Unit 29: Stand-up Comic Technique Unit code: A/502/5126 QCF Level 3: BTEC National Credit value: 10 Guided learning hours: 60 Aim and purpose This unit will enable learners to study the techniques of past performers and to develop the necessary performance skills and comic techniques to perform stand-up routines themselves. Unit introduction Stand-up comedy has emerged in recent years as an exciting performance style, constantly changing and updating itself as the range of practitioners and their particular chosen styles of delivery evolve. Some performers see this genre as a useful additional skill in an environment where performance work is often hard to secure, many professionals who work in this area later graduate into other styles of performance work, often building on the techniques which they have developed for stand-up routines. Learners will explore key practitioners and those who have influenced the stand-up comedy movement to develop comedy performance skills and techniques and the essence of a comedy ‘act’. Learners will investigate a range of stand up comedy techniques. The unit gives learners the opportunity to build a portfolio of research, improve their skills and take part in performance work devised through their development of material. Learners will examine the origins of comedy and specifically the traditions of social comedy in the guise of the fool or jester in the courts of Europe. They will look at comedy genres (parody, satire, farce, physical), elements and structure of jokes (set-up, punch line, payoff moment), elements of comedic rehearsal and presentation (expectation/violation, pace, delivery, context, physicality, sound effects) and a vocabulary of related terms. Learners will look at the extended comic monologue as well as the joke sequence routine. They will also gain some insight into the specific problems and advantages of comedy on radio and television. Some time will be given to improvisation and the ad-lib. Learners should take part in at least two stand-up comedy routines, each lasting 2-3 minutes. Learning outcomes On completion of this unit a learner should: 1 Know the key influences in stand-up and alternative comedy 2 Be able to develop stand-up comedy skills and techniques 3 Be able to select, develop and refine stand-up comedy material 4 Be able to take part in the performance of stand-up comedy. Edexcel BTEC Level 3 Nationals specification in Performing Arts – Issue 1 – January 2010 © Edexcel Limited 2009 1 Unit content 1 Know the key influences in stand up and alternative comedy Current practitioners: eg Ross Noble, Eddie Izzard, Billy Connolly, Lenny Henry, Victoria Wood, Bill Bailey, Ken Dodd, Jack Dee, Jimmy Carr, Rhona Cameron, Ben Elton, Stephen K Amos, Robin Williams, Reginald D Hunter, Jo Brand, Lucy Porter, Steve Martin, Eddie Murphy, George Carlin, Rory Bremner, Al Murray, Omid Djalili, Sacha Baron Cohen, Steve Coogan, Harry Enfield, Johnny Vegas Past practitioners: eg Morecambe and Wise, Les Dawson, Richard Pryor, Tommy Cooper, Bill Hicks Extended monologists: eg Ruth Draper, Garrison Keillor, Shelley Berman; social comment comics eg Mort Sahl, Lenny Bruce, Bill Cosby, Chris Rock; sight gag comics eg Red Skelton, Lucille Ball; improvisational comics eg Sid Caesar, Lily Tomlin, Elaine May Context: eg social, cultural, historical, political, artistic, economic 2 Be able to develop stand-up comedy skills and techniques Physical, vocal and acting skills: body language; characterisation; microphone techniques; vocal and physical exaggeration; timing; style of delivery; stagecraft; stage presence Comedy technique: eg audience interaction, heckling, observation skills, set-up and payoff, satire, mimicry, solo material and sketch writing, opening patter, delivery, rant-and-rave technique, formula gag 3 Be able to select, develop and refine stand-up comedy material Stimulus: explore ideas related to sources eg text, props, pictures, found objects, music, voice, song, words, stories, masks, costume, poetry, paintings, sculpture, buildings, topical events, news Manipulation: use of words; action and movement combined; technical involvement; other media eg live sound and recorded sound, multi-media Development: taught material; original material; motifs; themes; physical style Create: devise; adapt; experiment; rehearse; appraise; test; modify Context: nature of material; potential audience; types/functions of venues; formal/informal relationship Constraints: health and safety; copyright; legal; technical; financial; access; location; resources 4 Be able to take part in the performance of stand-up comedy Performance skills: use of body; voice; acting; instrument; equipment; materials; props; communication and interaction; timing; participation; energy and focus; responsiveness