must only come from words of Australian comedian Tim Minchin: “We only exposure to anyone of African heritage. satire, not genuine prejudice or ignorance. don’t eat pork, and you don’t eat pork, so let’s all Over time, research into professional Teaching this unit in the context of ISD has not eat pork together …” comedians, into written material on the art made me aware of some of the very sophisticated *YouTube remains out of action in of comedy and practical research in class led understandings that my students have about to this day. www.ista.co.uk Scene | Issue 1 | 2014-15 September 17 Failing forward – teaching the basic principles of improvisation By Tara Brodin

Improvisation is one of the most intimidating have completed a scene that was unsuccessful. It not to judge. art forms for students to learn. The fear of is empowering for them to own their mistakes in Being good at the art of improvisation and failure is heightened because of improvisation’s such a grandiose way. Yes, failing can actually be comedy is as much about skill as it is about being spontaneous nature and the pressure to be funny fun. charming. No one can be charming when they can derail any hope of it. Therefore, improvisation Be charming are looking apathetic and unhealthy. I always say: is diffi cult to teach because it requires a lot of Great improvisers and comedians are really “Fake it until you make it”. scaffolding and gentle guidance before students charming. They seem invincible whether they Tell stories and be truthful begin to do the actual scene work. Teaching are succeeding or failing. They have this effortless It is diffi cult for an audience to care about improvisation should allow students the freedom stage presence. They would never let us see their two dorks on stage trying to get a laugh without to play in a way so that they can create successful disappointment in a failed scene or joke. Instead, the framework of a structured scene. Audiences scenes and be funny. This article outlines the basic they model for us that failure is acceptable and want to see stories on stage. They want to see a techniques of improvisation and my experience normal by sitting back on the bench and having a character overcoming obstacles toward a desired with teaching them. Most of these techniques good laugh about it. goal. They want to care about the characters can be useful when teaching or performing other One of the most important lessons to teach before the characters are inevitably tortured. A forms of comedy as well. in improvisation is whatever is happening on structured scene has characterisation, established Find the fun in failing stage is happening in the audience too. If the relationships, high stakes and emotional content. Recently, I asked a student of mine what student is feeling fearful, the audience is feeling When this fundament is laid the comedy can the most important learning was from the fearful for him or her. One of the most common happen because the audience will be invested in improvisation unit. He said: “I learned to fail defence mechanisms students employ to avoid the characters. forward”. I teach my students that failing to create participating or being judged is looking apathetic Nothing kills the potential for a comedic a successful scene is the fastest way to improve and unhealthy. I like to counter this behaviour by scene like the pressure of feeling like one has to and move forward. Even skilled performers fail saying: “I am going to pick performers that can be funny. Comedy in improvisation comes out of because improvisation is and therefore convince me that they really want to go on stage. the seriousness of the situation. Comedy based risky. The art of improvisation invites us to The performers that I think are least enthusiastic in truth and reality is generally more successful embrace failure and to reframe our relationship will be chosen.” This elicits a hilarious rampage and ultimately more satisfying to watch than with it. of students waving their hands and saying: “PICK something wacky like a shark having a fi stfi ght with Unleashing the comedic potential in students ME!” the moon. happens when they feel they have a safe I like to begin all units that are based in I tell my students to play every scene as if it landing place in the ensemble. One of my fi rst improvisation or comedy in general with an were a dramatic scene and to play to the top of improvisation teachers, Patti Stiles of Canada’s exercise entitled Clap and cheer for charm. their intelligence. Being wacky and stupid does improvisation company Rapid Fire Theatre said: Essentially, the ensemble stands in a circle and not necessarily create comedy. That is not to say “Our mantra will be: I suck and I love to fail.” one student takes the centre position. The that you cannot play ridiculous characters, but By admitting that we may not be very good chosen student connects with everyone in the they need to make logical offers that advance the at improvisation removes the pressure to be circle through eye contact. This gesture invites story. Ultimately, if your students are not trying brilliant. The pressure to be brilliant prevents both the audience and the performer to be to be funny, but play the scene dramatically and us from being playful, funny, and well, brilliant. connected to one another. Once that task is truthfully, they have better chances of being funny. Of course, I want to see my students succeed. accomplished, the performer enacts his or her Play with others However, I have found that when my students greatest trick. The trick does not have to be All scenes are about relationships and involve know that I encourage their missteps they incredible, but rather it should be truly fun for the the negotiation of status. Characters are always produce really interesting work. They take more performer to do. A great trick could be as simple wanting power, losing power or desperately risks emotionally and physically and because they as tucking in a shirt or making jazz hands. This trying to regain their power. The stakes and the are not being too hard on themselves they can exercise is not about the trick itself; it is about comedic potential are directly related to the actually be successful and funny. taking the audience on a journey through being struggle for power. Therefore, it is important for Jan Henderson, my fi rst clown teacher at charming, good natured and playful. The exercise students to quickly choose to play either the main the University of Alberta, said: “Every time you wraps up with the audience applauding as if they character or the supporting character. One might fail, instead of punishing yourself just say ‘TA-DA’ just witnessed an Olympic gymnast perform the also think of this as the funny person and the in the most enthusiastic way. Instantly forgive fl oor routine to perfection. This reinforces that straight person. For example, if one improviser is yourself!” I invite my students to say this after they the ensemble is there to support one another and playing the unusual one, then the other improviser

18 Issue 1 | 2014-15 September | Scene must play the usual one. The essence of creating great scenes is to be truly interested in what is happening on stage and being interested in your partner It’s all about versus being interesting. I teach my students to trust that everything that they need for a great scene is in their partner. There is no such thing as a bad offer. There are only bad documentation improvisers that judge the offer and refuse to play with its countless possibilities. If students By Dewey McGeoch are taught to really focus on the need to give instead of the need to prove themselves, their scenes will be more engaging, successful and It’s brutally hot in the city on an unbearable inside the vehicle are spread out lazily within, their synergistic. Truly gifted improvisers trigger summer’s day in mid-July. Yesterday, I made the faces illuminated as they fl ip through the screens of their partner’s imagination. mistake of walking across town to the pharmacy their cell phones. Similarly to playing with a scene partner, to get a prescription refi lled. I arrived back home “Hey, Tamika!” the girl in the front seat hollers it is important to play with the audience with a moderate case of heat exhaustion and a to the girl in the back seat. “Send me that thing on as well. For instance, if a cell phone rings pair of underwear that squeaked when I wrung Facebook you was talkin’ ‘bout, girl!” during a performance, it is a gift to the them out. I have learned my lesson. This morning In another ten minutes Sophie and I have performers on stage. Instead of ignoring I look down at Sophie as she lounges primly upon circled the block completely and are now turning that the performance was interrupted, the the fl oor directly in front of the box fan and I tell back onto Lenox toward our building. Sitting on performers should inventively integrate the her: “You can make pee-pees and poo-poos on a tiny chair in front of 412, the building right next offer of the ringing into the scene. the fl oor today, girl, ‘cause we sure as hell aren’t door to ours, on a tiny seat that folds out from her Care about the audience going outside”. It takes the little princess a while walking cane, a slight black woman meets my gaze The audience loves to be on the journey to realize that Daddy is serious, and, eventually, and smiles. I say good evening to her and make with the performers. They want to feel she pees and poops in the privacy of the darkened some cliché remark about how hot it was today. as if they are co-creating the story with hallway, the entire time demurely glancing She responds in kind, unexpectedly offering out the performers. Therefore, being good at backward over her shoulder wondering when all her hand to shake mine. improvisation and comedy requires the ability hell was going to break loose. “Goood giiirrrlll!” “My name is Dee,” she tells me openly. It’s rare to think like the audience from onstage. I coo in my most reassuring tone. “Gooood to be approached in this way in my neighbourhood, When students start doing improvisation, poopies and pee-pees in the hallway!” Surely she and I am thrilled that I am not the one making the they are not as quick as the audience with must think today is her birthday. fi rst move for once. I introduce myself to Dee knowing where the story should go next. At the merciful end of a sweltering day such as and introduce Sophie as well. Dee ignores Sophie Students think that they have to come up this one, a feeling of relief sweeps over the streets altogether and begins talking to me excitedly. with original story ideas in order to dazzle of Harlem. A slow procession of sticky, sweaty “I grew up here.” She smiles as though it an audience. The problem is those original people emerge from their stifl ing apartment was the most normal way in which to begin a ideas are often illogical and derail the story. I buildings, lawn chairs in tow, to sit outside on the conversation with a stranger. For a few moments tell my students to make obvious and logical sidewalk and recover from the life-sapping heat of I am waiting for her to ask me for money. She story choices. The audience loves obvious the day. Most apartment buildings in Harlem don’t never does. I hate that I’m always on guard like choices because the performer is giving them have central air conditioning, so more often than that. I ask Dee what she is doing sitting outside at what they were already thinking. not, it is hotter inside than it is outside. Even after such a late hour, as if I didn’t already know what Caring about the audience also means sunset, if the night air cools down only a mere her answer would be. not derailing the story by going for a cheap ten degrees, the psychological effect of not being “I’m cooling off, baby.” Then she says: “I’m on laugh. Laughter can guide the performers broiled by direct sunlight bouncing off melting the fourth fl oor,” and she points up at the building and tell them that they are on the right path asphalt is a welcome change. behind her. “My Mama and Daddy brought me in the scene. However, if the student makes It is almost eleven-thirty in the evening when up right there behind them windows right there. a joke that doesn’t support the scene, but I fi nally clip Sophie’s leash onto her harness and But, I was born at 102, over there across the was good for a laugh, he or she may have tell her that we are fi nally venturing outside. I street right above Jacob’s Restaurant. But, back diffi culties continuing to advance the story. fi gure since both of us spent the whole day inside then it was a funeral parlour. The bell be ringing Eliciting laughter from an audience is only huddled next to the air conditioning unit, I should at all hours of the day and night.” I wonder why one desirable outcome. Great improvisers take her outside at least once to let her pee as a funeral parlour would have a bell, but I don’t and comedians don’t go for a joke at the cost nature intended. On steaming cement. have time to ask her about it. “You know my of a solid story. Walking Sophie around the block, I take in the Daddy always surprised me,” Dee continues. “He party-like atmosphere that is Harlem’s streets on knew something about everything, boy. He knew any given summer night. It is especially so this night, algebra, geometry, science and history. And he My Favourite Joke an impressive assemblage of informal celebrations only got to the eighth grade. He died last year and throughout the neighbourhood in recognition Mama died a few years ago. Now I got the fourth of surviving another scorcher. As we stroll down fl oor to myself.” Dee doesn’t appear sad when she Fish 1: “Wow!!! What’s that?” 131st Street toward Fifth Avenue, music fi lls the explains this to me. But she doesn’t come across Fish 2: “That’s a castle!” air as it pours out onto the street from several as overjoyed about her current arrangement, different locations. Jay-Z beckons from a second- either. I get the sense that she simply accepts it for Fish 1: “What’s a castle?” story window on the north side of the street while what it is. I tell Dee that I am reading a book by Fish 2: “Don’t know. Why dya another, a much angrier Ludacris rants “Move bitch! Joseph Mitchell and that in it he actually mentions ask?” Get out the way!” from the south side. There are what some of the nearby addresses used to be Fish 1. “Ask what? … Wow!!! several people seated inside their cars parked along when he walked these streets decades ago as a What’s that?” the curb. The air conditioners are running full blast reporter for . inside each of them. As I pass by a glossy black “Oh, I can tell you that,” Dee boasts. She Carl Robinson Honda, I see that all four of its doors are fl ung wide turns north and begins pointing places out to me. open and the radio is on at full-volume. Yet another “This here, where the yogurt store is now, that hip-hop artist (totally obscure to a Whitey like me) used to be a beauty salon. A lady named Gladiola lays down some fresh beats as a group of teenagers Washington owned it and her daughter was a www.ista.co.uk Scene | Issue 1 | 2014-15 September 19 sassy-mouthed little thing. I forget her name. One for that place,” she tells me excitedly. “A million! I a full-sized table and a sofa in the mix. I, myself time I went in there and she got in my face with figure he got the best views of lower Manhattan have gone from moods of wanting to join in on her smart mouth. She was only fifteen years old out those big windows of his. You know I got the party to being very grateful that our apartment and I looked at that girl and I says: ‘Oh, NO! Just myself inside that building one time. All the way building has no windows facing that side of the who you think you talking to, girl?!’ And she shut up to the third floor. You would never know until street. It can get unbelievably loud as the party up real quick. I can’t know what her Mama did to you get in there that each person got two whole progresses into the night. her after I done left the place. Shoot.” floors in they apartment. That man on the top I admit to Dee that there have been times As Dee is talking, I admire her plucky flair floor? Shoot. He can be sleeping in his bed on the while walking Sophie that I have been forced to for telling stories. Her quick movements and top floor and never even know he got company cross the street so as to get by the blockade. the short, jerky turns of her head as she speaks underneath him. Now that’s luxury.” “Oh, no!” Dee wags her bony finger in the air remind me of a nervous bird. Dee is thin and wiry, I glance down to check in with Sophie. She in front of my face. “You don’t need to be doing with very short hair that has yet to start turning is standing taut at the furthest length of her leash, that, son! This here sidewalk city property and you grey. Her skin is a dark shade of ebony, covered in watching cars zoom by, panting in the humid need to tell them they blocking your way! Ain’t no a sheen of perspiration, glistening in the light of the night-time air but clearly enjoying her time need for you to be dragging that cute little thing street lamp just above us. She smiles constantly outside. I am grateful for her patience. across that busy street in the dark!” It is the first and I am surprised to see that Dee still has all of “I go on the talk shows,” Dee suddenly time Dee has acknowledged Sophie’s presence. her teeth. This, too, is a very uncommon sight in announces. I have quickly come to expect her non I was beginning to wonder whether she even Central Harlem. sequiturs. “Steve Wilkos is the best one because had the ability to see animals. “If I walk around I am having a difficult time, however, he give us food. Last time we got some nice that corner and they blocking the whole damned determining how old Dee actually is. She looks as salmon, a salad, your choice of tea or lemonade, sidewalk, I cross my arms and stand there like this though she could be anywhere from forty-five to and a slice of cake for dessert. It’s worth the bus until they see fit to move they lazy public-assisted sixty years old. ride to Connecticut just for the food.” Dee snorts asses.” I am taken back by Dee’s sudden shift of “You see down there where Mickey D’s is now and says: “Wendy Williams cheap, though. character. She is more than a bit perturbed now. I now? Well, that used to be a Castro Convertibles. She only give you cheese squares and coffee.” begin to fear that I might have made a mistake. It’s And over there, right across the way? That “So, you’ve been on TV before?” I ask her. happened more than once where I have stopped was Lonnie’s Place. His was a bar down in the “Oh yes, baby!” she exclaims happily. “Lots of to chat with someone on the streets of New York basement there. My Daddy frequented Lonnie’s times.” She tilts her head to one side and does a City, only to discover after it is too late that I’ve an awful lot. He wasn’t no drunk or nothing like mock movie-star tuft of her imaginary glamorous allowed a crazy person to duck beneath my radar. that, though.” Dee clearly loved her father and she hair. “I figure I watch TV enough. It’s about time I Dee continues: “If they give me any backtalk then works hard to preserve what I suspect might be get on it.” All of a sudden, Dee’s posture changes I just (miming dialling a cell phone and placing it her own idealized memory of him. and I notice that she is begrudgingly watching to her ear) ‘boop- boopboop’ and get the po-lice I ask Dee how many siblings she has. She something over my shoulder. “You see right out here. Documentation. That’s all you got to tells me that in addition to herself, there are there?” Dee scowls. “That’s disrespect.” do.” At this point, I begin to suspect that Dee is thirteen others. “But only five of that lot come I turn to look behind me and see that Dee is the neighbourhood busy-body with a mild vigilante from our Mama,” she offers with a chuckle. referring to a man who has unlatched the small streak. She shifts her weight and snaps her finger “’Papa was a rollin’ stone!’” She sings the line and gate to my stoop, the only stoop on the block in an arc above her head. “Dee don’t play.” laughs, stomping her left foot on the cement for between 130th and 131st, and he has made I realize at this moment that Sophie and I emphasis. “Now the whole damned building himself comfortable there, smoking a cigarette and have been outside for her walk a lot longer than gone.” She is back on the topic of Lonnie’s Long watching people walking by. is usual for us, and I know that Douglas must be Gone Bar. “Next door to Lonnie’s they was a fish “He don’t live in your building, I know that.” inside wondering where we are. At eleven-thirty market, and right there? See that corner where She scoffs. “He didn’t even move out your way at night, even as gentrified as Harlem is becoming, it all boarded up now? That was the African when you come out. I saw that. Sitting there like it can be sketchy walking the streets alone. As Liberation Book Store for a time.” I was surprised he own the joint.” these thoughts occur to me, the front door of our and disappointed when she tells me that there “Aw, I don’t mind,” I say. Although it had rubbed building swings open and Douglas pops his head used to be a book store right across the street me the wrong way for a moment when I first out quizzically. He sees the man smoking on the from where I live. A good bookstore is one of the opened the door and saw him sitting there. But, I stoop and I can tell he doesn’t like it. I wave to many things that Harlem doesn’t have these days quickly checked myself and thought: “What’s the big Douglas and say: “I’m sorry I worried you, honey. and I find it frustrating. deal? He isn’t bothering anyone.” But, I’ve learned I’ve been talking with Dee. She’s a new friend.” “I like change, though,” Dee suddenly tells that it is an unforgivable breach of etiquette if a Dee smiles her original smile at Douglas and me. “Change good for everybody, ya know? man makes himself comfortable on a stoop in front waves. “Hi Douglas! I’m Dee!” Them brothers who complain about how Harlem of a building that isn’t his own. I now understand “Nice to meet you, Dee,” Douglas replies. He is going now just need to get the hell out if they that this offends residents just as it would if a total gives me a look that says I need to wrap this up and so unhappy here. As for me, I ain’t never leaving stranger were to walk up to a suburban home get myself inside. I turn to Dee and hand her one the fourth floor. Hell, no. I mean, come on! and sit upon a front porch. Having been born and of my cards. I keep them on me at all times, in a Look around! It’s perfect right here. A few blocks raised in the city, however, Dee was in no mood to plastic key-fob that serves as a business card holder. north you got the two/ three line that takes you forgive the man of his transgression. “Why don’t you call my cell phone sometime all the way downtown in fifteen minutes if you so “People just ain’t got no respect no more,” and we’ll have lunch together,” I tell her. “I’d love inclined. The Pioneer Supermarket is right next Dee complains. Suddenly her smile has gone to talk more with you about your life here in door. And in the wintertime, when the leaves and she seems irritated. It’s almost as if another Harlem.” Dee grins at me and is obviously pleased off that tree there, used to be you could see the personality has pushed the jovial Dee out of the with the invitation. lights of Yankee Stadium. And the other way, way and taken her place. “The only way to deal “I’ll do just that,” she says, and reaches out to when there ain’t no scaffolding hiding the view, a with people like that is documentation,” she says shake my hand. I hold it warmly between both of person could see the World Trade Centre clear as in a matter-of-fact tone. “You seen my people mine, which is something I have subconsciously day.” Dee shakes her head and for the first time ‘round there, taking up the whole started doing whenever I am especially her beautiful smile wanes. She looks down at the damned sidewalk?” Dee is referring to a large enamoured with someone that I’ve met. As I sidewalk when she says: “That’s a day I refused group of residents from the apartment building turn to walk up the steps into my building, the to look out my window, let me tell you.” But, in just around the corner on 130th Street. Every trespassing man looks up at me and says: “Good an instant she is smiling once again. She points to summer night, they comprise the largest group of evening.” As I follow Douglas inside, I hear Dee one of the newer apartment buildings on Lenox people to drag out tables and chairs to the street, yell one more thing after me, which I guess was Avenue, the one directly above the supermarket essentially commandeering the entire sidewalk meant more for the smoking man than for me. that she just mentioned. from the corner of Lenox Avenue to about three “Just remember,” Dee hollers to me in the “That man up there? He paid a million dollars buildings down. Sometimes, there is even a grill, night. “You ain’t got to be rich to have class!”

