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TALENT REPRESENTATION Miriam Chinnick [email protected] ADDRESS Davis Gordon Management 11 Eastern Avenue Pinner HA5 1NU United Kingdom TELEPHONE +44 (0) 7989 306 252 WEBSITE www.davisgordon.com HEIGHT: 5’10” EYES: Blue HAIR: Blonde- Medium TRAINING: Mountview Academy of Theatre Arts, MA Musical Theatre PLAYING AGE: 20-30 years A Cappella, Ballet, Baritone-High*, Choral Singing*, Classical Singing*, Dance (general), Falsetto*, Folk Singing, Harmonica, Jazz Dancing, Jazz Singing*, Opera, Piano, Rock Singing*, Tap, Ukulele, Violin Actor-Singer, Comedy, Comedy Improv, Compere, Master of Ceremonies, Musical Comedy, Musical Impersonator, Musical Theatre, Physical Comedy, Public Debating, Public Speaking, Singer-Professional, Stand-up Comic, Voice Acting, Voice Over Boxing, Horse-riding, Rowing*, Rugby*, Scuba Diving, Shooting (Shotgun), Skiing*, Squash, Swimming*, Trampoline Artist (Fine Art), Artist (Oils/Oil Pastels), Artist (Portrait), Bartender, Cartoonist (experienced), Cow Milking (by hand), Graphic Artist (experienced), Impersonation, Improvisation, Painting, Scenic Artist, Scientist (qualified), Video Gaming Car Driving Licence Tenor F2 to C5 American-New York, American-Southern States, American-Standard, Australian, Cockney, German, Heightened RP, Norfolk, RP*, Scottish-Standard, South African, Suffolk, West Country, Yorkshire MUSICAL TITLE ROLE DIRECTOR THEATRE/PRODUCER News Revue Cast Becky Harrison Canal Café Theatre Death Takes Are A Holiday Vittorio Lamberti Jack Sain Mountview My Favourite Year Alan Swann Suzy Catliff Mountview STAGE TITLE ROLE DIRECTOR THEATRE/PRODUCER Waiting For Godot The Boy Sean Mathias Theatre Royal Haymarket Company OTHER TITLE ROLE DIRECTOR PRODUCER British Museum Audio Guide Alex Robin Brooks / Fiona McAlpine Allegra Productions (Audio) .

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A Study Guide for Teachers
KAPUT A STUDY GUIDE FOR TEACHERS ABOUT THE STUDY GUIDE Dear Teachers: We hope you will find this Study Guide helpful in preparing your students for what they will experience at the performance of Kaput. Filled with acrobatic thrills and silly blunders, we’re sure Kaput will delight you and your students. Throughout this Study Guide you will find topics for discussion, links to resources and activities to help facilitate discussion around physical theatre, physical comedy, and the golden age of silent films. STUDY GUIDE INDEX ABOUT THE PERFORMANCE RESOURCES AND TOPICS FOR DISCUSSION 1. About the Performer 1. Be the Critic 2. About the Show 2. Tell a Story Without Saying a Word 3. About Physical Theatre 3. Making a Silent Film 4. About Physical Comedy 4. Body and Expression 5. The Art of the Pratfall 5. Taking a Tour 6. The Golden Age of Silent Films (1894 – 1924) 6. Pass the Ball 7. Physical Comedy + Silent Film = Silent Comedy 7. What’s in a Gesture? Being in the Audience When you enter the theater, you enter a magical space, charged, full of energy and anticipation. Show respect by watching and listening attentively Do not distract fellow audience members or interrupt the flow of performance Applause at the end of the performance is the best way to show enthusiasm and appreciation. About The Performer Tom Flanagan is one of Australia’s youngest leading acrobatic clowns. A graduate of the internationally renowned circus school, The Flying Fruit Flies; Tom started tumbling, twisting, flying and falling at the age of six.