Presentation of ideas: eg verbal, visual, textual, audio, physical, technical, vocal, musical Edexcel BTEC Level 3 Nationals specification in Performing Arts 2 – Issue 1 – January 2010 © Edexcel Limited 2009 Assessment and grading criteria In order to pass this unit, the evidence that the learner presents for assessment needs to demonstrate that they can meet all the learning outcomes for the unit. The assessment criteria for a pass grade describe the level of achievement required to pass this unit. Assessment and grading criteria To achieve a pass grade the To achieve a merit grade the To achieve a distinction grade evidence must show that the evidence must show that, in the evidence must show that, learner is able to: addition to the pass criteria, in addition to the pass and the learner is able to: merit criteria, the learner is able to: P1 describe contemporary M1 explain contemporary stand- D1 analyse contemporary stand- stand-up comedy, recognising up comedy, recognising key up comedy, recognising key key influences, methods and influences, working methods influences, working methods techniques and techniques and techniques [IE] P2 apply physical, vocal, M2 apply physical, vocal, D2 apply physical, vocal, acting acting and comedy skills acting and comedy skills and comedy skills with competently when competently and with ease, lack of inhibition and developing performances and style when developing presence when developing in performance performances and in performances and in [CT] performance performance P3 develop and shape ideas and M3 develop and shape ideas and D3 develop and shape ideas and materials in practical comedy materials in practical comedy materials in practical comedy workshops, with guidance workshops, with minimum workshops independently and support guidance and support [RL, CT] P4 perform stand-up comedy, M4 perform stand-up comedy, D4 perform stand-up comedy, demonstrating appropriate clearly demonstrating demonstrating the flexible creative skills with discernible integrated creative skills with application of a high level focus, concentration and positive focus, concentration of integrated creative skills, commitment. and commitment. focus, concentration and [TW, EP] commitment. PLTS: This summary references where applicable, in the square brackets, the elements of the personal, learning and thinking skills applicable in the pass criteria. It identifies opportunities for learners to demonstrate effective application of the referenced elements of the skills. Key IE – independent enquirers RL – reflective learners SM – self-managers CT – creative thinkers TW – team workers EP – effective participators Edexcel BTEC Level 3 Nationals specification in Performing Arts – Issue 1 – January 2010 © Edexcel Limited 2009 3 Essential guidance for tutors Delivery The unit should be delivered through a combination of classroom and practical workshops where learners create and explore material as well as analyse the key influences of stand up comedy. Learners should be encouraged to use a working diary and/or portfolio for their research and development work. Delivering stand-up comedy can be more daunting than almost any other kind of performing. Learners will need to gain the confidence to perform in front of an audience. It is a good idea to begin exposing learners to short performances before sympathetic audiences early in the unit. As soon as learners have created a short routine, they should be encouraged to stand-up and perform it. It is only through trying out material and subsequently refining it that learners will be able to develop their skills. They should be given opportunities to learn by using the material of other stand-up comedians, perhaps adapted to their own circumstances, as well as creating and developing their own material. They should also be given opportunities to develop routines in pairs, in addition to developing solo material. It will be important for them to understand the difference between themselves and the persona which is presented in performance. Learners will need to understand the basic structure of jokes, the way that a set-up leads to a punchline (or payoff) and how contrast and surprise lie at the heart of much comedy. They will need to learn how the expectations of an audience are manipulated and exploited through the structure of jokes and will benefit from being able to structure their own original jokes, based on the patterns which they have observed. Learners should experiment with increasingly long ‘sets’, where they develop comic monologues and stories. They will need to be taught various skills of presentation, including microphone skills and the handling of any relevant props. They should be encouraged to explore the physical and vocal range