20 Issue 1 | 2014-15 September | Scene My favourite comedy sketch By various

Jen Tickle: https://geekyteacher.wordpress.com/tag/stephen-fry/ Because it’s such a great example of absolutely tight choreography: And if that breaks the rules of a sketch then I’ll take this one please: https://www.youtube.com/watch?v=mXv8WW3Wjvw https://m.youtube.com/watch?v=y4nPwztC-eU YouTube title: Morecombe and Wise Breakfast YouTube title: : Fatal Beatings or – anything featuring my professional hero: https://www.youtube. Jez Gregg: com/watch?v=9KYMQdfarXY Favourite ever sketch has to be Eddie Izzard and his death start canteen … YouTube title: Mr G - Psych Assessment two of my favourite things rolled into one! deleted scene http://youtu.be/Sv5iEK-IEzw Pete Benson: YouTube title: Eddie Izzard - Death Star Canteen Eddie Izzard Star Wars canteen sketch (contains language): Sally Robertson: http://www.youtube.com/watch?v=75dhJkmtcYg Growing up, we were raised, amongst others, on The Two Ronnies. Saturday YouTube title: Eddie Izzard - Death Star Canteen evenings traditionally spent glued to the telly, timeless laughter… I have Fawlty Towers (minor language): always returned to this sketch as, for me, it’s utterly brilliant and the true craft http://www.youtube.com/watch?v=78b67l_yxUc of comedy shines through. And it’s from 1976! YouTube title: Basil Attacks His Car - Fawlty Towers - BBC https://www.youtube.com/watch?v=Cz2-ukrd2VQ Four Candles by The Two Ronnies: YouTube title: The two ronnies - Fork handles http://www.youtube.com/watch?v=Cz2-ukrd2VQ Rob Warren: YouTube title: The two ronnies – Fork handles A monologue for three by Britanick: Black Adder Goes Forth (mild sexual reference): https://m.youtube.com/watch?v=mephJf3-zYE http://www.youtube.com/watch?v=ejc1wwRGjFk YouTube title: A Monologue For Three YouTube title: General Melchett visits the troops - Blackadder - BBC James Copp: Jo Parish: My favourite sketch is Monty Python’s The missing wallet. The comedy is so Two favourite all time sketches - from my youth. unexpected and low key: When Del Boy falls through the bar on Only fools and horses: https://www.youtube.com/watch?v=hL6QNLBRXCA https://www.youtube.com/watch?v=63rcdLeXiU8 YouTube title: Monty Python - The Missing Wallet YouTube title: Del Boy Falls Through the Bar - Only Fools and Suzy Davies: Horses - BBC One of my favourite sketches is actually from a radio show - it’s the Four Candles by The Two Ronnies: Slugfather sketch from That Mitchell and Webb sound. Here’s the YouTube https://www.youtube.com/watch?v=oaGpaj2nHIo link: http://www.youtube.com/watch?v=aF4CZDhVBF4 - it’s at 20:19 (the YouTube title: The Two Ronnies - Four Candles whole episode is worth a listen!) There are probably other ones – but these are the two that I remember YouTube title: That Mitchell and Webb Sound - S5E4 Radio 4 from being at home with Mum and Dad and watching on a Saturday evening Sacha Kyle: - and now we have them on DVD - and when Dad comes round we still Fawlty Towers - John Cleese commentary: watch them and laugh even now! http://www.youtube.com/watch?v=C8spJd-bMaA Georgia Munnion: YouTube title: John Cleese’s Favourite Episode - Fawlty Towers - BBC Fawlty Towers - Basil attacks his car: Or Monty Python’s The Ministry of silly walks: https://www.youtube.com/watch?v=78b67l_yxUc http://www.youtube.com/watch?v=IqhlQfXUk7w YouTube title: Basil Attacks His Car - Fawlty Towers - BBC YouTube title: Ministry of Silly Walks Jess Thorpe: Malina Patel: I love character humour. Anything observational - sending up a heightened It’s a clip of the comedian Russell Peters from a few years back, talking about version of the funny people you meet or situations you are in in life. I’m his dad as an immigrant to Canada and wanting to be “Canadian”. I relate originally from the north of England and so my hero was always Victoria closely to a lot of his early stand up because of my own similar experience Wood who is the absolute best at doing female characters from “up north” - as a fi rst generation Canadian with Indian parents. Things are always more my friends and I would spend hours watching videos of her before dressing funny when the audience can relate! up in me mums cardigan and clip-on earrings and trying to recreate them. https://www.youtube.com/watch?v=HOm-15621bs I even convinced my teacher to let me do one for my A level performance YouTube title: Russell Peters - How to become a Canadian Citizen - I couldn’t fi nd the one I did which was calledBronte burgers but I did fi nd Beth Lane: another “classic” on Youtube which will give you a good idea: I love the American Offi ce. It is stupid, and sweet and incredibly well written http://www.youtube.com/watch?v=ZEcqU7u8jJ8&sns=em and performed. One of the reasons I love it is the relationship between YouTube title: Victoria Wood - Madeline the Hairdresser Dwight (Rainn Wilson) and Jim (John Krasinski). The clip I have chosen Carl Robinson: shows their relationship perfectly, alongside Steve Carrell’s Michael Scott: Here’s a hilarious sketch from Men in Coats: https://www.youtube.com/watch?v=11fwcYhiN_g https://www.youtube.com/watch?v=wSeOKvGu468 Rainn Wilson’s delivery of the last line makes the whole scene even better. YouTube title: Men in Coats YouTube title: The Offi ce - S05 E17 - KGB Knock Knock Joke Full Dinos Aristidou: Sherri Sutton: A joke that had me laughing loud and will resonate with many of us I think! My favourite sketch is ’s classic sketch called The Audition from http://www.youtube.com/watch?v=qQyALIEydbc the Mr. Show show (it has rude language, so be warned): YouTube title: Contemporary Dance How-To HILLARIOUS https://www.youtube.com/watch?v=y-ZNX1jqbOk Nick Allsop: YouTube title: Mr Show - The Audition It’s almost a sketch but is one of my favourites: www.ista.co.uk Scene | Issue 1 | 2014-15 September 21 Comedy and mime By Bill Bowers

When I was seven years old, my Mom In my Chaplinesque story of The Silver Dollar dropped me off at the Wilma Theatre, an Saloon, the protagonist (an innocent “EveryBoy”) old landmark vaudeville house in downtown stumbles onto the stage to discover a cowboy Missoula, Montana. There was a matinee showing hat on the fl oor. He picks it up and music comes of Charlie Chaplin’s The gold rush, featuring live out of the hat. He drops the hat, and the music musical accompaniment. I don’t know what it stops. Eventually he allows the hat to take him was that led me to see that Charlie Chaplin fi lm – time traveling back to the Wild West, where he perhaps because I was a clownish little boy who outfi ts himself as a cowboy, and takes on the loved and – somehow mantle of a “real man”. Curiosity brings him and my Mom knew I should see the Little Tramp, and his trusty horse to The Silver Dollar Saloon, where she got me there. he experiences many new things: swinging saloon Two hours later when she picked me up, I doors, a shot of whisky, chewing tobacco, a was a HUGE Charlie Chaplin fan. The gold rush dance hall girl. He ultimately fi nds himself in a gun was the funniest movie I had ever seen, and still duel with the girl’s very big bullying boyfriend. remains one of my favourites to this day. Soon Knees knock, bullets ricochet, and the bad guy after, I learned that Charlie Chaplin and I share the falls to the ground, hit by his own bullet. Our boy same birthday: April 16. Well, when you are seven is congratulated and praised as the hero who has years old, and fi nd out that your idol is born on killed the bully, but of course he feels terrible. He your birthday … well, my head almost exploded. leaves the saloon and drops his holster in the dust I have been a mime ever since. (Years later when I as he walks back to his horse. He climbs into the us to depend. The audience must be able to “step worked with Marcel Marceau, he would tell me a saddle, slips a quarter into a slot and rides off on on the train” with me from the very beginning. We similar story about seeing his fi rst Chaplin fi lm and his mechanical horse. Was it all a dream? have to travel through the story together. I believe knowing that mime would be his calling.) that in order for mime to work, the audience and I taught myself what I thought mime was, and the performer must have a contract with each gratefully attended a high school with a strong “Analysing humour is like dissecting a frog. Few other. The audience agrees to participate with their theatre department. I got lots of encouragement people are interested and the frog dies of it.” imagination, and the mime agrees to be the clear, to perform and to continue studying, and that E. B. White accessible guide to the story. No one likes to be has led to a thirty-year career. Along the way I confused, and this is especially true when watching have appeared on Broadway, studied with the a mime. If the audience misses one step along legendary mime Marcel Marceau, and travelled Is there a true formula for comedy? For as the way in nonverbal theatre, chances are good the world performing my original solo plays. I long as people have been trying to make each that they will never get back on the train. Honesty live and work in New York City as an actor and other laugh, scholars have attempted to theorise is compelling, and I encourage my students to mime, and teach physical theatre at New York what it is that makes comedy work. Plato and approach mime with the same commitment to University, Adler Conservatory and the Aristotle introduced the superiority theory, truth that they strive for in their acting classes. William Esper Studio. As a creator of nonverbal the idea that people laugh at the misfortune of If acting is “behaving truthfully under imaginary theatre I write predominantly character-driven others. Their premise seems to explain teasing circumstances”, mime demands that same truth, as narratives. My comic style is the “fi sh out of and slapstick, and the idea of Schadenfreude, it exists completely in the imagination, the shared water” situation, the “other”, the “outsider” in a which literally means “harm joy”. The hit imagination of the audience and the performer. brand new world, often “the underdog”. musical Avenue Q has a whole song about it. Sigmund Freud argued for his relief theory, the concept that humour is a way for people to “Today you are You, that is truer than true. “Comedy is a man in trouble. release psychological tension, overcome their There is no one alive who is Youer than You.” The little guy against the big guy.” inhibitions, and reveal their suppressed fears Dr. Seuss Jerry Lewis and desires. His theory works well for dirty jokes, less well for (most) puns. The majority of humour experts today subscribe to some When the audience laughs it is because To me comedy lives within the combination variation of the incongruity theory, the idea they recognise something truthful. Tom of situation, sadness and humility. I also love to that humour arises when there’s an inconsistency Stoppard believes “laughter is the sound of give my characters the license of fantasy, an escape between what people expect to happen and comprehension.” With their laughter, the hatch of wild imagination, dream sequence, fl ights what actually happens. Incongruity has a lot going audience is agreeing to accept the truth you are of fancy (again a nod to Chaplin’s The Gold Rush: for it – the tried and true element of surprise and telling, but they won’t care if the characters don’t. the dance of the dinner rolls, the hallucination juxtaposition of oddly disparate experiences. For inspiration, spend some time watching scene where Chaplin morphs into a chicken). I the great silent clowns: Buster Keaton, Harold am drawn to the fantastical, and the journey of the Lloyd, Charlie Chaplin and Edna Purviance. Give innocent, the guileless, in the great big world. “Tragedy is when I cut my fi nger. Comedy is yourself the gift of watching Jerry Lewis in The when you fall into an open sewer and die.” nutty professor, and then ’s hilarious “Making people laugh is magic. I feel remake of the same fi lm. Watch Danny Kaye as like if you have humility, then you can Walter Mitty, Rowan Atkinson as Mr. Bean, Lucille Ball and Imogene Coca and . When do anything in comedy.” As a mime I want to make sure I am telling the you laugh, ask yourself: “Why was that funny?”. Amanda Seyfried story clearly, as there are no words on which for Steal from the best.

