Unit 29: Stand-Up Comic Technique
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Before the Forties
Before The Forties director title genre year major cast USA Browning, Tod Freaks HORROR 1932 Wallace Ford Capra, Frank Lady for a day DRAMA 1933 May Robson, Warren William Capra, Frank Mr. Smith Goes to Washington DRAMA 1939 James Stewart Chaplin, Charlie Modern Times (the tramp) COMEDY 1936 Charlie Chaplin Chaplin, Charlie City Lights (the tramp) DRAMA 1931 Charlie Chaplin Chaplin, Charlie Gold Rush( the tramp ) COMEDY 1925 Charlie Chaplin Dwann, Alan Heidi FAMILY 1937 Shirley Temple Fleming, Victor The Wizard of Oz MUSICAL 1939 Judy Garland Fleming, Victor Gone With the Wind EPIC 1939 Clark Gable, Vivien Leigh Ford, John Stagecoach WESTERN 1939 John Wayne Griffith, D.W. Intolerance DRAMA 1916 Mae Marsh Griffith, D.W. Birth of a Nation DRAMA 1915 Lillian Gish Hathaway, Henry Peter Ibbetson DRAMA 1935 Gary Cooper Hawks, Howard Bringing Up Baby COMEDY 1938 Katharine Hepburn, Cary Grant Lloyd, Frank Mutiny on the Bounty ADVENTURE 1935 Charles Laughton, Clark Gable Lubitsch, Ernst Ninotchka COMEDY 1935 Greta Garbo, Melvin Douglas Mamoulian, Rouben Queen Christina HISTORICAL DRAMA 1933 Greta Garbo, John Gilbert McCarey, Leo Duck Soup COMEDY 1939 Marx Brothers Newmeyer, Fred Safety Last COMEDY 1923 Buster Keaton Shoedsack, Ernest The Most Dangerous Game ADVENTURE 1933 Leslie Banks, Fay Wray Shoedsack, Ernest King Kong ADVENTURE 1933 Fay Wray Stahl, John M. Imitation of Life DRAMA 1933 Claudette Colbert, Warren Williams Van Dyke, W.S. Tarzan, the Ape Man ADVENTURE 1923 Johnny Weissmuller, Maureen O'Sullivan Wood, Sam A Night at the Opera COMEDY -
Festival at a Glance
FESTIVAL AT A GLANCE WEDNESDAY 22 10:00-11:00 BREAK 11:30-12:30 BREAK 14:00-15:00 BREAK 15:45-16:45 BREAK 17:45-18:30 18:30-21:00 P Masterclass: 11:00-11:30 P Meet the Controllers: 12:30-14:00 F Gamechanger: 15:00-15:45 P Edinburgh Does 16:45-17:45 L MacTaggart Lecture: Free coaches to The FH Screening: Love Island T Channel 4 Charlotte Moore, L It’s all about me... SA Music from Nancy Daniels, T How to Cash In Catchphrase with B Branded Michaela Coel Museum of Scotland Vanity Fair, ITV. S Meet the Controller: Random Acts Live Pitch BBC One on TV: Joanna Lumley Hannah Haynes, Discovery on the Streaming Roy Walker Entertainment Network depart from the EICC Exclusive Preview Damian Kavanagh, 11:00 - 12:00 F Tomorrow’s World with Clive Tulloh Harpist and Composer S Meet the Controller: Goldrush S Meet the Cocktail Reception 18:30 - 19:15 of Episode One with BBC Three SA Music from of TV 12:45 - 13:45 Zai Bennett, Sky UK 15:10 -15:40 Controllers: Richard 16:45 - 17:35 Cast & Crew Q&A 19:00 - 20:30 MK Too Posh Hannah Haynes, S The Insider’s Guide T Meet the Canadians: MK Commissioner LF Lightning Talk: Watsham, Hilary Rosen BT Pre-MacTaggart & Steve North, UKTV to Produce? Harpist and Composer to Building Your Opportunities for Interview: Luke Hyams, How to make a Lecture Drinks A+E Networks Opening UK Producers Green Production 16:45 - 17:35 P5 Speed Meetings: Audience on YouTube Head of Originals, MK Introductory Night Reception: The 12:45 - 13:30 15:10 - 15:40 10:00 - 16:00 MK Lessons from YouTube EMEA Address: SA Join us for a Museum of -
Of Idiocy, Moroseness, and Vitriol Soloists of Rage in Ben Jonson's
Of Idiocy, Moroseness, and Vitriol Soloists of Rage in Ben Jonson’s Satire Rui Carvalho Homem A punitive design energised by a sense of self-righteousness is probably the most persistent de- fining trait of the satiric voice within a conventional understanding of this literary mode. Em- powered by a set of exacting values, the satiric persona inveighs against vice or folly, his or her verbal energy hardly accommodating the possibility of doubt. Satire’s ‘radical moral stance’, its assuredness regarding ‘standards’, and its sharp sense of ‘direction’ have often been critically argued. And its appertaining urge to discriminate, with vehemence and imperiousness, is best served by the singularity of a raging voice, unforgivingly pronouncing on the ills of other indi- viduals or of a community. The work of Ben Jonson contains several generic environments in which the satiric