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THIS ISSUE: Comedy
2014-2015 September ISSUE 1 scene. THE JOURNAL OF THE INTERNATIONAL SCHOOLS THEATRE ASSOCIATION THIS ISSUE: Comedy 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 humour 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), Jamaica by Peter Michael Marino Head of Visual & Performing Arts and Theory of Knowledge at The Hillel Academy, Jamaica. 9 “Chou” – the comic actor 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 I got the best job in the world! Dinos Aristidou, UK Being a clown, being a
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Take Me Seriously. Now Laugh at Me! How Gender Influences the Creation of Contemporary Physical Comedy
This may be the author’s version of a work that was submitted/accepted for publication in the following source: Boyle, Bridget (2015) Take me seriously. Now laugh at me! How gender influences the creation of contemporary physical comedy. Comedy Studies, 6(1), pp. 78-90. This file was downloaded from: https://eprints.qut.edu.au/83585/ c Consult author(s) regarding copyright matters This work is covered by copyright. Unless the document is being made available under a Creative Commons Licence, you must assume that re-use is limited to personal use and that permission from the copyright owner must be obtained for all other uses. If the docu- ment is available under a Creative Commons License (or other specified license) then refer to the Licence for details of permitted re-use. It is a condition of access that users recog- nise and abide by the legal requirements associated with these rights. If you believe that this work infringes copyright please provide details by email to [email protected] Notice: Please note that this document may not be the Version of Record (i.e. published version) of the work. Author manuscript versions (as Sub- mitted for peer review or as Accepted for publication after peer review) can be identified by an absence of publisher branding and/or typeset appear- ance. If there is any doubt, please refer to the published source. https://doi.org/10.1080/2040610X.2015.1028167 Take me seriously. Now laugh at me! How gender influences the creation of contemporary physical comedy Bridget Boyle Department of Drama, Queensland University of Technology, Brisbane, Australia This paper unpacks some of the complexities of the female comic project, focussing on the creation of physical comedy, via multiple readings of the term “serious”.
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Disabling Comedy: “Only When We Laugh!”
Disabling Comedy: “Only When We Laugh!” Dr. Laurence Clark, North West Disability Arts Forum (Paper presented at the ‘Finding the Spotlight’ Conference, Liverpool Institute for the Performing Arts, 30th May 2003) Abstract Traditionally comedy involving disabled people has extracted humour from people’s impairments – i.e. a “functional limitation”. Examples range from Shakespeare’s ‘fool’ character and Elizabethan joke books to characters in modern TV sitcoms. Common arguments for the use of such disempowering portrayals are that “nothing is meant by them” and that “people should be able to laugh at themselves”. This paper looks at the effects of such ‘disabling comedy’. These include the damage done to the general public’s perceptions of disabled people, the contribution to the erosion of a disabled people’s ‘identity’ and how accepting disablist comedy as the ‘norm’ has served to exclude disabled writers / comedians / performers from the profession. 1. Introduction Society has been deriving humour from disabled people for centuries. Elizabethan joke books were full of jokes about disabled people with a variety of impairments. During the 17th and 18th centuries, keeping 'idiots' as objects of humour was common among those who had the money to do so, and visits to Bedlam and other 'mental' institutions were a typical form of entertainment (Barnes, 1992, page 14). Bilken and Bogdana (1977) identified “the disabled person as an object of ridicule” as one of the ten media stereotypes of disabled people. Apart from ridicule, disabled people have been largely excluded from the world of comedy in the past. For example, in the eighties American stand-up comedian George Carlin was arrested whilst doing his act for swearing in front of young disabled people.
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That's All Folks! Teacher Resource Pack Primary
That’s All Folks! Teacher Resource Pack Primary INTRODUCTION Audiences have been delighted and entertained by circus and vaudeville acts for generations. The combination of short performances, showcasing music, dance, comedy and magic, was hugely successful among the working classes during the 19th century, alongside burlesque and minstrel shows, up until the 1930s. That’s’ All Folks blends the ideas from vaudeville, or short and entertaining acts, with the skills of modern circus and slapstick clowning to create an energetic show featuring separate yet interlinked routines that explore different characters and situations throughout the history of the theatre. The actors use a range of circus and clowning skills including juggling, acrobalance, bell routines, slapstick, comical routines, musical chairs, improvisation and audience participation to create an entertaining performance reminiscent of the variety shows of yesteryear. These notes are designed to give you a concise resource to use with your class and to support their experience of seeing That’s All Folks! CLASSROOM CONTENT AND CURRICULUM LINKS Essential Learnings: The Arts (Drama), SOSE (History, Culture), English Style/Form: Vaudeville, Commedia dell’Arte, Mask, Traditional and Contemporary Clowning, Melodrama, Visual Theatre, Physical Theatre, Physical Comedy, Circus, non-verbal communication and Mime, Improvisation and Slapstick. Themes and Contexts: Creativity and imagination, awareness, relationships. © 2016 Deirdre Marshall for Homunculus Theatre Co. 1 HISTORICAL CONTEXT Vaudeville Vaudeville was a uniquely American phenomenon and was the most popular form of American entertainment for around fifty years, from its rise in the 1880s, until the 1930s. It played much the same a role in people's lives that radio and later television would for later generations.