22 Issue 1 | 2014-15 September | Scene A soft, safe place to laugh By Al Rae

“It must be the hardest thing in the world,” heel but you’re down there mixing it up with them, the magic guy back anyways. they say. And I lie and say: “It is.” This thing I love. giving them a leg over the fourth wall. You’ve not Now my crowd are individuals and tables and Exposing yourself in front of all those strangers? made much of a moat. No eight foot hike up a not a lump or mass. And some tables are OK and So hard. “It is,” I say, as if I do. stage front to meet the comic face to face. some I feel I need to be careful with. And most I have, of course, we mostly all have. Told Sometimes when you work, you’re down on of it’s paranoid and all of it naturally is in my head. strangers stuff. Or told all, in mood appropriate the fl oor with them. Or a foot from their table But these days I am defensive. I see now always sotto voce to those hopefully discrete white like a too eager waiter. You need them. More that I am in a place where people like me rarely coats and white hats who exist in our easy world than any other performer. The comic in the bare go, often with good reason. And I go there and and are paid to lend an ear when those nearby room, acoustics perfect, taking the bit apart for I bring attention to myself in a very big way and I have tired of the gig. After a few practiced jabs, the 678th time, word for word and demanding am cursed with the terrible gift all Homo sapiens a guidance councillor hits the solar plexus long of all components an utter and mathematical possess at some level. I am self-conscious. They before the parents. perfection of form with no live performance as are looking at me. Waiting to hear what I have to But I don’t do that at work. Expose myself the acme of the effort is not a stand-up version of say. What I have to say for myself. And for the fi rst on stage as a stand-up comic. They worry, those Glenn Gould but a madman. Even if you’re funny time I think: is it agreeable to them? that think me in a hard line, that I am vulnerable. in your bare white room it’s not funny. Who’s in From this self-consciousness that plants my That exhausted word. They worry I could say on the joke? feet where I choose buds all other fruit. My gift something and get in trouble. As if I have loose So you keep doing shows. But you’ve done to write, to communicate, to make people, any lips. As if I am not working like any actor, from something and it’s almost two years now, that people, laugh. These gifts, these weapons had a tight script. So that even when the expected wasn’t perhaps the hardest thing to do, but it slowly slowed the shouts of fag I’d heard for unexpected happens, I can go on. wasn’t easy. You’ve moved away from them. years. Shouts from those who not only smell fear, The hecklers are out there every time, every You’re not one of them at all, you queer. Kind of a but like a perfumer can detect its particular scent. grenade has a pin that can be pulled, and some long time to keep it quiet. Thirty years. And who always have a keen nose for lavender. terrains are rougher than others. But if you have And the crowd mentality in 2014? A long Do I still perform? On occasion. But daily as rank, you don’t get sent to the front often. And progressive march from the fag joke fi lled 80’s. the straight world seems more foreign to me so the further from the battle zone the less chance Yet still. do its soapboxes. you have of getting something lobbed at you by And I can hear them think: I get why you I know that the theatre is a queerer space and mouth or mitt. To be plain, if you pay a hundred want to talk about being gay, I can see that it’s a soft safe place to laugh. And I’ve dipped my toe bucks to see Jerry and he does what you important and all that, but don’t also act like in recently and the water is warm like a pool for expect and you still yell at him, you’re bizarre. you’re one of us. Don’t act like you get us. Do seniors and I can even wear one of those rubber In comedy clubs, the weary, the drunk and the you see a lot of gay people here at this comedy hats with fl owers on it and call it art. But the belittled lurk. And they think you think you are club? And how you gonna just slip that little theatre don’t call you to just show up at a place better than them. And I am better at the only revelation in there? Get around to it? Maybe not for an hour and pay you more than a week’s thing that matters then. Making me feel better by at fi rst. But slowly introduce it and then force us worth of money. And in the theatre they want making you feel worse. to have to go along, not that we care. See, it’s you to work with others and isn’t the lifelong And it’s the crack of showbiz, comedy is. like this. If I want to see a drama I might not care avoidance of that burden the reason you got into Because you get that laugh hit, every ten, twenty what drama I want to see but I might still know stand-up? seconds. And later, if you soar, you stay up, and I don’t want to see Brokeback Mountain. And There are plenty of gay comics and for the if you have company and they were there, you Philadelphia was good but not when you just want last two years I have been one intermittently gloat and they faun. And if they weren’t there, it’s a good nice fun night out after grad. Or a fi rst more. But after a “meh” show I don’t wrap myself better. You can do it again. And add a bit here and date. Why spoil it all? And does the whole thing in the rainbow fl ag for solace. I doubt myself. there. And then you feel great. have to be about that? Oh? It wasn’t? It felt like it. I doubt the gay thing. Not the desire but the And up there, it’s grand. They say your name I guess because you’re not expecting it. Well, put reveal. Should I have kept my mouth shut and at the start. Then you have the stage. You can say it this way, bud, it’s like Dylan only doing Christian just kept cashing the cheques? And I know that is the most terrible, awful things and if you say them songs in concert after Slow train coming and Saved. the way of death and you can’t spend the money in a witty way they go along with you. And later You people always talk about choice. Well, no there. You’re a bank robber with a bag of marked yet, they want to be with you and if you’ve read offence but patrons should have a choice which bills. But now in this lonely in-between land the a bit you can impress. And they like you because comedian they book at their Christmas party, Al, jokes have dried up. For I’ve been a comic long you are one of them. In street clothes you make and while most of the people, especially some of before I was a gay man though I’ve been both them laugh and it doesn’t sound like a play or art. the women thought it was pretty entertaining a forever. And being gay was always hard but now Really just talking, but being so funny, so cerebral. few of the more religious people were a bit put so is comedy. It is hard now for the fi rst time. At my level, they do feel like you are in their off by the whole gay thing. And I know you just Will it get better? Is this the beginning of a hire. So late and long into the next show day you mentioned it briefl y and what’s the crime in that? new chapter or a confusing end to a lie fi lled life? joke it up and the small rings with Anyway, water under the bridge, you got paid I know I will fi nd the answer on stage. I’m 50. laughter. The tenor rests his voice, the actor has an and no harm done, it just would have been nice That’s 80 in gay male years. See, I made a joke audition bright and early, the dancer is soothing her to know. Next year we were planning on having … So, as Mort Sahl would say: “Onward!” www.ista.co.uk Scene | Issue 1 | 2014-15 September 23 Directing a Shakespearean comedy By Stephen Skelton

“Shakespeare’s boring. What’s so funny about The following is an approach to performing our characters in an adaptation of Hamlet. fairies?” in, staging and directing a Shakespearean comedy ‘‘’What’ is important, but ‘how’ is much more I can imagine this will resonate with many based on one of my mentors, Stephen Covey. important.” (Michael Chekhov cited in Hurst teachers wanting to pass their reverence of the I was trained in his management system when I du Prey 1977, 191) bard onto their students while balancing the thin was on a different path, running schools rather 3) Put fi rst things fi rst – as a director or line between capturing their students’ inspiration than running plays and drama and so this will give actor you need to prioritise the aspects of with his most famous works (without gritting you an insight into the way I like to work with Shakespearean comedies that you will focus their teeth) and not dumbing them down or students and adults in this ever changing world we on in your vision. Your vision may be very promoting ignorance by taking on a computer live in. “No legacy is so rich as honesty.” (All’s well personal, connecting with your own life, your game’s mentality of only doing the scenes that that ends well, act III, scene 5, lines 7-8, spoken own past and your experience of history and have action or excitement. One of my classmates by Mariana) the world when trying to take account of the in high school claimed Shakespeare had been 1) Be proactive – read, watch, go to every political, social and humanistic aspects of the responsible for bringing boredom and misery to play on offer, drink in Shakespearean comedy plays. My ongoing interest is in mythology him and his relatives for over 400 years in exams. by talking to other directors (preferably at a and fairy tales, so I love The Tempest and So how to approach Shakespeare without falling local Shakespeare themed tavern), discuss A Midsummer night’s dream, as well as into the trap Dr. Mary Bousted, general secretary them, debate them, rewrite them in your Shakespeare’s late plays and comedies. of the Association of Teachers and Lecturers (ATL) own style and imagination, make them part John Hirsch (artistic director of Stratford in the United Kingdom did by stating “teachers of your everyday living creations. Though Festival from 1981 - 1985) has a passionate should give children edited highlights of the best not one of his comedies, I love the way the commitment to theatre and in particular, bits of his plays like a fi lm trailer to keep them three witches of act I scene 1 of Macbeth are a love of ’s work. For interested” (Daily Mail, 2 May 2013)? portrayed so differently in the fi lms of 1971 Hirsch, Shakespeare is a “citizen of eternity”, I wanted to focus on Shakespearean comedy (Roman Polanski), 2006 (Geoffrey Wright), a master playwright whose work transcends to answer this question, since it is often said “a and 2010 (Rupert Goold). In doing Macbeth the particular moment to celebrate our day without laughter is a day wasted”. Get your I took the 2010 version for my starting point. common humanity. students to laugh with Shakespeare and you have The students loved it and were equally 4) Seek fi rst to understand then be awoken a jewel in their soul, an unforgettable grossed out and enthralled by the adaptation understood – ask the right questions of adventure into one of life’s most precious when we staged it. The change inspired one Shakespeare before you direct or act in the treasures, the greatest writing in the English of our art students to create amazing bloody plays. If he was directing you, what would language. I have directed, acted in, and edited a backdrops for the piece, which immediately you want to ask him? Shakespeare was number of Shakespearean plays between 1996 had an impact on the audience even before not a solitary genius, but a consummate and 2014 including his comedies A Midsummer the play had started. A Midsummer night’s theatre professional. In more ways than night’s dream, As you like it, Much ado about dream equally has its fi lm adaptations, the one one, his plays are remarkable for their nothing and Twelfth night, and his tragedies Romeo most notable for my students being Michael sheer “abundance.” They boast a wealth and Juliet, Macbeth and Hamlet, in the United Hoffman’s 1999 version featuring Kevin Kline of structural elements, and draw on many States, Australia, and Japan at middle as Bottom. The students could immediately sources. They set unforgettable characters in school, high school and university level. When I relate to the characters and the narrative motion against broad social and metaphysical fi rst began writing this article I tried to think of a came alive much more naturally once they backgrounds. And they mingle the fanciful new, innovative angle, a creative tour de force could see and feel the effectiveness of a shift with the realistic, and the comic with the that would get people thinking. I also wanted in perspective. tragic, in ways that challenge the normal readers to have a laugh, recognising that comedy 2) Begin with the end in mind – visualise, boundaries between genres. To understand is always in the eye of the beholder, whether it be imagine, conceive the outcome, whether Shakespearean comedies you need to ask the on stage, television or fi lm or in the written word. you are an actor or director, watch the play right questions. For Shakespeare, romantic I have previously managed rock bands, dance in your mind from the fi rst to the fi nal scene. love is both foolish and wonderful. It often groups, theatres and TV channels so wanted to Directing Shakespeare with Michael Chekhov’s makes us look and act silly. Yet at its best, it present an approach to understanding and being technique is a way of using the imagination moves us to reject self-absorption and share able to express comedy that could be unfolded employed by directors of Shakespeare to our God-given gifts in a spirit of generosity. by any age, student or teacher and done in a way invoke inspiration and to get into a creative How does Shakespeare use – and, at times that reminds each of us of those age old words state. In one of the dance-theatre productions contest – the conversions of romantic of wisdom: “Why then the world’s mine oyster. I was involved in, the director used Chekhov comedy as he pursues this vision? In Twelfth Which I with sword will open”. (The merry wives of technique tools like psychological gesture night, for example, the steward Malvolio Windsor, act II, scene 2, lines 2-3, spoken by Pistol) in monologues and improvisation to fi nd (whose name alone says much) stands

24 Issue 1 | 2014-15 September | Scene outside the play’s two main sets of characters. of talks by Professor Peter Saccio, Dartmouth hand the most exhausting task that I ever And there he remains at the conclusion, as College Ph.D., Princeton University) had in the theatre and on the other hand Shakespeare refuses to fold him into the 5) Synergies – “All the world’s a stage, and all the most exhilarating, the most joyous thing larger happy ending. Faults and all, he is the the men and women merely players.” (As that I have ever done in my life. I said over “odd man out” who makes Twelfth night a you like it, act II, scene 7, lines 1 - 2, spoken and over again that any good fortune in doing comedy with a definite bite. DoesThe taming by Jaques) Combining the strengths of your Shakespeare regularly contributed to my own of the shrew advocate male supremacy in cast through deep positive reflection and growth as a human being and as an artist. I marriage? Students love anything that involves collaboration allows them to achieve goals on cannot think of anything else in my life that a battle of the sexes. Is its portrayal of late stage no one person could have done alone. could have been more rewarding than having 16th century courtship customs a realistic When my cast of middle school students had the opportunity to work on these plays. one? What do modern productions (and began memorising the script for A Midsummer Even when the circumstances were not really modern playgoers) make of the play’s most night’s dream, I needed a way to grab their first-rate, I really felt that I was working out of overt doctrinal statement about marriage, attention and make the comedy real for the very depth of my soul, whether I worked Kate’s wedding-reception address? In this them. “Shakespeare’s boring,” said some of with first-rate professionals or with students. early comedy, Shakespeare adventurously the students. “What’s so funny about fairies?” This is the great value of working on really combines romance with farce. Some critics said others. So I explained the setting with a superb material: it constantly stretches you look askance at this, but Shakespeare’s use of modern day or The Hobbit … [But] Shakespeare’s plays cannot be done “game” may be at once more “earnest” and feel and watched Michael Hoffman’s version in a frivolous kind of way because they require more playful than they suspect. The merchant with Kevin Kline as Nick Bottom on the big serious intellectual analysis, a tremendous of Venice is loaded with unlikely story lines, screen together with them. The students kind of emotional exploration by the director which raises a question about the significance became much more excited by debating and the actor. They require fantastic physical of fairy-tale plots for human experience. how similar or different it was to TV series skills as well. If the theatre is not focusing on Perhaps an answer lies in Shakespeare’s use and films they knew and playing their various these things, then it’s not doing justice to of one such fairy-tale element - the casket favourite characters once they could see and the material.” (John Hirsch, on Directing test set for Portia’s suitors demanded by her feel the play. I decided to cast one of my Shakespeare, from a conversation with Cecil father’s will – to reveal nuances of character. most outgoing students, Vitaly Banov, who O’Neal) Is Shylock a fairy-tale villain? Perhaps you had a knack of playing wickedly mischievous In summary, when you are dealing with a can examine the tripartite stereotype that characters, as Puck and Tadashi Beddie as group, school or company where there are lots underlies the character, and consider how Nick Bottom, because of the way he injected of young people straining to learn a craft, you great actors have played him from the 17th slapstick comedy into his routines. By focusing need to be in the best physical, mental, emotional century to the present. Might it be that his on a student’s strengths and allowing the and spiritual shape to guide them through it, most famous speech, with its vengeful logic, actors to express themselves in very physical to be the best coach or facilitator possible. in fact implicates all of us? At first glance, this ways, Shakespeare stopped becoming the Shakespeare himself demands the very best from play appears to be a conventional comedy, academic, stuffy presentation lots of adults you, and these six habits are merely the warm but it turns out to have a plot of unusual and students believe and took on a life of its ups you do before going on stage in order to get intricacy involving sorely troubled characters, own that wasn’t highbrow and retained a your adrenalin pumping. They are by no means and its portrayal of human sexuality is sense of how it might have been originally exhaustive and are purely what is inside me, a unsettling. Desire, instead of being romantic presented. creative soul, writing and communicating to you, or light-hearted, here leads to self-hatred 6) Sharpen the saw – directing or acting in who carry the flag of creativity to so many, many and uncharitableness. As the curtain comes Shakespeare requires an enormous amount more hungry young actors and actresses. My hat down on the (in some cases) contrived and of energy. Balancing and renewing your goes off to all of you out there making a creative unpromising marriages that end this “problem physical, mental and spiritual resources difference on this planet. We all count on each comedy,” we are forced to wonder: is through the Shakespearean world helps you other. “Two roads diverged in a wood, and I – I comedy itself a problem? Even in the hands create a truly meaningful lifestyle. John Hirsch took the one less travelled by, and that has made of Shakespeare, can it contain the stresses of has the some final word on this: all the difference.” (Mountain Interval, Robert the human condition? (extracted from a series “Well, I always found doing these plays on one Frost, 1920)