mode can become manifest, ranging from the ostensibly monological regime of the Epigrams or the pro- logues to his plays to frequent tirades delivered by unflinching or obsession-driven dramatic characters. A discursive feature of those characters in the comedies who voice their highly strung satiric indignation is precisely that, even when they do so as apparent contributions to dramatic dialogue, their verbal excess highlights the isolation, self-centredness, and inability to communi- cate that defines them. But the moment when the satiric ranter becomes an object as much as an agent of satire is also when the rationale for the supposed normative value of satiric denunciation reaches its breaking point. By setting off the strong presence of irony and inconclusiveness in Jonson’s construction of satiric solo performances, this paper partakes in the interrogation of tra- ditional definitions of satire that has characterised recent critical revisitations of the mode — while it also underlines the extent to which such interrogation coincides with a fundamental swerve in Jonson’s critical reputation. -
The Future of The
The Future of Public Service Broadcasting Some thoughts Stephen Fry Before I can even think to presume to dare to begin to expatiate on what sort of an organism I think the British Broadcasting Corporation should be, where I think the BBC should be going, how I think it and other British networks should be funded, what sort of programmes it should make, develop and screen and what range of pastries should be made available in its cafés and how much to the last penny it should pay its talent, before any of that, I ought I think in justice to run around the games field a couple of times puffing out a kind of “The BBC and Me” mini‐biography, for like many of my age, weight and shoe size, the BBC is deeply stitched into my being and it is important for me as well as for you, to understand just how much. Only then can we judge the sense, value or otherwise of my thoughts. It all began with sitting under my mother’s chair aged two as she (teaching history at the time) marked essays. It was then that the Archers theme tune first penetrated my brain, never to leave. The voices of Franklin Engelman going Down Your Way, the women of the Petticoat Line, the panellists of Twenty Questions, Many A Slip, My Word and My Music, all these solid middle class Radio 4 (or rather Home Service at first) personalities populated my world. As I visited other people’s houses and, aged seven by now, took my own solid state transistor radio off to boarding school with me, I was made aware of The Light Programme, now Radio 2, and Sparky’s Magic Piano, Puff the Magic Dragon and Nelly the Elephant, I also began a lifelong devotion to radio comedy as Round The Horne, The Clitheroe Kid, I’m Sorry I’ll Read That Again, Just A Minute, The Men from The Ministry and Week Ending all made themselves known to me. -
Ironic Feminism: Rhetorical Critique in Satirical News Kathy Elrick Clemson University, [email protected]
Clemson University TigerPrints All Dissertations Dissertations 12-2016 Ironic Feminism: Rhetorical Critique in Satirical News Kathy Elrick Clemson University, [email protected] Follow this and additional works at: https://tigerprints.clemson.edu/all_dissertations Recommended Citation Elrick, Kathy, "Ironic Feminism: Rhetorical Critique in Satirical News" (2016). All Dissertations. 1847. https://tigerprints.clemson.edu/all_dissertations/1847 This Dissertation is brought to you for free and open access by the Dissertations at TigerPrints. It has been accepted for inclusion in All Dissertations by an authorized administrator of TigerPrints. For more information, please contact [email protected]. IRONIC FEMINISM: RHETORICAL CRITIQUE IN SATIRICAL NEWS A Dissertation Presented to the Graduate School of Clemson University In Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy Rhetorics, Communication, and Information Design by Kathy Elrick December 2016 Accepted by Dr. David Blakesley, Committee Chair Dr. Jeff Love Dr. Brandon Turner Dr. Victor J. Vitanza ABSTRACT Ironic Feminism: Rhetorical Critique in Satirical News aims to offer another perspective