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The Super-Power of Comedy
The world is a tragedy to those who feel, but a comedy to those who think The super-power of comedy Theories of humor (Why do we laugh?) - Superiority (Plato, Aristotle) - Relief (Freud) - Incongruity / Surprise (Schopenhauer, Kant) Joke structure: Topic (News headline) – Angle (Personal opinion) – Punchline Twelve tools to write funny 1. Irony: Stating the polar opposite 2. Character (define comedic traits, act on them) 3. Making a reference (observational humor, link to pop-culture) 4. Satire: Holding up the mirror exposing human vice 5. Hyperbole: Taking it to the extreme 6. Parody: Imitate the style/voice of something for entertainment 7. Wordplay (puns, switches, repetition) 8. Analogy (comparison) 9. Madcap (nonsense, wacky, physical non-sequiturs) 10. Misplaced focus, misdirection 11. Shock – Black humor 12. Stating the obvious Examples of jokes A joke can implement more than one tool. I asked my North Korean friend how it was there, he said he couldn't complain. (Tools: 1, 3 – Irony, current political reference) “You know how the media are. They wait for a mistake and that’s all you are. It happened to Hitler. No one ever talks about his paintings.” (Tools: 4, 5 & 2 – Satire, hyperbole & spoken by a distinct character whose personality traits we know well: Jack Donaghy in 30 Rock) Kid: Mom, can I get a dog or a cat for Christmas? Mom: No, you are getting turkey, like every Christmas. (Tools used: 7, 9 – Wordplay, Wacky) I relish the fact that you've mustard the strength to ketchup to me. (Tools: 7, 9 – Wordplay, nonsensical) The plan was simple, like my brother-in-law Phil.
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A Fool's Journey: an Exploration of Physical Comedy in Theory and Practice
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by eScholarship@BC A Fool's Journey: An Exploration of Physical Comedy in Theory and Practice Author: Bryce Allen Pinkham Persistent link: http://hdl.handle.net/2345/576 This work is posted on eScholarship@BC, Boston College University Libraries. Boston College Electronic Thesis or Dissertation, 2005 Copyright is held by the author, with all rights reserved, unless otherwise noted. A Fool’s Journey An Exploration of Physical Comedy In Theory and Practice A Senior Honors Thesis By Bryce Pinkham This Thesis is submitted on 5/20/05 in partial fulfillment of the requirements of the honors program in the College of Arts and Sciences at Boston College. Submitted by Advised by Bryce Pinkham Scott T. Cummings ________________________ ________________________ TABLE OF CONTENTS Preface Introduction ....................................... 5 I. Theoretical Why Comedy........................................ 6 The fool.......................................... 9 Arlecchino: A Classical Fool...................... 15 Bill Irwin: A Contemporary Fool................... 25 II. Practical The Concept....................................... 30 A Summary......................................... 34 The Development................................... 38 III. Conclusion................................... 42 Bibliography ...................................... 46 Supplemental Materials 2 Acknowledgements A special thanks to all those who lent their time, talent and resources to this project: Howard Enoch and the Robsham Theatre Arts Center, The Arts and Sciences Honors Program, Beth Whitaker, the Signature Theatre, Kathy Peter, Gwenmarie Ewing, Steven Schmidtt, Jamie Fagant, Caitlin Henry, Dan O’Brien, Dan Destefano, Matt Thompson, Emily Dendinger, Michelle Murphy, Stephanie Marquis, Mairin Lee, Jeff Vincent, Margo Beirne, Kelly Doyle, Jen Gardner, Jim Fagan, Matt O’Hare, Mr. Bill Irwin, and the Fung Wah Bus Company.