My Favourite Joke

A penguin walked into a bar and “The most important part of asked the barman: “Has my brother Child: “When I grow up I’m going comedy is... been in tonight?” The barman to be a musician.” . replied: “I don’t know, what does he Parent: “Come on now, you can’t do . look like?” both.” timing” Pete Benson Suzy Davies Beth Lane

“What cheese do you use to hide a I tried to take a photo of some fog. A horse walks into a bar. The barman small horse?” Mist! says: “Why the long face?” “Mascarpone.” Nick Allsop James Copp Georgia Munnion

www.ista.co.uk Scene | Issue 1 | 2014-15 September 25 Do what you love... sort of By Nikki Payne

When I was a student we were told to: “Do completely different. Didn’t Daniel Day-Lewis it doesn’t come from someone else. Sometimes what we love and the money will follow”. Do take a break from acting to make shoes? Find your it comes from your own head. I’ve often looked they still tell you that? I think they do. It’s a good shoes, and make them. You must take risks or at what other, more successful comedians are motto that worked for me. In the creative world your love will just become a job. doing and tried to fi t myself into that mould. It the money that follows might not be huge but Don’t stay hungry. Eat something! only left me frustrated. The times I’ve gotten personally, I own a home, a car and I pay my bills In my business, a lot of comics will say: “You the most recognition and success and more doing what I love. The advice is good, I’m just have to stay hungry to succeed”. I think I heard important, been the happiest, is when I’ve been saying that there could be some more advice to two Wall Street tycoons say this in an 80’s movie unapologetically me. Problematic thighs and all. follow that went missing somewhere. once too so I think this saying lives outside of How to train your validation monster Maybe I wouldn’t have listened to the advice comedy clubs. Y’know, if you stay hungry for too One of the biggest obstacles to forever loving to follow. I might have not been ready to hear it. long, you starve to death. That’s not a saying, what you do is your own ego. Trust me, you Maybe you’re not ready to hear it. If that’s the case, that’s science. I guess the people who believe this have one. We all do. Often we think a bad ego is please tuck this article away somewhere. So in ten think that you must follow your dreams with the someone that thinks they’re the best all the time. or fi fteen years from now you can pull it out if you determination a hungry person follows an ice- Ego is smarter than that. Ego will tell you that need it. By that time I may still be some obscure cream truck but I think you could miss out on a you’re terrible at what you love. Or you used to Canadian comedian no one has heard of. That’s lot in life if you put blinders on and follow just one be good but now someone else is better. Ego will fi ne, because this article isn’t about how to succeed thing because you love it. Which brings me to my tell you whatever it needs to in order to keep you in your chosen fi eld. There’s a lot more people next point... from doing what you love with an open heart. better qualifi ed to tell you that. This is a reminder To have an artistic life, you must have a life. I’ve seen very successful comedians, people you to help you keep a solid grasp on the excitement OK, I didn’t come up with this piece of advice have seen on your TV, walk off stage after doing you feel for what you do today at those times on my own. Chris Quinn (who is the banjo a wonderful show and need to be coddled like a when money, the dangling carrot called fame, bills, player in an AMAZING bluegrass band called The needy child. “Was I good? Was that good enough?” taxes, kids, pets, meetings and what you’re going to Foggy Hogtown Boys, check them out) gave me I don’t know about you but I don’t want to make for dinner tonight start chipping away at the this advice. To make good art you have to have live my whole life defi ning my value and overall love you have for what you do. something to say. To have something to say, you goodness by how funny I am. There will always be Okay, so here it is. Seven things they don’t tell have to go out in the world and experience it. someone better than you, more talented than you. you about doing what you love: Meet people you might not normally hang out The need for constant validation will remove the Sometimes what you love sucks with. Listen to opinions you might not agree with. love from what you do faster than anything else. It does. I’m sorry but it does. Just like how Do things you might not normally do. How can Geez, I hope I’m not being a total bummer you can love someone but not always like them. you refl ect life in your art if you’re not living your here. It was the worst when some old seasoned You can do what you love but not always like it. life? Don’t stay hungry. Feed your artist. Which comedian would come up to me with their Maybe you love … I don’t know, crushing cans leads me to my next point... unrequested advice. Saying things like: “Listen with your forehead. You love it so much you Don’t quit your day job kid, this business is hard. Stay hungry. Blah, blah, enter can crushing competitions and become the If doing what you love involves the arts, blah, blah, blah.” If that is what this sounds like I world’s best can crushing with forehead person. starting your own business or requires many am so very sorry. I’m not trying to tell you to not Even then, after all the can crushing accolades, years of schooling you may have to have the have goals and expectations of your art and your sometimes your forehead is going to hurt and dreaded DAY JOB. Keep your day job for as long career. What I wish for you is to not let those you’re going to say: “If I see one more uncrushed as you possibly can. It may not be “doing what goals and expectations run amok and eventually can today I’m gonna lose it!” This doesn’t mean you love” but it will teach you the valuable skill of swallow the spark that makes you unique and you have lost what you love. It just means maybe learning to “love what you do in the meantime”. talented in the fi rst place. You absolutely should you need to change things up a bit. That skill will help you on the days you don’t have big dreams and work very hard to reach Take risks love what you do but must bring excitement and them. You absolutely should do what you love. I You’ve probably been told this but in the joy to your work that day anyway. Keeping your highly recommend it. However, if someday, years beginning, particularly in the performing arts, day job for as long as you can keeps you from down the road, you fi nd yourself no longer loving everything you do is a risk. Every time you step being fi nancially dependent on what you love. what you do. Pull this article out from its hiding on stage, write something new and try it out The longer you can go without paying the bills spot. Maybe it will help. you’re taking a risk. Then you get good at it, you with your love, the easier it is to take those risks I May you have big dreams and may you get comfortable. People like a certain way you do talked about earlier. always love what you do. something and it gets easier to just do that over Be you. It’s harder than you think. and over again. You don’t fail as much and your “Your thighs are problematic.” This was said ego likes the applause. That’s when taking a risk to an actress I know during fi lming of a movie. My Favourite Joke gets much harder but that’s when you need to How the heck can thighs be problematic? I didn’t take a risk the most. It’s hard to try something know thighs played such a large role in the skill of new or perform something different when you’re acting. Are her thighs not learning their lines? Schrödinger’s cat walks into a bar... being paid to perform the way that sells the most You may encounter this as you make money ... and doesn’t. tickets. You must be brave and fi nd a way. Fail. doing what you love. “We love you! We love Jez Gregg Fail again. Get booed off stage. Try something what you do! Now change all of it.” Sometimes

26 Issue 1 | 2014-15 September | Scene kinds of funny things starting to materialise. Electric toothbrushes and hair dryers being a common source and there are inevitable toilet gags but it can be a very good way to make performers think on Working with their feet and go with their instincts. Physicality By now there should be a clear picture emerging as to the potential of performers who comedy are good with words but there will also be those who are strong physical comedians and this is a nice game to explore that side of humour. In a By Ian Pike similar way to the previous exercise, it relies on actors working off each other and discovering when to keep going to get the most laughter and Over more years than I can remember, I springing a surprise bungee jump on them but equally when to change things once the laughs have been running workshops for ISTA around once the fi rst gag has been told you should seem to be dying down. You will need two actors the globe on comedy. Partially based on a brief fi nd things start to relax. You will always get who can talk to each other but not move; then foray into the world of stand-up and followed participants saying that either they just don’t another two standing behind each of the talking up by a considerably longer period of my life want to tell a joke or that they don’t know any performers who will do all of their movements spent writing sketches and sit-coms. The former but I always fi nd that once a few have stood up for them. Turning their partner’s heads, raising being replaced by the latter incidentally thanks to and told theirs, and been laughed at, the more their arms and putting them in physical contact a throwaway comment at a festival some years nervous students nearly always change their with each other. The key for them is not to use ago - when a teacher at the end of a workshop minds. There are a few quick parameters that their partners as marionettes but rather to keep it came up and said: “You must love doing stand- need to be laid down before the fi rst volunteer simple, one gesture at a time. Start by giving them up”. I replied that I wouldn’t exactly say I loved it gets on their feet. Namely that it might seem all a situation where physical comedy could occur but that I did however know exactly how many obvious, but is well worth stressing that the jokes – such as a restaurant kitchen or an operating minutes I had between my last gig and the next, have to be inoffensive. Very much a loose term theatre - making the front two actors the chefs or even when they were weeks apart. And that I and you can set your own defi nition in terms surgeons. The “movers” should then hopefully did really love them after they were over. There of bad language and adult content. And as the fi nd that maximum humour can be found through being no greater feeling than getting through word “offence” is so hard to pin down I always doing the physical opposite to anything being unscathed and surviving. The teacher thought simply say you have to be confi dant that your joke said by the talking two performers. “Pass me that about this for a second. “Isn’t that just like wearing will not offend anyone in the room and should scalpel” is funnier if the scalpel is not actually passed a shoe three seizes too small for you so you cover all the usual rules of common decency. than if it is just handed over. You can quite often can enjoy the feeling of taking it off?” This pithy This seems to be enough of a warning as I have fi nd that the situation will naturally lead to fi ctitious observation quickly brought about the epiphany never had any issues so far. You also need to lay arguments breaking out between the characters that I far preferred writing gags to actually down the rule that everyone has to stick to the which should lead nicely into the next game. performing them. However, the combination of joke they thought of initially and not change it Confl ict the two has led to the fact that I do really love after hearing the fi rst one. Otherwise you will fi nd Is it true to say that all comedy involves running this workshop and hope to continue to that if the fi rst person tells a knock, knock joke – confl ict? Get the participants to think of plays/ do so for many years to come. everyone will suddenly remember a knock, knock fi lms/TV comedies to see if this statement is true. When it comes to teaching comedy it is joke and tell that instead. Fawlty Towers being a great example. Would it generally true to say that someone is either funny While the jokes are being shared, observe have been funny if all the characters liked each or they are not but you can bring out hidden everything. When do the laughs come? Watch other a lot? What can you do to highlight confl ict talents and understand a lot more about humour the audience as closely as the joke-tellers. Some in performance – and a nice exercise to explore through a few choice exercises and games. To my will laugh at completely different points from this is to play World’s worst... You can make up mind, it’s also useful if you happen to be looking others and you can get a nice discussion going your own but a good starting point might be e.g. for a particularly light-hearted way to fi ll a Friday about the science of humour and subjective taste. world’s worst people to be stuck in a lift with. afternoon. Anyway, this is a rough outline of the You can also discuss the style of performance. Or to have as a fellow bomb disposal expert. workshop, honed with the help of many, many Some people will be very up front and confi dent. The lift will undoubtedly produce some fl atulent teachers, middle and high school students and Others will be much more reserved. The beauty characters and somebody usually goes into labour, never actually written down before now. The of this is that you will unearth a number of natural so this could then lead into a discussion about not beauty of it as a teaching session is that all you comedians who had never before realised that always going for the obvious. really need is an amplifi ed microphone – not they were funny. Character because there is ever likely to be a problem with Reaction What is a comedy character? What is it that acoustics but because there are a couple of fun The next logical step is to explore the world he/she does that makes them funny? Can they games to be had with one and it really is the only of reactive comedy, as stand-up and live improv be ordinary people? Or must they always be tool of the trade when it comes to stand-up. are very much about learning to react to situations over the top? What can you do to help develop a It is crucial to stress at the start that it is just as and build on them. Be it through a heckle or character for maximum comic potential? Discuss important to fi nd out what doesn’t work as what something a fellow performer throws at you. And some well know ones. As he may have already does so that there is an unspoken agreement and this fi rst game, like many of the exercises, comes cropped up, an easy character to dissect is Basil commitment from everyone to be prepared to from the worlds of Whose line is it anyway? or Fawlty. Why is he funny? He is defi nitely ordinary. fail. And to trust that everything is valid however through Canadian Theatre Sports amongst others. Very much over the top. Yet still credible. What disastrous it may seem at the time. The key to It also utilises the microphone. A very simple game is it in his genetic makeup that makes him work? comedy being very much: I know this might be involving two performers. One miming an activity This could lead nicely into a game called New job/ rubbish but it could very well lead to something of some sort e.g. getting ready to go out for the old job. Two characters – one of whom used to brilliant so let’s try it anyway... evening, in the shower, getting dressed, doing their be something that is now completely unsuited Telling jokes hair etc but the rule is they can only move but to their new role in life. Say for instance, a drug The fi rst exercise is a straight forward never speak. The other actor provides all the sound dealer who used to be a fruit vendor. Or a priest exploration of stand-up which is likely to cause effects through the mic. The two need to play off who used to be an auctioneer. You could then ask untold panic when introduced. Asking most each other. Building on a laugh or helping the other for suggestions for a previous job for the “drugs people to stand up and tell a joke is a bit like out when nothing is happening. You should fi nd all buyer” and see where this leads. www.ista.co.uk Scene | Issue 1 | 2014-15 September 27 Situation with each hero having their own absurd hero gag; thereby creating at least one brand new “L”. What can be classified as a funny situation? trait. We choose the first trait for the designated Creating new comedy What makes a sit-com for instance? Ask everyone start off hero and it can be as wacky as you like And finally and on the subject of creating to think of plays/TV programmes and films and - itchy foot man/nose lick boy/bad impressions new comedy, a nice way to end is to get the the situation behind them. What makes it funny? girl etc. And we then need to give the heroes a performers into groups again and set them the Often there will be conflict again and undoubtedly ridiculous crisis to solve e.g. a massive world jam task of coming up with a brand new sketch of there will be a character trapped in a situation he/ shortage or a global can’t-stop-singing-out-of-tune their own making. This can then be questioned she would dearly love to get out of. Basil Fawlty pandemic. The first hero will then try and solve on the decisions made and work shopped by loathes his hotel, his guests and in particular the the crisis (not forgetting their trait) and once the everyone. Mainly asking: what makes it funny and lot in life he has been dealt. Which means it might situation has run dry they call in the second hero what could be done to make it funnier; before be true to say that a good starting point for a and give them their peculiarity. “This is a job for then rehearsing it to perform at the end of the funny situation can be a character feeling trapped constantly checking over her shoulder girl etc.” session. and a nice exercise to explore this area is to play Then once they have milked the situation for all And this of course can be just the beginning. Two galley slaves. Two slaves are rowing and have its worth, superhero two will call in number three The world of stand-up is undoubtedly a scary been shackled next to each other for months with and give them their trait and so on with three one but there will be naturals out there and not nothing to look forward to but many, many more finally bringing in number four to ultimately solve necessarily just the loudest and most extrovert. months together. What could be in their history/ the crisis. If any of them laugh and do not take The shy and slightly quirky performer might character make up that could help to squeeze the it seriously it will of course lose credibility and suddenly discover that they are getting loads of maximum amount of comedy out of the situation? immediately the full potential for laughter. laughs by playing up to that side of their character One might be in love with the other. Or does the Timing/use of pause in an Emo Phillips kind of a way. The girl or boy second wants to kill the first one? Then try and Four writers and a typewriter is a nice exercise who manages to tell funny stories about their think of new situations that could involve more that explores timing, although I guess it should life will suddenly discover that their characters. A school reunion. A group of soldiers now be called Four writers and an iPad. It certainly delivery is a real skill or that they really understand in the trenches. Again there will be obvious is a useful way into a discussion on whether it clever use of timing and pause. There will be the choices made. The endlessly farting solider will is true to say that a vital key to comedy is in the performer who may not necessarily be a natural crop up but this is fine as it can help explore how delivery and use of pause. One actor pretends joke-teller, but by sticking a microphone in their subtlety is often funnier than in-your-face comedy. to type having been given the first line: “I’ll never hand and getting them up in front of an audience, Getting the maximum amount of laughter forget the day I became a... “ somebody else could suddenly realise they are extremely quick from a line/scene/situation then has to jump in and finish the sentence “... thinking and good at dealing with a putdown. Starting by asking the question: how is a sheepdog/alien/woman etc” and the story They may then be the most successful at improv working on a comedy different compared continues. It can get quite surreal but is really comedy and excel in the exercises. So delve to other genres? Often one of the answers good for encouraging playing it straight, as well as further. Search the net for other games or some can be that it lends itself to being potentially requiring quick thinking. traditional acting exercises can easily be adapted. more evolutionary than drama. Changing and SL/BL There is plenty of material out there. developing a little more with every performance. A good way to then bring everything back And the reason for the microphone – if Which means it is always worth asking yourself as to the jokes told at the beginning or possibly to you tell a friend a couple of jokes you are just a performer what you can do to milk the situation bridge it by finishing off with a few of the gags that telling jokes. If you tell those jokes through a for every possible laugh. And a nice way to do this have not yet been performed is to introduce the microphone to a crowd of people you are a is to play a game called TV & theatre styles. Four concept of SL/BL. A common practice in comedy stand-up comedian. The beauty being that they characters are shopping in a supermarket. Give script writing where an editor or producer will go are still exactly the same jokes. And when broken them a second to wander about with their mimed through a script and write “SL” every time they down like that, it need not be seen as terrifying trolleys and baskets then call out a given style e.g. think the line might get a small laugh and “BL” any more. And if you can do stand-up comedy opera, Latin American soap, children’s TV, Butoh every time a big laugh might occur. So your job as then surely you can do anything, as nothing on … The possibilities are endless. Then stop and a writer/performer is then to turn every SL into stage or in performance will ever be that scary discuss what potential might have been missed BL and fill in any gaps. You can do this by getting again. Of course when you do it for a living the before trying it once again, exactly as before. everyone into groups and telling them to write odd person might throw a bottle at you. But This exercise will undoubtedly become their jokes down, workshop them, as well as SL/ that’s a whole different workshop and the major particularly high octane as many actors when BL-ing it to possibly also find a link between each reason why I stopped. presented with comedy often go with an instinct to be over the top and shout louder each time. Or to always play the extrovert, so a discussion about My Favourite Joke how to find subtlety could be called for; especially when the brief is to do exactly the same thing as last time but to try at the next attempt to find at Once I saw this guy on a bridge about to jump. I said: “Don’t do it!” He said: least one more laugh. So even if the instinct dictates “Nobody loves me.” I said: “God loves you. Do you believe in God?” the need to be more and more OTT, often the He said: “Yes.” I said: “Are you a Christian or a Jew?” He said: “A Christian.” I said: way to more laughs can be to do much less or “Me, too! Protestant or Catholic?” He said: “Protestant.” I said: “Me, too! What even nothing at all. Especially when the situation no franchise?” He said: “Baptist.” I said: “Me, too! Northern Baptist or Southern longer feels truthful. However absurd the criteria may be – two shoppers arguing over a tin of beans Baptist?” He said: “Northern Baptist.” I said: “Me, too! Northern Conservative through an aria – it still has to be believable. Baptist or Northern Liberal Baptist?” Credibility He said: “Northern Conservative Baptist.” I said: “Me, too! Northern Conservative Leading nicely into a fun game that explores Baptist Great Lakes Region, or Northern Conservative Baptist Eastern Region?” He playing absolute credibility within comedy. said: “Northern Conservative Baptist Great Lakes Region.” I said: “Me, too!” Stressing again that if we do not believe in a scene Northern Conservative Baptist Great Lakes Region Council of 1879, or Northern it is unlikely to be funny. So how can you make a Conservative Baptist Great Lakes Region Council of 1912?” He said: “Northern production/scene/line truthful? Conservative Baptist Great Lakes Region Council of 1912.” I said: “Die, heretic!” This is an exercise called Superheroes and it And I pushed him over. – Emo Phillips is likely to get very silly. But the performers have to play it as deadly serious in order for it to work. Sherri Sutton Four superheroes have a global problem to solve