and style toward feminist theories of public discourse through satire. This study develops a model of ironist feminism to approach limitations of hegemonic language for women and minorities in U.S. public discourse. The model is built upon irony as a mode of perspective, and as a function in language, to ferret out and address political norms in dominant language. In comedy and satire, irony subverts dominant language for a laugh; concepts of irony and its relation to comedy situate the study’s focus on rhetorical contributions in joke telling. How are jokes crafted? Who crafts them? What is the motivation behind crafting them? To expand upon these questions, the study analyzes examples of a select group of popular U.S. -
Nigerian Pidgin Use and Strategies Employed by Stand-Up Comedians to Achieve Interaction in Comedy
Nigerian Journal of African Studies, Vol. 2 No. 1, 2020 (ISSN: 2734-3146) NIGERIAN PIDGIN USE AND STRATEGIES EMPLOYED BY STAND-UP COMEDIANS TO ACHIEVE INTERACTION IN COMEDY Nneoma Chiebuka Ngige Department of English Language and Literature Nnamdi Azikiwe University, Awka Email: [email protected] Abstract This study is aimed at looking at the use of Nigerian Pidgin and strategies employed by stand-up comedians to achieve interaction in comedy. Stand-up comedy, an oral dramatic performance commonly enacted by a solo-performance before a live audience, are known to use Nigerian Pidgin creatively to create comedy and entertain their audience. Their patterns and choices of language can sometimes have hidden meanings that show Nigerian ways of life and their tone of utterance can sometimes be inappropriate. This study therefore examines the strategies deployed by stand-up comedians with the view to determine the role of Nigerian Pidgin as a veritable source in comedy production and consumption. Hence, the purpose of this study is to analyze the strategies employed by Nigerian stand-up comedians to achieve interaction in comedy, their patterns and choices of language as they are used to create comedy to entertain their audience. This work reveals how Nigerian Pidgin reflects social relationship between the comedian and his audience. It also reveals that pidgin is an informal language, and so its informality creates an equal social relationship in an informal setting which aids laughter. Introduction Language can be described as a dynamic, social and interactive phenomenon -whether between the speaker and the listener, or writer and the reader (Crystal 19). -
The Lib Dem Conference
Sixth Form Mercury Wilson’s School’s newest student-run publication Volume 2, Issue 12, Dec 2012 ‘We can be heroes’: The Lib Dem conference Sat in the front row of a packed auditori- list politicians, as well as senior figures um at the Brighton Centre, I eagerly from the media. Topics ranged from anticipated what the Liberal Democrats whether Britain is resigned to having had in store for the launch of their 2012 governments of more than one party Federal Conference. from now on, to how it would be possi- ble to keep the media in control. A full 15 minutes behind schedule, the lights finally dimmed and David Bowie’s A huge media presence was also a key classic ‘Heroes’ began to belt out of the feature of the conference - although speakers, to introduce the charismatic common knowledge dictates that jour- president of the party, Tim Farron. “We nalists aren’t as straightforward as they can be heroes, just for one day,” quoted appear. Farron, referring to the day Nick Clegg agreed to enter government in coalition I fell victim to this on the first day. As with the Conservative Party. His reason- chairman of Liberal Youth in Croydon ing was simple - the only other alterna- In case you haven’t already guessed, he’s sorry and Sutton, I was invited to take part in tive at the time was a minority Conserva- an interview on a politics radio pro- tive government, something that would age at times of economic prosperity let gramme on Radio 5 Live, hosted by political have led to the Tories solely making the key alone recession; he refused to apologise for analyst Jon Piennar. -
Powerful Memoir from an American Master