28 Issue 1 | 2014-15 September | Scene Finding your comedic voice By Anne Marie Scheffl er

There’s an old show business saying that goes: to develop my comedic voice. I honestly think Allow your character to have a point of “Dying is easy. Comedy is hard.” So how do you Norma is still the same voice I do on stage. I now view make a career out of being funny? I’m grateful to call myself Anne Marie on stage - a convention Let’s say you’ve found your character. Or say that I do, so I’ll tell you my secret. I found my used by many comedians - their fi ctional character if you haven’t, let’s pretend you have. Let that comedic voice. I’m going to tell you what a comic has the same name as their own - but it’s still character have a point of view. In my current voice is, how I found mine and then I’m going to Norma. Then I was seen as “that funny, innocent show, Suddenly Mommy, Anne Marie is afraid that tell you how to fi nd yours. I mean, if that’s OK blonde girl” and I was able to book lots of funny TV she’s not very good at motherhood. Again, it’s my with you … spots. I’d just be Norma in the audition. character – the low status, innocent. I’m not an “in What is a “comedic voice”? That’s what stand-up comedians do. They charge” mom, I’m just a childlike character who What’s your comedic voice, you ask? It’s spend years working their jokes in clubs (someone happens to have children. The show is not about your personal brand of humour. Your voice is once told me it takes seven years to develop moms in general. It’s about how a naïve woman your expression, your point of view on situations. your stand-up voice on stage) and then they deals with motherhood. “I thought modern Someone walks into your house and says: “Sir, you spend the rest of their career benefi ting from motherhood was supposed to be glamorous!” just won a million dollars!” And you say: “I did?” And having found their comedic voice. For instance, By now, people who like to see me on stage that voice, how you said: “I did?”, how you express the successful Canadian born, based expect to get the same comedic voice I’ve been the way you deal with what life throws you, is your stand-up Jeremy Hotz is known as “the miserable developing for years. Because they can expect my voice. The way you squealed, or the way you were comedian”. He found his voice, and he has been character, with my overly optimistic attitude, to be blasé about it, is now an insight into your spirit. And working it ever since. dealing with motherhood from a predictable point in comedy, your spirit is funny and open so we can I’m talking about a lifelong career, and that’s a of view. To simplify, you fi nd your character, and all feel what you are feeling, and we can laugh with long term project. In a simple format, it can be as you put your character in plays, or on stage, and you. And your spirit, when we are talking comedy, contained as having a great old granny character. you allow your character to have a very clear point can come out as your comedic voice. “Granny! You just won a million dollars!” “I did?” of view. Seinfeld’s character’s point of view was Take the great comedians, for example. Can you The audience gets the voice easily and clearly. predictable “what is wrong with this picture?” Yay! hear Lucille Ball’s comedic voice say: “I did?” Or Adam You hear the old lady voice and laugh your head We enjoy it because that’s what we wanted from Sandler? ? Arianna Grande? We watch off. Recognise if you do a great old lady character. Seinfeld. His comedic voice. comedians and go see stand-up because we like the That’s for sure an aspect of your comedic voice. And get clues. When you perform or create, comedian. We like the comedian because they have “Anne Marie! Do your Polish mom!” You get good what are the reviews or the feedback you get? developed a comedic voice that we recognize as their at funny characters, and you can easily drop into A theatre reviewer in California saw my fi rst sense of humour. Arianna Grande has a real innocent those comedic voices, especially when you’re Norma play and wrote: “She’s like a young Betty comedic voice in her TV series Sam and Cat. So if a relaxed, just goofi ng around. At a party, you White!” I took that review and watched Betty man walked into Cat’s house and said: “Cat, you just start doing your computer nerd character, and White and saw the similarities and built upon them won a million dollars!” Arianna’s character Cat would everyone is in stitches. But if you want to start to strengthen my character voice. Did a theatre sound very predictably innocent and open: “I did?” I thinking in terms of a sustainable comedy career, reviewer describe you as “sultry”? Or “brooding”? can just hear it. it’s worth considering what your comedic voice is. Or “sparkling”? When a friend retweets your post, How I developed my comedic voice How to fi nd your comedic voice do they exclaim “this is my friend, he’s perfectly That’s what I’m talking about: being able to It may be that your computer nerd character sarcastic!”? Are you always being told you’ve got hear someone’s comedic voice. As the performer is the basis of your comedic voice. Is that the “a dry sense of humour”? These are clues to who wants my comedic voice recognised, it character you like to do the most? What I’m saying identifying your comedic voice. behoves me to clarify and develop it. But fi rst I had is that you fi rst fi nd out who your character is and And fi nally, be business-like about it. Who do to fi nd it. then you fi nd that character’s voice. You know you want to be? What do you want your point of I got out of theatre school and went directly you’re on the right track if you just love to do view to be? What would your ideal comedic voice to study Pochinko clowning at The Theatre it. I love to play the overly optimistic, innocent. be? In ten years, when you look at the comedy Resource Centre. I always played the auguste. The There’s such joy for me to be completely oblivious persona you’ve developed, what would the low status character. I had the most fun playing and sunny on stage, when the set is burning down optimal result be? I want to remain innocent even around as a very innocent, childlike clown. At the behind me. What are you most memorable as I age, like Betty White. I want to keep up the same time, I was doing comedic monologues at improv scenes? Which theatre exercises did you façade of beauty and femininity. I want to keep that open mic nights. I had written little fi ve minute enjoy the most? Who were you? I would say childlike quality in my work. I want to be known as monologues and fell into the same kind of persona: Norma was my default character in almost every “that funny blonde girl”. Also my show titles easily innocent, low status, childlike. Then I got into game I did. I just went there because it refl ect my comedic voice. My next show isNice fringe festival circuit. My fi rst show was essentially was the easiest thing for me to play. Your character lady. Do you see where I’m going with this? fi ve of my monologues tied together. And I is probably pretty obvious to you - it’s your “go So, that’s it. You want a career in comedy? Find named myself Norma. One of the monologues to” when you are “putting on” a character. Think your comedic voice. I told you what it is, how I was about a small town Polish girl named Norma of your character as you, exaggerated. There are found mine, and I told you how to fi nd yours. So go winning Miss Potato four years in a row (because things I would do as my character Norma that I do it! I mean, if you want to. I don’t want to push... no one else entered the contest, but Norma was would not do as my real self. I would not go and Oh yeah, there’s also an old show business so happy anyway!). So my fi rst three fringe plays buy a wedding dress and wear it at home, but I saying that goes: “Tell the audience what you’re were Situation: Norma, Watch… Norma’s back! would think about it for a split second. Norma going to do, do it, and then tell them that you did and Leaving Norma. The Norma trilogy. I began totally did that. Me – but bigger. it. That’s comedy!” www.ista.co.uk Scene | Issue 1 | 2014-15 September 29 or dark comedy: black comedy deals with uncomfortable topics like death/funerals, war, terrorism etc. Any topic that The serious is considered taboo would probably fall under this category. Usually the audience is laughing and uncomfortable at the same time. Nikki Payne (my absolute favourite comic on the planet), , , Jimmy Carr, Christopher side of comedy Titus and . Films like Fargo, The Royal Tenenbaums and the play/fi lmHarold & Maude. Blue comedy/ : comedy based By Sherri D. Sutton on sexism, racism and homophobic views, often using sexual jokes and profane language words. Most comedy clubs won’t let a new comic go “Dying is easy. Comedy is hard.” That quote Finding your niche. Finding your audience can “blue” because it is seen as a crutch or a cover has been credited to several actors over the years take years. for no material. My comedy coach in New York (Peter O’Toole, Edmund Kean, Donald Crisp, It always brings a bit of a smile to my face made me work clean. Very few comics can get Edmund Gwenn). I’m not sure who to give credit whenever I hear some young artist say something away with this type of material without sounding to, but I can tell you for sure that I did not say it. like: “I just want to make the audience laugh.” like a racist, sexist, homophobic idiot. This type of I do, however; completely agree with it. Amy Go ahead and try to do that right now - usually comedy, in my opinion, requires the comic to be Poehler goes into great detail about just how hard the beginning comic will reach for a ridiculous clever. Usually the victim tells the joke and not the it can be: comment, a crude noise, or some silly/weird perpetrator. You guys need to know your comedy “People quit because it’s really hard. It’s hard thing that will usually bring laughter, but rarely is legends: Lenny Bruce – the man went to jail over not to have a house, hard not to have money, hard that laughter generated because the audience his material. Louis C.K., , Richard not to have insurance, hard not to be married, hard found the comic brilliant. Seldom can that type of Pryor, , Seth MacFarlane of Family to have your parents everyday ask you what are you humour sustain more than a few minutes at best guy, Lysistrata by Aristophanes, The Miller’s tale going to do with your life. It’s hard to wait tables of laughter. Once the comic runs out of the shock (from The Canterbury tales) are ribaldry forms of while you are doing improv shows. It’s hard to get style or weird comedy bit, desperation seeps out comedy. up on stage and bomb. It’s hard to lug your props and the audience is not so enamoured anymore. : character comedy around everywhere. It’s hard to submit things and The audience is a fi ckle and temperamental derives humour from a persona invented by a get rejected. It’s not easy! Good people make it look lover and the comic needs to woo her, relate performer. Character comics rely on stereotypes; easy, and a lot of people want to do it because it to her, and surprise her … (or him. I don’t care which isn’t really a bad thing. Again, it is about looks easy.” about your preference). I have spent more than being clever. Jim Carry, Lilly Tomlin, Gilda Radner, If you want great books on the craft of thirty years studying and performing various Carol Burnett, , Catherine comedy, has a couple: And here’s the forms of comedy. When a young artist tells me Tate and Margret Cho’s impersonation of her kicker and his latest release: Poking a dead frog: that they love comedy, I ask what form? What mother is fantastic. Ventriloquists like Jeff Durham conversations with today’s top comedy writers. The style? Who inspires you? Are they interested in usually have multiple characters at their comedy quote above is from Sacks’ latest the witty banter of a comedy of manners play, disposal. book. writing sketch comedy, being on an improv team : a comedy of When people give advice on comedy (in (performing short-form? or long form?), clowning, embarrassment, in which the humour comes any of its numerous forms), I have to question if a farce, character comedy, , stand- from inappropriate actions or words. Mostly they actually perform it. Theory without practice up?... it goes on and on. found in TV but also in stand-up. and is only half the art. I can study comedy, get a Let’s break down this giant called “comedy” Ricky Gervais are both cringe comics. Master’s in Comedy, deliver workshops about and look at its various types or styles. I found Deadpan comedy: telling jokes without a how to perform comedy, direct a comedy and the following info on a little hand-out I had change in face expression or change in emotion. write comedy, but unless I have taken that craft and I believe most of the defi nitions are from Buster Keaton had the best deadpan face - look and applied it in front of an audience, then there Wikipedia. While it may not be the most brilliant up some of his old vaudeville routines because is no full way for me to understand the art. The cannon of research that has ever been used, they are priceless. real test is when your comedy is delivered to an I think it is pretty accurate for the point being Improvisational comedy: (sometimes audience. It’s a quick test. Basically, if they ain’t made. This list is not complete and some of the shortened to improv) comics rarely plan out their laughing, then it ain’t funny. 10,000 hours makes suggested comics I have listed under a particular routines. Prime examples of this kind of comic a master/genius. Those hours will have set backs, style can also cross over and work for other styles can be seen on the TV shows such as Curb your disappointments, more than one break through, too. And one more thing – I’m from the United enthusiasm, Whose line is it anyway? and Thank more than one break down, and loads of hits and States so many of the comics I have named here God you’re here. I love the Canadian Improv misses. Those 10,000 hours are your story, your are from the States, but my work has lead me Games – those folks are disciplined improv teams personal journey, and the very foundation you will to many Canadian, British and Australian comics, who really know the craft. rely on when it all goes pair shape or when it all as well as comics who live and tour all over the Insult comedy: insult comedy is a form of comes together. planet. Forgive me if my references are biased. I comedy which consists mainly of offensive insults The comic’s job is to make sure that the hope the people or groups I suggest will help in directed at the performer’s audience. The father audience is laughing and to do that with ease – your understanding of the style mentioned and of insult comedy is . I am a fan of The well, that’s the craft. The audience shouldn’t feel then you can fi nd others that you know who fi t screw you with Dewey McGeoch & Douglas the comic trying to be funny, pushing to be funny, that particular style. McGooch. desperate to be funny. In fact, an audience can : differing from : a fi ction fi lm that parodies usually smell desperation. It’s like dating, as soon traditional punch-line jokes which features many the conventions of a documentary style. I love as one person can sense that the other person other forms of comedy such as observation, This is Spinal Tap and every theatre student should is needy – immediate turn off. The audience satire, surrealism, slapstick and improvisation. This watch Waiting for Guffman – it’s a rite of passage. I will abruptly turn on someone who even gives style of comedy can have different connotations if am in awe of in Summer Heights High. off the slightest whiff of neediness. It’s a tough you are from New York, Los Angeles, the United Musical comedy: a form of alternative business this thing called comedy. Oh, and it’s also Kingdom or South Africa. Venues are not typical, comedy where humour is mostly derived from subjective. Rule number one: not everyone material can feel stream of conscience. Patton music and/or lyrics. Tim Minchin is a master and is going to fi nd you funny. Finding your voice. Oswald has this style to me. also Flight of the Concords. I do love

30 Issue 1 | 2014-15 September | Scene for both his improv skills and his musical improv insanely funny. References to films, books, to put your material out there. I just started a comedy skills. science, pop culture, current events, political podcast with my friend Dewey McGeoch who Observational comedy: observational figures, history, art, poems, songs, television, is based in New York. With a quality recording comedy pokes fun at everyday life, often by songs, religious viewpoints, laws etc. device, internet and a quiet place, I can record inflating the importance of trivial things or by I encourage new stand-up comics to look at anywhere in the world. Dewey does the editing observing the silliness of something that society their favourite comedians. Study them. You should and posting on YouTube and suddenly Sutton and accepts as normal. There are many stand-up really study comics. I read somewhere that it is a McGeoch are live. My Facebook page and Twitter comics that fall under this type of comedy: Ellen good idea to write down exactly the entire joke of are places where I want my fans to engage with DeGeneres, , , Louis C.K., your favourite comic. Write down where they took me and with each other. It is not a place where I and Wanda Sykes are just a few. a pause, what did they do with their voice, tone, just promote my gigs. I am a fan of fringe festivals. Physical comedy: somewhat similar to rhythm, style, and how did they use their body? I find that my comedy works best with theatre slapstick, this form of comedy uses physical This is an exercise only. It is to help you figure how audiences as opposed to stand-up club audiences. movement and gestures. Physical comedy is often this comic works. DON’T STEAL FROM THEM. I can do both but I have learned where I work influenced by clowning and as for farce; physical You are not them. The world doesn’t need a best, so I try to perform there. Here are my comedy is its main ingredient. Mr. Bean, John second rate version of them. You need to become favourite fringes: Orlando Fringe Festival, Ritter and, my favourite, Lucille Ball are masters of the best you. The best you with your own material Winnipeg Fringe Festival, Fringe physical comedy. and your own style. Be what doesn’t exist instead Festival and the Fringe Festival. There Prop comedy: comedy that relies on of some lesser version that is already here. are comedy festivals all over the world, so check ridiculous props, casual jackets or everyday In some ways it is so much easier to create out some of the ones I’ve listed below (all in the objects used in humorous ways. I personally only something now. I grew up in the 80’s with United States unless otherwise stated): like this type of comedy when used in farce, but a handheld video recorder and would make The Chicago Sketch Comedy Festival there are loads of stand-up prop comics making commercials and sketches with my friends. We January 9-19, 2014 Chicago, IL millions of dollars (and not “prop” dollars). Carrot would then invite all of our friends over to watch SF Sketchfest Top is making massive money with his prop our stuff in exchange for free pizza and beer. If January 23-February 9, 2014 San Francisco, CA comedy in Las Vegas. you had fifteen friends come over and find your San Diego Comedy Festival Sketch: a small episode of comedy video funny, it was a hit. If those friends asked January 28-February 1, 2014 San Diego, CA practiced and recorded. One of the most famous for a copy of the video to share with a few Brisbane Comedy Festival sketch groups are and my more friends, that was considered “going viral.” January 28-February 1, 2014 San Diego, CA personal favourite sketch group is Britanick - so Now with social media, people are able to get North Carolina Comedy Arts Festival check those guys out. I grew up watching The their work out there instantly and have massive February 6-16, 2014 Carrboro, NC Carol Burnett show and Laugh in (especially followings. Here’s the point - just because it is Gilda’s LaughFest Lilly Tomlin) – many times sketch comedy and easier to create doesn’t mean it’s easier to create March 6-16, 2014 Grand Rapids, MI character comedy feed each other; something awesome. SXSW Comedy March 8-14, 2014 Austin, TX immediately comes to mind. Finding your comedy voice as a stand-up Glasgow International Comedy Festival Sitcom (situational comedy): a comedy comic is about discovery and understanding March 14-April 5, 2014 Glasgow, United Kingdom drama creating a comic situation that develops branding. Your voice is your brand. It is what you International Comedy Festival over a longer period of time than a sketch; stand for, it is your style, and it is unique. Are you March 26-April 20, 2014 Melbourne, Australia commonly found as television series, or now the a one-liner comic, observational comic, storyteller Laughing Skull Comedy Festival ever-popular web series. Too many to mention comic, political comic, experimental, prop comic, March 27-31, 2014 Atlanta, GA but Fawlty Towers was one of the best and great improvisational comic etc …? How would Green Gravel Comedy Fest for also understanding physical comedy and farce. someone describe your persona, your material March 28-30, 2014 Toledo, IA Surreal comedy: is a form and your delivery style? Go back and study comics Moontower Comedy Festival of humour based on bizarre juxtapositions, absurd and see if you can really answers those questions April 23-26, 2014 Austin, TX situations and nonsense logic. Here’s a few for in detail. It’s like trying to describe a chocolate Bridgetown Comedy Festival you to check out: , Eddie Izzard, candy bar. It’s too vague. Think about all of the May 8-11, 2014 Portland, OR Ross Noble and, of course, Monty Python. different brands of chocolate bars out there. The Women In Comedy Festival Spoof/parody/lampoon: the recreating or packaging, the commercials, the main flavour etc. May 8-11, 2014 Boston, MA imitating of a book, film or play for humour, it can What makes that chocolate bar different? Stand- Cat Laughs Comedy Festival be used to make fun or mock. All of the Scary- up comedy is like that. Here’s my voice/brand in May 29-June 2, 2014 Kilkenny, Ireland movies would be a good example for this style. two sentences: I’m a Southern stand-up storyteller, Snubfest June 2014 Chicago, IL Topical comedy/satire/political: topical a confessional truth teller, a modern-day prophetess Great American Comedy Festival comedy relies on headlining/important news and who crosses lines most comics can’t touch. If you June 11 - 15, 2014 Norfolk, NE current affairs. It dates quickly, but is a popular put , Richard Pryor, Wanda Sykes, Russell Brooklyn Comedy Festival form of comedy for late night talk shows and Peters and Louis C. K. in a blender, you’d get Sherri August 2014 Brooklyn, NY panel shows. South Park and Family guy are D. Sutton! You should have some idea of what Just for Laughs hilarious animated shows, John Stewart, Stephen I’m like as a comic after reading that little blurb. July 12-26, 2014 Montreal, Canada Colbert, and the ground-breaking It takes time to find your voice and what is even Edinburgh Festival Fringe are the ones that have inspired me. more difficult is sometimes you have to throw August 1-25, 2014 Edinburgh, United Kingdom Wit/word play: wit and word play are more out your material and start again. Many of the The Lucille Ball Festival of Comedy intellectual forms of comedy based on clever, great comics have had to do that in order to find August 6-10, 2014 Jamestown, NY often subtle manipulation of language (though their authentic voice. Richard Pryor, Steve Martin, Out of Bounds Comedy Festival puns can be crude and farcical). Oscar Wilde, George Carlin, and Louis C.K. have all thrown August 26-September 1, 2014 Austin, TX Shakespeare and even are brilliant out their material and started over. Cabo Comedy Festival with word play. Get stage time. Find a way to hone your October 1-5, 2014Cabo San Lucas, Mexico Both stand-up and improv require you to craft. Take classes. Get back on stage. A lot. I can’t encourage comedic artists enough to know a lot about a lot. Comedy is in the details. Write. Rewrite. Edit. Perform. Rewrite. Perform. get training and to get on stage. Start working on Repeat that to yourself about 100 times and Finding places to perform now is again, a lot those 10,000 hours. Don’t quit. And to quote then keep reading. Seriously, repeat that 100x. easier. Open mics, fringe festivals, comedy Tom Hanks in one of my favourite filmsA league Knowing the tiniest detail of your topic is usually festivals, comedy clubs etc are just a few. Having of their own: “It’s supposed to be hard. If it wasn’t where the real humour lies. Being able to then an online presence such as YouTube, Facebook, hard, everyone would do it. The hard is what connect that to something else is where it gets Twitter, blogs and podcasts are some other ways makes it great.” www.ista.co.uk Scene | Issue 1 | 2014-15 September 31 Ranting through the unexpected By Matthew Godfrey

“Every revolution was fi rst a thought in one man’s the world of theatre: utter personal commitment to leader with new ideas or physically remove those mind; and when the same thought occurs to another the emotion of the scene and an acute awareness in power we opt to tune into our satirists, repost man, it is the key to that era.” of the audience and its reactions. As the “show” their rants and relax into our couches assured that Ralph Waldo Emerson, Essays: fi rst series, 1841. failed to receive the reaction sought the clown had the collective spleen has been vented. “Every joke was fi rst a thought in one person’s mind; to change tactics. The tactic chosen was perfect The great leaders of the past were not and when that same joke occurs to another person, it clown. The clown went bigger. An arm fl ailed and controlled by their ability to satiate the one-liner is the key to a great bit.” the hand attached to that arm smacked into a table. attention span of the masses. They were riled up Matthew Godfrey, A predicament was encountered and the clown by a fi erce conviction to change the world around This article: second sentence, 2014. now screamed in agony and frustration at smacking them. They stood on soap boxes, the top of hills, Comedy is unexpected. Comedy is subjective. its own hand – this is comedic gold: the smack the back of trains, on balconies overlooking a piazza, Comedy is agonisingly elusive yet brilliantly simple was unexpected and the reaction was genuine. in small back rooms or at the feet of a toppled when not thought of. As with clown and improv, This was then followed by the clown running into monument and took the risk to shout over the comedy comes from having a point of view, a wall as the clown tried to escape from the pain- rooftops that the emperor was naked. They risked committing to the moment, fi ercely pursuing an causing table. The clown then slumped down to their lives and the lives of their families and friends objective and then letting the chips fall where they the ground having completely forgotten what they to declaim injustice and set a new standard for may. The angrier or more opinionated I get about a were throwing a tantrum about in the fi rst place. discourse and rule of law. A line in the sand meant subject the more people laugh. The more I get lost Hysterical to watch, but probably not to experience. “enough is enough” and an encore meant you had in my own character the less contrived the comedy However, comedy is other people’s tragedy more followers bandying to your cause. A banner becomes. The more focused one is on attaining and if this were to happen to the clown student they waved was a call to action and a rallying spot and not a goal or the more impassioned one is about a would then need to recreate without repeating that merely the wardrobe malfunction du jour. certain point of view the greater the opportunity bit of unexpected comedy to attain the same effect Should we take to the streets? Should we there is for comedic magic to occur. over and over again without becoming contrived. attend meetings in secret basements and hand out Improvised ranting is the best way I Intentionally falling into their physical rant to discover fl yers? Should we entertain that thought in our have found to discover these little moments. Be more of the unexpected in order to build the bit. head that fl ies in the face of social conventions and it through the clown working a physical bit or Ultimately the goal of a clown bit (turn) is to go may bring down the very fabric of society if enough through the stand-up comic recording or writing from A to B while running into E, G, T, Q, X and people get behind it? everything they say, think and feel. Comedy will Y: this alphabet of predicaments are all unexpected, No, I say. surprise. It lurks in that dark space between clever meticulously rehearsed and must appear to come By all means learn to laugh at yourself through and stupid. It comes when least expected and can out of nowhere in order for the audience to laugh, the pithy observations of others. Examine your disappear just as unexpectedly. Some are born with cry and ultimately rejoice with the clown when they lives and choices through the crafted ramblings comedy, some achieve comedy and some have reach B. of the socially awkward recovering middle school comedy thrust upon them. Comedy comes from a point of view (p.o.v.) pariah. For without their vocal affi rmations of our Clown and improv develop both the which in turn comes from looking at the world secret collective thoughts the status quo may be connection to the audience and the freeform and forming opinions about it. The more extreme challenged. Bask in the wit of the moment. Slap comedic monologue or shtick. If the comedy and defi ned the p.o.v., the better. One game I your knees when faced with injustice. Roll your is planned (or appears planned) it is not funny. have used for years which I have written about in eyes at the ridiculist. Giggle with conviction at Both the clown and the comic spend hours other articles is called Hot spot / Rants and raves your ability to manipulate images and sayings in upon hours repeating, retelling and rediscovering (Scene, The actor’s six pack, April 2013-14) and Photoshop and Instagram. Dispose of the societal moments of inspiration. The clown must be utterly can be used to develop a student’s p.o.v., which responsibility to act and claim the right to like. focused upon their goal in order for the clown’s can then be explored, warped and exaggerated The faults are not in ourselves but in those predicament to have any comedic effect. The to help create a routine. It is always easier to around us. Look for what disturbs, annoys and stand-up comic must be fully immersed in their ground improvisation in something familiar to the pisses you off. Search for the minutia in your own point of view for their jokes to land. Likewise the student – they are then able to draw upon all the lives. Look to your pet peeves and let fl y. emotional commitment to the clown’s and comic’s fi les of thoughts they have had on the subject. Do not rise up, do not question your point of view must be absolute in order for the The exercise encourages them to rant or rave oppressors, avoid confronting injustice or making a audience to laugh at the predicament the clown/ about something they feel deeply about and then stand for those less fortunate. Head directly to your comic fi nds themselves in. allows other students to counter those rants and nearest comedy store, HBO special or improv One of the best examples of clown I have raves. Nurture their anger. Feed their passion. theatre and buy a ticket or get on stage. Stand seen recently was while watching a child throw a They will be driven to commit to their p.o.v. and behind (or sit in front) of the leaders of our time by tantrum. The child (clown) was clearly upset and create through what they know to discover the applauding for an encore and buying the t-shirt in very emotionally engaged. Ranting and raving with unexpected accidental connection or turn of phrase the lobby; or better yet tune in, turn off and drop tears and screams because their point of view or that brings the house down. out into the glorious anonymous abyss of YouTube objective was not being met or understood. They Laughter heals, erases and soothes. The stand- and retweeted one-liners and revel in the shared were also extremely engaged with the audience (the up comic has become the pressure relief valve of a experience and collective indignation of a myriad parents) – constantly making eye contact, checking in subservient society more content to laugh at their disconnected social movements which cater to the to see if their dramatics were having any effect. This plight than to take to the streets and effect change. unfocused online masses! There may be no better was not about the child/clown dropping in and out We watch the news and see what is going on in time to laugh and let live. of character but rather a skilful and natural merging our communities and rather than spring into action, Oh. And after your rant through the of the two states of being which are ever present in boycott a product, rally behind a new and dynamic unexpected, don’t forget to edit.