POWERFUL MEMOIR FROM AN AMERICAN MASTER AUGUST WILSON’S CO-CONCEIVED & DIRECTED BY TODD KREIDLER FEATURING HOW I LEARNED EUGENE LEE WHAT I LEARNED CURRICULUM GUIDE TABLE OF CONTENTS Standards 3 Guidelines for Attending the Theatre 4 Artists 5 Themes for Writing & Discussion 8 Mastery Assessment 11 For Further Exploration 12 Suggested Activities 17 © Huntington Theatre Company Boston, MA 02115 March 2015 No portion of this curriculum guide may be reproduced without written permission from the Huntington Theatre Company’s Department of Education & Community Programs Inquiries should be directed to: Donna Glick | Director of Education [email protected] This curriculum guide was prepared for the Huntington Theatre Company by: Alexandra Truppi I Manager of Curriculum & Instruction with contributions by: Donna Glick | Director of Education COMMON CORE STANDARDS IN ENGLISH LANGUAGE ARTS STANDARDS: Student Matinee performances and pre-show workshops provide unique opportunities for experiential learning and support various combinations of the Common Core Standards for English Language Arts. They may also support standards in other subject areas such as Social Studies and History, depending on the individual play’s subject matter. Activities are also included in this Curriculum Guide and in our pre-show workshops that support several of the Massachusetts state standards in Theatre. Other arts areas may also be addressed depending on the individual play’s subject matter. Reading Literature: Key Ideas and Details 1 Reading Literature: Craft and Structure 5 • Grade 7: Cite several pieces of textual evidence to support analy- • Grade 7: Analyze how a drama’s or poem’s form or structure sis ofwhat the text says explicitly as well as inferences drawn (e.g., soliloquy, sonnet) contributes toits meaning. -
Soyouwanna Do Stand-Up Comedy? | Soyouwanna.Com 10/10/09 10:42 AM
SoYouWanna do stand-up comedy? | SoYouWanna.com 10/10/09 10:42 AM Search SYW SYWs SYWs by Questions How Tos HOME A to Z CATEGORY & Answers Sponsored Links Related Ads Comedian Casting Frank Caliendo in Vegas Comedy Circus Auditions, Open Calls for Comedian Add Laughter to Your Vegas Trip. Buy Def Comedy Jam Jobs.Talent Needed Urgently Frank Caliendo Tickets Today! Funny Comedy Casting-Call.us/Comedian www.MonteCarlo.com/FrankCaliendo Comedians Stand Up Comedy SOYOUWANNA DO STAND-UP COMEDY? Comedy Songs be a movie extra? get a talent agent? 1. Study the pros know about different fabrics 2. Gather material for your act for men's suits? write an impressive 3. Turn your material into a stand-up resume? routine register a trademark? 4. Find a place to perform 5. Earn money for being funny Sponsored Links Improv Comedy SF Bay Area Shows and Classes. Perform or watch Yeah, yeah, you're pretty funny. But it's one thing to make some of your slightly buzzed Only one block from friends laugh at a party. It's a whole other ballgame to get on a stage in front of an 19th BART audience and do stand-up comedy. To do any kind of live performance, you need to have www.pantheater.com a strong ego and nerves of steel. To do stand-up comedy, you need to be virtually insane. Almost everybody bombs their first time ("bombing" means that you didn't make 'em laugh . in the world of stand-up, that's not good). Learn Stand Up Comedy There's a common misconception that stand-up comics do nothing all day and tell little stories to drunken audiences at night. -
Marketing Fundamentals
Comedy and Performance 197g Fall Semester 2017 Tuesday and Thursday 2.00 – 3.20pm Location: LVL 17 Instructor: Louise Peacock Office: JEF 202 Office Hours: Tuesday and Thursday 10 – 11. Please contact me for appointments. Contact Info: [email protected] Teaching Assistant or Assistant Instructors: Ashley Steed. Contact Info: [email protected] Jay Lee Contact Info: [email protected] Course Description and Overview This GE course will provide students with an overview and understanding of the history and performance of comedy. Using examples from as far back as Greek Theatre and as current as Modern Family, students will be encouraged to identify and understand the distinctive features, techniques and themes of comedy performance. Through many manifestations including the