32 Issue 1 | 2014-15 September | Scene Pulling the strings of laughter or fi nding the ticklish point By Cendrine Belleux

I’m very honoured to write about comedy A few years later I became a puppeteer … in puppetry and shadow theatre. This article is well, I would not like to break the nice atmosphere not meant to be an in-depth analysis throughout of this fabulous news but I’m afraid that it’s my duty history, but rather a scan of the right ingredients to tell you the truth: a lot of humour is needed to on how to operate comedy in puppetry. In order be puppeteering. Here is one example of people’s to share my experience of this fantastic world, I reactions to when they hear about my unusual job: will fi rst tell you how I discovered it. “Hello there!“ After having spent my childhood in “Hello!” Switzerland, I could easily have chosen a down- “What do you do for work?” to-earth profession. But instead of becoming a “I’m a puppeteer.” knowledgeable citizen and work for the chocolate “OK. And what do you do professionally?” or watch industry, I preferred to create a planet Being a puppeteer is defi nitely a very unusual where chocolate watches were made to eat profession for many people. I only need to say time bit by bit. As you can see, it all went wrong what I do for a living to make people laugh and because of my highly active imagination. Indeed, to see their faces open up. Because it seems my imagination was so strong that I started to to them that this job doesn’t belong in the sketch every day, to play with reality by distorting adult world. In my opinion, they seem to have it and by creating new worlds. At the age of eight, forgotten how to play, and that’s where my work I created a character that had the whole planet takes place. earth laid out on his hair. He could choose to enjoy So now that you know more about my any place he fancied at any moment: no need to comical upbringing, what about comedy? I will say get on a plane and travel for hours to reach his that it is a very diverse genre and has no precise destination. I probably found reality a bit dull and defi nition: it is usually a piece featuring ordinary craved a jollier and more entertaining place. people, written in a pleasant way, even funny, and Then I realised that my drawings needed to that ends well. It makes fun of people known in overfl ow the paper: then it would become more the city, but continues by dealing with a fun, often characters (not forgetting the string of sausages!), real and more humorous. So the two dimensions funny, human relation: a confl ict between parents has barely changed in the past 200 years. Despite encountered the three dimensions. I started to and children, between slaves and masters, and Punch’s unapologetic murder throughout the transform every small recycled object I could fi nd so on. performances, it is still a comedy. around me. For example, I gave life to champagne The Punch and Judy show is a refl ection Therein lies the strength of this slapstick corks and transformed them into citizens from all of comedy in puppetry. The story traces its performance: taking a few steps back and seeing around the world. I must have created no less than roots back to 16th century Italy, with the that there’s always a funny side to a situation. a hundred little champagne cork people. There puppet character Pulcinella. The fi rst recorded It seems that there is no borderline in laughing was no time for watching TV in a sluggish manner, I appearance was in London’s Covent Garden about any particular issue. With the right touch had too many ideas to give birth to. in the United Kingdom in 1662, with his name of humour, there is no subject in life we cannot becoming Punchinello. The laugh about. In puppet theatre, there’s a defi nite show became particularly choice in illustrating a scene either in a serious, popular during the Victorian profound way or in a comical one … we would and Edwardian times, with still be talking about the same subject but bring the emergence of the new out different aspects of it. In addition, choosing to seaside holiday resorts. depict a diffi cult topic in a funny and light-hearted The familiar candy striped manner doesn’t erase the depth of the message. “booth” on the beach soon I am convinced that being able to speak about a attracted a large crowd of delicate subject in the second degree allows us children and parents alike, to assimilate and digest it more easily. Haven’t enjoying the show for a few you ever been in a situation where it was more pence. Incredibly, the story, convenient to laugh about the critical issue rather featuring Mr. Punch, his than to get depressed about it? Furthermore, it’s long-suffering wife Judy, the often not well perceived and even criticised to Baby, Joey the Clown, the laugh about a serious fi eld of inquiry, but actually Policeman, the Crocodile, it is quite a lot of work to succeed in adding plus various other assorted all the necessary ingredients to build a good www.ista.co.uk Scene | Issue 1 | 2014-15 September 33 comedy. There is a thin line not to be crossed, inner child in us. We are so occupied in acting otherwise laughter can turn into vinegar. It’s like like well-behaved adults that we have gone far Biographies a good recipe: the best ingredients, the right away from playfulness and its spontaneity. In the dosage of this and that and a big pinch of fun. workshops I lead, I have often had students that Denise Arribas The art of bringing life to an inanimate felt very uncomfortable playing with a common I am a San Juan, Puerto object object known for its everyday life use: “this is Rico native but have been Since puppets are carved from wood, their a fork and I cannot see anything else. It was calling Atlanta, Georgia home facial expressions cannot change and are stuck made to eat with and nothing else.” And these since I set camp in the A-T-L in the same exaggerated pose. This helps to events bring students to talk about the time twelve years ago. I joined deter any sense of realism and to distance the when they were playing with bits and bobs, the Big Apple Circus Clown audience. The use of sound also helps to create creating new functions for them. One student Care Unit in 2010 and my life changed completely. humour; the kazoo-like sound of Punch’s voice even said to the group that she felt that it was When I am not clowning, performing or fi lming stuff juxtaposed against the violence made the show very diffi cult to play like a child because she around town I enjoy spending my free time with my funny rather than cruel. A third aspect that had been formatted through school education. wonder dog Gaby. helped make the violence humorous was that She felt odd to return to a spontaneous way Punch’s violence toward his wife was prompted of seeing her surroundings and to start playing Cendrine Belleux by her own violence toward him. In this aspect, with kitchen utensils. Where has our ability to Born in Switzerland he retains some of his previous hen-pecked act like children gone to? I have lived and worked persona. This would suggest that since Punch I soon realised that it wasn’t easy for people in many different parts of was merely acting violently out of self-defence, to let themselves go with their imagination. As a the world. After training as it is all right. This is a possible explanation for puppeteer, I’ve always been extremely curious a comic strip designer in the comedy in his violence toward his wife, about what would happen if an object came Brussels I switched direction and even towards others who may somehow to life, interacted with another and started to and became a puppeteer. I have “had it coming”. This also better explains develop a story. And that can take place at the decided to use my drawing the humour of the violence toward the Baby. breakfast table with egg-cups, a teapot and so skills to create characters Other characters that have to incur the wrath on. and sceneries for puppet theatre. Slowly I enjoyed of Punch varied depending on the punchman, It’s all about letting the objects tell their giving life to inanimate objects and joined Norwich but the most common were the Foreigner, the stories: by observing them and turning them in Puppet Theatre in England to perform different productions. Shortly after that I got a grant to create Blind Man, the Publican, the Constable and the different ways we will soon get to know different my own theatre company and the adventure of Devil. aspects of them. In Cameroon, my theatre Baobab Theatre started. It hasn’t always been easy Espèce de guignol! company and I ran a workshop for professional to be effi cient in every facet of the coming together The French expression can be translated actors. The aim was to introduce puppetry to of a new show. What a challenge really. For me into “you buffoon” or “bloody muppet”. them. At fi rst, I thought it would be diffi cult to life is a huge stage which gives us opportunities in Originally, “guignol” was the name of a get them to manipulate a very small object, incarnating new roles and opening new doors if we character in the puppet theatre of Lyon in because they were all used to projecting their dare to. France, who wore a silly hat and behaved in voices and to expressing themselves with body As an artist I am driven by the need to transmit a silly way. By extension, it became a name- language. But they were very enthusiastic and different visions of life. I cannot change the world calling in expressions such as “arrête de faire le managed to do it: their bodies disappeared but through giving life to inanimate objects, I am guignol”, meaning in a rather nice way (not an while a tea spoon started to come to life. able to create a platform with new languages and insult) “stop acting foolishly” or “c’est un vrai Different scales are often employed to new issues. My goal is to make people smile and guignol”, which is more insulting, meaning “he create funny situations. Shadow theatre travel within the reality: to take a certain altitude and is defi nitely not a serious person”. It is quite a is the best technique to play with size. This experiment with a very different way of seeing the common expression. It means to make a fool theatre form is akin to puppetry, it tells a story, world. of oneself, to mess around and on another projecting onto a screen fi xed or articulated Workshop leader’s experiences in England, level maybe to disturb a serious meeting/event objects. The advantage of using shadows is that France, Switzerland and Cameroon have helped me to grow as a performer and to see the infi nite by foolish behaviour. So in a sense it’s very there is a veil between the puppeteers and possibilities of theatre practice. No doubt it’s convenient to hide behind a puppet and to let the projections. It’s like singing gloriously in the very fundamental to create a safe place with no the puppet take all the responsibility for this shower as a safe place to express the comical judgement so enjoyable exploration of new skills can fooling around. That’s why it is so wonderful to side of each one of us. Contemporary shadow be encountered. Through leading workshops for be a puppeteer. puppets may be made by combining a variety the past seventeen years, I have found new ways in You’re defi nitely not a serious person of materials including found objects ranging transmitting my skills and my passion. Well, I guess observing and transforming from cardboard cut-outs to kitchen utensils. reality cannot be seen as a serious thing to I strongly believe that we are all surrounded Dorothy Bishop do. But in fact it takes a lot of work to fi nd the by humorous situations, stories, events and I was a nationally characters: being an televised fi nalist in season everyday observer is the four of America’s got key. I have spent hours on and have thrilled New terraces of various cafés York audiences for years watching people walking, with my incredible voice, interacting with each glamorous costumes, and other and experiencing wicked sense of humour. new anecdotes to be Solo appearances include Carnegie Hall with The New York Pops, Joes Pub told. So many beginnings at the Public Theatre, Lincoln Centre at Alice Tulley of stories are all around Hall, The Bon Soir, Town Hall, The Metropolitan us to be collected and Room, Roseland Ballroom, The Triad Theatre, The to be inspired from. As Grammercy Theatre, and most recently, my weekly soon as we are aware of show Dozen divas at the famous Metropolitan Room it, we only need to pull in New York City. the strings of laughter and I graduated from Yale University School of Music fi nd the ticklish point for and have sung pretty much every diva opera role comedy to take place. in the lyric repertoire. I toured with Faye Dunaway

34 Issue 1 | 2014-15 September | Scene in the fi rst Broadway National Tour of Terrence have taught workshops across the globe and have main stage, television and fi lm. I fi rmly believe McNally’s Tony Award winning show Master class, worked with all ages of students from elementary that the art of performing can elevate one’s life and was guest soloist with Skitch Henderson and through university. I have directed numerous full- experience, enhance one’s inner and outer core, the New York Pops at Carnegie Hall. One day at an scale musicals, dance performances, plays, devised increase self-esteem and expand compassion for, opera audition, the casting director marvelled at my pieces and improvisation shows in public and private and empathy with, the human condition. This remarkable resemblance to the current 2008 Vice schools and universities. My theatre company Break adventure is my joy, only surpassed by seeing President candidate, Sarah Palin. I spent the next the Wall Productions has toured the International students’ faces as they explore, discover and create three years working as a Sarah Palin impersonator, Fringe Festival Circuit numerous times and our in ways they had never thought of before. Now and also performing my pop opera headline show shows have been honoured with BEST of FEST located in Los Angeles, I have expanded my career on the luxury ships including the Queen Mary 2, awards. into producing, directing and post-production. These The QE2, and Regent Seven Seas. In addition to I love the art of comedy and have focused entertainment-industry experiences have provided seeing the world and singing with some of the top my research on the practices of improvisation, me with an entirely new way of looking at the bands and entertainers, I was featured on CNN, modern clown and physical comedy. I believe craft I teach and help me approach students with a Good Morning America, and ABC for my hilarious that a willingness to be vulnerable is the birthplace fresh and contemporary outlook, while integrating coverage of Occupy Wall Street as “Sarah Palin”. of innovation and creativity and thus I encourage academic and theatrical disciplines dramatically, my students to embrace their missteps and to technically, musically, culturally, historically and Bill Bowers celebrate them with a gloriously enthusiastic TA- thematically. I am a mime who talks. DA! I invite them to rediscover their pleasure in My job as a teacher is to instil and foster Born and raised in Montana, play and uncover the authentic artist/fool within. creativity, empowering students to make the one of the quietest places on Pandemonium usually ensues, lights explode, connections that no one has seen before. I am earth, silence drenched my discoveries are made, tears fl ow, laughter erupts sneaky. I take students through the back door of childhood and (by the way, and we all learn a little something about ourselves performance techniques and styles, while removing this was long before Oprah) and the creative process along the way. Currently, pre-conceived ideas that thwart and block full being a gay kid growing I teach theatre at the Zurich International School participation and creativity. We play, discover and up in a small western in Switzerland. For more information, visit www. will never forget and students all learn the Russian town meant I also knew tarabrodin.com. curtain-call step dance. about keeping my mouth shut. The advent of Facebook was decades away, so forming my identity Stephen Finegold Maia Knispel was interactive and risky. This mix of unspoken Having gained a First I am a clown/actor/ mayhem, humanity and beauty pointed me toward Class Honours Degree in theatre maker/educator the art of mime and that, inevitably, pointed me Performance Arts from and hold a BA degree toward New York City, where I now live and have Bradford University I went in Theatre Studies from worked as an actor and mime for thirty years. on to study Acting at Emory University, and I have appeared on and off-Broadway, at the Central School for Speech an MFA in Theatre Kennedy Centre, the White House, an Amish and Drama and have Practice and Intercultural colony and a family nudist resort. I spent several performed in theatre, Actor Training from the years studying with Marcel Marceau and now tour television, fi lm, radio and University of Exeter, United Kingdom. I was my solo shows all over the world. voice over ever since. I have performed in a founder and long-time artistic director of Out Of As an artist I utilise the art of silence to theatres throughout the world including London’s Hand Theatre in Atlanta, Georgia. I started working investigate the phenomenon of silence. I like to National Theatre and West End, Brooklyn Academy for the Big Apple Circus Clown Care Unit in 2006. take the classical form of and use it in a in New York and Akasaka Theatre in Tokyo. I have been studying and teaching clown, physical way that is accessible in the contemporary world. On television I was last seen playing Gerald theatre, and devising for the past fourteen years. The greatest lesson I learned from Marcel Marceau Thompson in the seventh series of Hustle for the Websites: http://www.bigapplecircus.org/clown-care is that, if mime isn’t passed on and taught, body to BBC. As a writer I have had several plays published and www.facebook.com/AtlantaClownCare body, the art form will simply disappear. I have made and performed throughout the United Kingdom. this transmission and teaching my mission. I have been associate director of Works Well Rebecca Kohler I am a storyteller, and want to help students fi nd Productions for the last twelve years and have I am a stand-up comic their voices to tell their own stories. I am continually directed eight of their productions in that time. I am and writer based in Toronto, amazed at how powerful the “voice of the body” also one of the actor/practitioners who help to run Canada. I have performed at can be and my work as a teaching artist is to help Calderdale Theatre School a Youth Theatre based the Just For Laughs Festival, other artists unlock their physical imagination and in Halifax, West Yorkshire, which is where I live and the Winnipeg Comedy allow this to augment the creative process. have been lucky enough to direct many plays with Festival, the Halifax Comedy I presently teach creative movement and this talented group, the latest being The lion, the Festival and have written for mime at NYU, Steinhardt; the Stella Adler witch and the wardrobe and Oh what a lovely war. This hour has 22 minutes, Conservatory; Neighbourhood Playhouse and the My particular interests in theatre are visual The Ron James show, Spun William Esper Studios. I am especially interested in theatre, using clown and mask and the exploration out, Scaredy squirrel and Too much information. fi nding connections between mime and method of new and unusual spaces, which take theatre www.rebeccakohler.com acting, both being art forms committed to truthful performances out of the traditional spaces we have behaviour in imaginary circumstances. Though new become accustomed to. I am increasingly interested Sacha Kyle to ISTA I have presented workshops for TaPS and in the role of music in theatre and as a musician have I was born in Vancouver was an AiR in Dusseldorf in 2013. I look forward to recorded four albums on the Routenote label as a Canada and now live in more opportunities with the ISTA community. founder member of Acoustic Blue. Glasgow, Scotland. After training as a performer Tara Brodin Matthew Godfrey and travelling with I am a theatre I have been working as various companies and director, writer, a professional actor since I artists making work in old performer and educator. was ten years old, starting buildings, in the street, in I received my theatre on the TV show You can’t do festivals in groups and also as a solo artist training from the that on television. As I grew I decided rather than playing out front I wanted to be University of Alberta up and studied the craft on the outside looking in. I loved seeing the wonder and have a Bachelor at the National Theatre of theatre come together like little pieces of a jigsaw of Education in Drama School of Canada and puzzle, so I naturally became a director. I much prefer and a Master of Fine Arts the Moscow Art Theatre leading the creation of theatre making and guiding the in Theatre Practice. In addition, I hold a Theatre in Russia, my acting career expanded into dance, artistry of actors, writers and performance makers to Arts Diploma from Grant MacEwan University. I improvisation, dinner theatre, street performing, create weird and wonderful shows.