pantomimes of the Greek and Roman periods, the Commedia dell’Arte of the Renaissance, the flourishing of the circus, the great age of silent comedy in cinema, and the postwar screen era, comedy in performance has evolved in multiple forms as a response to prevailing conditions while maintaining many primary functions, including satire, celebration, and social commentary. The course explores in depth many of the most important and influential periods and differing strains of comic performance, addressing the discipline in terms of creation and execution as envisaged by writers, actors, clowns, comedians, and directors. Learning Objectives 1. To analyze the form and content of comic material across a range of historic periods and to investigate the impact of comedy on audiences 2. To make connections between the comedy of different periods, identifying the social, political and cultural contexts in which the work was created and performed. -
Sampling of Careers Within the Performing Arts
Sampling of Careers within the Performing Arts Performing in categories/places/stages including, but not limited to: Broadway Dance Companies International Theatre Short Films Children’s Theatre Documentaries Music Videos Television Commercials Festivals Off-Broadway Touring Companies Community Theatre Film Opera Web Series Cruise Ships Independent Films Regional Theatre West End London Performing arts jobs* including, but not limited to: Actor (27-2011) Dance Academy Owner (27-2032) Mascot (27-2090) Script Writer (27-3043) Announcer/Host (27-2010) Dance Instructor (25-1121) Model (27-2090) Set Designer (27-1027) Art Director (27-1011) Dancer (27-2031) Music Arranger (27-2041) Singer Songwriter (27-2042) Artistic Director (27-1011) Dialect Coach (25-1121) Music Coach (27-2041) Sound Editor (27-4010) Arts Educator (25-1121) Director (27-2012) Music Director (27-2041) Stage Manager (27-2010) Arts Manager (11-9190) Director’s Assistant (27-2090) Music Producer (27-2012) Talent Agent (27-2012) Ballet (27-2031) Drama Coach (25-1121) Music Teacher (25-1121) Casting Agent (27-2012) Drama Critic (27-3040) Musical Composer (27-2041) Technical Director (27-4010) Casting Director (27-2012) Drama Teacher (25-1121) Musical Theatre Musician (27-2042) Technical Writer (27-3042) Choir Director (27-2040) Event Manager (27-3030) Non-profit Administrator (43-9199) Theatre Company Owner (27-2032) Choir Singer (27-2042) Executive Assistant (43-6011) Opera Singer (27-2042) Tour Guide (39-7011) Choreographer (27-2032) Fashion Model (27-2090) Playwright (27-3043) -
Types & Forms of Theatres
THEATRE PROJECTS 1 Credit: Scott Frances Scott Credit: Types & Forms of Theatres THEATRE PROJECTS 2 Contents Types and forms of theatres 3 Spaces for drama 4 Small drama theatres 4 Arena 4 Thrust 5 Endstage 5 Flexible theatres 6 Environmental theatre 6 Promenade theatre 6 Black box theatre 7 Studio theatre 7 Courtyard theatre 8 Large drama theatres 9 Proscenium theatre 9 Thrust and open stage 10 Spaces for acoustic music (unamplified) 11 Recital hall 11 Concert halls 12 Shoebox concert hall 12 Vineyard concert hall, surround hall 13 Spaces for opera and dance 14 Opera house 14 Dance theatre 15 Spaces for multiple uses 16 Multipurpose theatre 16 Multiform theatre 17 Spaces for entertainment 18 Multi-use commercial theatre 18 Showroom 19 Spaces for media interaction 20 Spaces for meeting and worship 21 Conference center 21 House of worship 21 Spaces for teaching 22 Single-purpose spaces 22 Instructional spaces 22 Stage technology 22 THEATRE PROJECTS 3 Credit: Anton Grassl on behalf of Wilson Architects At the very core of human nature is an instinct to musicals, ballet, modern dance, spoken word, circus, gather together with one another and share our or any activity where an artist communicates with an experiences and perspectives—to tell and hear stories. audience. How could any one kind of building work for And ever since the first humans huddled around a all these different types of performance? fire to share these stories, there has been theatre. As people evolved, so did the stories they told and There is no ideal theatre size. The scale of a theatre the settings where they told them.