42 Issue 1 | 2014-15 September | Scene Scene | Issue 1 | 2014-15 September 35 My fi rst ever production was set in fi ve and foreign environment helped me to adapt and I’ve been involved with this IB odyssey since underground spaces of an old train station and adjust in a more positive way. 1970-something, when, as a young teacher, I featured 25 performers, dancers, musicians – I For twenty-three years I worked as a performer encountered an infant IB through theatre and TOK. believe this was my best work as I had no rules for the Walt Disney Company. My personal style Many years have since passed and experiences such to follow and all I had to do was create. This is a of comedy was greatly influenced by my years with as being IB theatre arts pilot programme teacher, IB wonderful feeling and one in which I always like to Mickey Mouse. As wonderful a place as it was to theatre teacher, IB theatre deputy chief-examiner, encourage each and every students to do. Create work there, it eventually began to feel creatively IB theatre programme developer, IB theatre teacher without boundaries. Experiment without answers. stifling to me. The company has a very rigid set of (and student), workshop leader (face2face and Make with your heart. rules and regulations, which, as I grew older and online) and IB theatre workshop leader/trainer, I have been an ISTA artist for about ten years found my own comedy voice, I found to be very gave me the tools to be an IB workshop quality and am just returning this year after having a little difficult to create under. session observer in PYP, MYP and DP workshops girl. As an artist I am excited by the possibilities that In both my live performances as well as in my in all subjects. The tale of my involvement in ISTA- exist within everyone’s imagination. I love working writing, because of my struggle against Disney’s strict IB relationship growth continues et puis aussi en with cross art forms and am inspired by art, music, rules, my comedy developed into something with a Français. dance, travel. As a director I create work for adults more biting and edgy feel to it. As a comedian, I like I’ve always loved stories, whether told through and children, and my work has received some to make people laugh, but, it is more important for song, image or movement; I have always been awards which has also been lovely. I work in theatre, me to get them to think about a particular topic in fascinated by accounts of the human adventure. television and radio specialising in comedy and new a way that they might not have otherwise. I can be My mother is a folk-singer so, from these roots writing. found at www.LadyWinifredandDidi.com and refrains has come a belief in the fundamental therapeutic necessity of storytelling, in life and Peter Michael Marino Chris Ng education. The urge to teach pulled me into I’ve straddled both the I believe that contact with the theories of Laban. My growth as a theatre and comedy worlds everyone can act. We theatre person was heavily infl uenced by personal as an actor, writer, director, play roles all the time so experiences and interactions with Boal, Barba, Brook producer and teacher for taking role-playing into and Benison. Workshop sessions with colleagues of the past twenty-seven years the performance space is Grotowski and Lecoq also opened my mind and my in New York City and the just an extension of our body to theories and practices but the stories always United Kingdom. My early daily life. The primary remain. career included everything difference is one of from late-night improvisation shows skills and discipline. Nikki Payne with TheatreSports New York to playing Snoopy in As a working actor for I studied comedy Charlie Brown at a regional theatre in Florida. Soon, many years – on the community stage and then in writing and performance I was writing and performing spoofs of cabaret television – I felt I could use more performance skills at The Humber shows, co-creating an improvised soap opera that and lots of discipline. That was what I have tried to School of Comedy ran for two years, and directing more readings and instil in my drama students as head of a performance and also improvisation workshops than I can recall. In the mid-90s, I toured arts department at a private college and when at Second, City’s the world in STOMP and remained with the show working with new actors. I was really fortunate to Conservatory Program. Off-Broadway for over four years. During that have studied Chinese opera and Kabuki, puppetry While education is time, I lent my voice to hundreds of TV and radio and movement for actors – skills and performance not required to be a commercials for perfumes, cold medicines, beers, styles which have enriched me and given me depth stand-up comic, I believe that bands and banks. as an actor. life experience is essential to good storytelling. In 2007 I wrote the Blondie musical Desperately Over the last fi fteen years I have taken drama Education is a great life experience. I have been seeking Susan, which played London’s West End and and theatre into the domain of social issues, performing stand-up comedy, acting and writing for Tokyo. For the past few years I’ve been performing educating young people in my country (Malaysia) fi fteen years. I have appeared on NBC’sLast comic my solo comedy Desperately seeking the exit about about issues that impact on and affect them. Starting standing, ’s Hot tamales as well as my experience with “Susan” including two critically off with the Youth to Youth Theatre on HIV/AIDS, numerous shows in Canada. I live with my Yorkie, acclaimed runs at the Edinburgh Fringe. The show my work has grown into areas of child protection, Emilio Estevez and his best friend Battlecat. also played in Adelaide, Brighton & Manchester, traffi cking, bullying and self-esteem. Drama and Orlando, Ft. Myers, Hollywood, and pop-up shows theatre are such powerful tools for giving voice to Ian Pike in NYC. In 2013, I created and co-produced those who do not have one. This is where I now I was born in SOLOCOM at The PIT in Manhattan, which focus my energy and I fi nd it truly rewarding. Southern Africa but showcased over sixty original solo comedies from In the last fi ve years I have retrained and am live in the United around the world. My variety show COJONES now a qualifi ed play therapist. I fi nd we must deal Kingdom. After (where performers do something on stage they’ve not only with the drama outside but also the drama training as an actor, never done before) played for six months at The PIT. within us that prevents us from being the best I switched direction Both SOLOCOM and COJONES return in the fall of that we can be. That is something I believe we all and became a 2014. In between all of that I’ve directed dozens of deserve – to be the best that we can be. stand-up comedian. solo shows and continue teaching comedy, improv After realising that I and solo show classes at The PIT and The Actor’s Mike Pasternak disliked having bottles thrown at me and Centre in London. Visit www.petermmarino.com for I studied at the that I enjoyed writing jokes a lot more than delivering more info. University of London them, I became a full time scriptwriter. I have been an (ADASM), University ISTA artist for nearly twenty years, was on the board Dewey McGeoch of York (ADAES) and of trustees for ten years and served as vice-president. I am a comedian University of Bath I am now very proud to be an honorary life member. based out of New (MA in international I have also served on the staffi ng, scholarship, York City. My husband education). I spent programming and IB committees. I have been an IB and I moved here to many years at the theatre arts examiner and staffed, AD’d and rep’d Harlem two years International School numerous festivals and TaPS around the globe. I have ago to promote and of Geneva (Ecolint) and taught in worked across many different genres, lectured across perform our comedy Canada, the United Kingdom and the United States many modules for both undergraduate and master’s shows. We are a drag then had a brief sojourn as a university research programmes at a number of United Kingdom comedy duo. I very much enjoy writing fellow, exploring theatre and learning approaches. universities and delivered numerous workshops to about my experiences here in New York. I especially ISTA posts have included ensemble leader/teacher middle and high school students, as well as master wrote a lot during my first few months here. Writing trainer, president of the board of trustees and classes specifi cally aimed at teachers. I have also had in a comedic way about my experiences in this new honorary life member. several books for children published. At one stage I

36 Issue 1 | 2014-15 September | Scene had a full head of hair. Stephen Skelton I recently joined the ISTA board of trustees and As an artist, I am driven by the need to tell I started acting am thrilled to be a part of ensuring the vision of stories. I can neither dance nor sing successfully in a theatre run by this cutting-edge, worldwide educational-theatre (not that the lack of talent stops me from doing a tough old director organization. either) but I pride myself on being able to spot a called Ruby. I managed good beginning, middle and end. My own kids tell to land a number of Jen Tickle me I’m not funny but that does not stop me from major roles in plays I teach part time always looking for ways to weave humour into which were televised, at Hillel Academy, everything I am creatively involved with. My lack of with inspiration, in Kingston, Jamaica maturity means I love working with young people. improvisation and where I am I enjoy taking risks, sometimes with disastrous creativity being the pillars responsible for TOK, consequences. I stood between in the dramatic arts. I was also Extended Essays and a dancer and playing in a band, so drama, dance Drama/Theatre. In the Al Rae and music became the backbone of what I lived, other half of my week I am the co-founder breathed and taught. I taught in international I work freelance as an and artistic director of schools, public schools, English schools, colleges MYP teacher trainer the Winnipeg Comedy and universities. I went on to direct several schools, and moderator and as an examiner for Diploma Festival. I am a long time a creative charitable trust and manage one of the Theatre. I also study. Most recently I taught opera buff who reviews fi rst interactive television channels, a health and MYP and PYP Arts and was MYP Coordinator in for CBC Radio and does lifestyle channel. I wrote a bestselling book and had Dhaka, Bangladesh. I love theatre for its power to funny talks for Manitoba my music featured on radio and television in the transform lives. It has certainly transformed mine, Opera. I was lucky United States, Japan, Europe, Australia and New leading a shy third culture kid from a Saturday enough to be involved Zealand. I lived and travelled performing all over the job at my local theatre through a Drama degree in the ground fl oor of the hit Canadian sitcom world, appearing on US television as a singer who at Manchester University, various jobs such as Little mosque in the prairie receiving a Gemini and heals the heart. My new book series for children, production assistant and freelance journalist, and a Prix Roma (Italy) prize for writing. In 2000 I was Bella and Burton’s misadventures, is about to have fi nally into a career as an international teacher. I’ve the National Champion of the Just For Laughs book number three Searching for Sita based on lived and worked around Asia, South America and Homegrown Comedy Competition and performed The Ramayana published in August throughout Europe. My favourite experience of theatre was at the 2012 Just For Laughs in The American Dream Asia. I am currently based in Japan and love writing, in a town in Northern Thailand where the only alongside . My play One man’s Show composing, teaching and performing in the arts. I audience was me and a pineapple. which deals with gender and perception debuted also like star watching, trekking, playing music, yoga As well as teaching internationally for many in 2007 at the Carol Shields Festival of New Works and eating any kind of berry ever grown. I can be years now, I have worked with drama in a variety starring Sarah Constible as Al and was remounted contacted at [email protected] of therapeutic situations. My international setting in 2012 for the Gas Station Theatre’s 30th allows me to explore the world of Applied Theatre Anniversary program. I can be reached at Sherri Sutton in war zones, slums and refugee communities as [email protected] I am a comic, well as with future world leaders. Drama is art storyteller, director, but it is a powerful art. It gives us the power to Anne Marie Scheffl er performer, writer, explore our humanity, the power to shape the I’m a professional workshop leader, IB world around us and to effect change in others and actress/writer/comedian/ examiner, mover and ourselves. I am proud to be a small part of that voice artist who lives shaker. I love stories. transformation, both in my own schools and in my between Toronto It is the essential community. and Los Angeles. ingredient for good I went to theatre theatre. I like so many Francois Zanini school to become a different theatre My family name dramatic actress but practices that I cannot say I have one favourite, comes from Italy but kept booking funny however, I do love theatre that breaks the fourth I was born and raised TV commercials so I took the hint to go into wall and engages in a type of dialogue with the in France. A sporty comedy. I was a Second City Mainstage understudy audience. This style has directly infl uenced how I uncle made me and National Tour Co. member. I then found the work. My expertise lies in comedy and its many discover gymnastics as fringe theatre festivals. I wrote and performed in forms. I understand the specifi c conventions of a child. It didn’t bring my own one woman shows including Situation: the many different styles of comedy, as well as the me to the Olympics Norma, Watch… Norma’s back and Leaving Norma unique comedic relationship with the audience. but allowed me to – my Norma trilogy. Then my comedic voice was I have two critically-acclaimed shows that have become an acrobat in medieval street pretty clear and I began to write my shows for my toured all over the world: Don’t make fun of Jesus theatre shows during my school holidays. There character Anne Marie - which I still perform as now. and Taking out the white trash!. My style is a mixture I discovered Commedia dell’arte, mask work and I have seven solo shows in total. My fi fth show Not of stand-up/storytelling and theatre of confession. voice projection. getting it was turned into a one hour comedy special I was given a TV-featured spot for the Winnipeg During my university years I spent two for CTV/ The Comedy Network, and my seventh Comedy Festival and CBC Radio. I have performed years pushing the limits of body, voice and brain, show Suddenly Mommy! tours the United States and in some of the best clubs and theatres in the United exploring the wild territories of contemporary Canada. I also co-wrote and co-starred in Spank! States and Canada but my favourite gigs have been theatre with challenging director Marc Klein. All The 50 shades parody, which toured internationally performing for the ISTA students in Malaysia and this hard work sent me to jail where I worked (as a and was part of The Just for Laughs festival in Jakarta. Recently I was appointed the chief examiner coach) with young people having trouble with the Montreal. for the current IB theatre programme and am law. Life then decided to throw me on the other I do TV, fi lm, radio, TV commercials, voice working on revising an already dynamic course. side of the planet, in Hong Kong, where I’ve been overs, and live comedy. I played a goofy girlfriend In 2001 ISTA invited me to become an artist a full time actor and circus performer since. in a feature fi lm calledThe aliens, coming out soon. member, which has led to numerous opportunities As an artist I’m chasing the “magic moments”, I am developing a TV series based on my comedic to host, teach, AD, Rep and lead IB TaPS workshops those ephemeral instants that lift the audience voice. I also teach a workshop on “how to create all over Europe, North America and Asia. My out of its skin and connect it with larger-than- your own one person show.” My favourite creations relationship with both the IB and ISTA has been life emotions. Since they can happen in the are my sons Nathan and Jake! rewarding beyond measure. I have collaborated middle of a chaotic street carnival, the silence of www.annemariescheffl er.com with some of the best teachers/practitioners in the a Shakespearean stage or under a circus big- www.suddenlymommy.com world. As a result I am creating an interactive show, top, I’m passionately exploring all forms of live https://twitter.com/clearlyblonde called Around the theatre world in 80 minutes, which performance, with a preference for the ones www.facebook.com/ThatFunnyBlonde will explore the conventions of numerous practices. involving the active body. www.ista.co.uk Scene | Issue 1 | 2014-15 September 37 The Singer’s Theatre will come to you!

International Workshops We off er international workshops for elementary and high school levels and will cater a program to work for your students and budget. Winner of Broadway World Toronto’s Best Youth Theatre Production in 2011!

Amanda Brunk, producer Alumni have performed on Broadway, in North We will create a custom-made curriculum to suit your students American tours and on ages, skill levels and performance experience preferences. Our celebrated television shows creative team is eager to travel to your school and make your in the United States and Canada. musical theatre experience one to remember.

www.thesingerstheatre.ca www.about.me/Amanda.brunk