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Types of Comedy for Drama Class
Types of Comedy for Drama Class Studying comedy can be o ne of the most enjoyable units of work in any high school drama program. One of the advantages of comedy is there are so many sub genres of this form that can be isolated for investigation and performance at different levels of schooling. I find the more visual and physical forms of comedy are enjoyed by junior students, while understandably senior students often find literary and sophisticated forms of comedy rich and rewarding in their drama studies. One of the main challenges of studying comedy is that the end product should not just be entertaining, but humorous for the audience. Considering the audience is usually students’ peers in their own classroom, they often discover it is a fine line between being funny or embarrassed when the humour falls flat. So, creating a culture of acceptance in your drama classroom where students will not ridicule those who take a risk with their comedy performances, is essential. Below I have compiled a 30 different comedy forms with my own descriptions, suggested year levels at which to study them in drama, plus links to relevant published articles on The Drama Teacher. Low Comedy requires little skill in the scripting (if there is a script at all). Often a visual or highly physical work. Appropriate for all year levels. Slapstick is knockabout, physical humour. Media examples include The Three Stooges, The Marx Bros, Laurel and Hardy and Mr Bean. Appropriate for all year levels. Farce involves ridiculous, improbable situations. Media examples include Fawlty Towers and Monty Python.
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Unit 2: the Art of Slapstick the Art of Slapstick
UNIT 2:THE ART OF SLAPSTICK Unit Overview This unit explores the use of slapstick or physical humor as an important part of comedy. By learning about the history of comedy, students recognize the common stock characters that have been part of our culture for many years. This unit provides an opportunity to discuss the way in which humorous depictions of violent acts may desensitize us to empathizing with others. For thousands of years, slapstick (or physical humor) has been a part of the theater. But recently, live action films for children have been making greater use of slapstick, with more and more outrageous physical stunts involving people getting hurt in weird and horrible ways. Students look at different examples of slapstick in theater, film, television, and advertising. They learn the strategies that actors use for creating slapstick and how actors plan and reflect on physical humor. Students create their own characters using a “character wheel” to create a character sketch. By creating their own comedy characters, students learn about the important function of characterization in storytelling. Connections to Character Education can be easily incorporated in this set of activities by exploring the values that slapstick communicates using concepts like respect and compassion. The “essential questions” of this unit are: • Why do people laugh at comedic characters? • What makes slapstick funny? • How is slapstick humor constructed? • How are characters invented by authors? • How is humor used to make a serious point about a social issue? M - 39 UNIT 2:THE ART OF SLAPSTICK Discover what makes physical humor such an important tradition in storytelling, learn the secrets of creating comedy scenes, and invent your own comedy character using the character wheel.
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Knockabout and Slapstick: Violence and Laughter in Nineteenth-Century Popular Theatre and Early Film
Knockabout and Slapstick: Violence and Laughter in Nineteenth-Century Popular Theatre and Early Film by Paul Michael Walter Babiak A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Centre for Drama, Theatre and Performance Studies University of Toronto ©Copyright by Paul Michael Walter Babiak, 2015 Knockabout and Slapstick: Violence and Laughter in Nineteenth-Century Popular Theatre and Early Film Paul Michael Walter Babiak Doctor of Philosophy Centre for Drama, Theatre and Performance Studies University of Toronto 2015 Abstract This thesis examines laughter that attends violent physical comedy: the knockabout acts of the nineteenth-century variety theatres, and their putative descendants, the slapstick films of the early twentieth-century cinema. It attempts a comparative functional analysis of knockabout acts and their counterparts in slapstick film. In Chapter 1 of this thesis I outline the obstacles to this inquiry and the means I took to overcome them; in Chapter 2, I distinguish the periods when knockabout and slapstick each formed the dominant paradigm for physical comedy, and give an overview of the critical changes in the social context that separate them. In Chapter 3, I trace the gradual development of comedy films throughout the early cinema period, from the “comics” of 1900 to 1907, through the “rough house” films of the transitional era, to the emergence of the new genre in 1911-1914. ii Chapters 4, 5, 6 and 7 present my comparative analyses of the workings of four representative
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Comic Venus: Women and Comedy in American Silent Film by Kristen Anderson Wagner, And: Specters of Slapstick and Silent Film Comediennes by Maggie Hennefeld (Review)
Comic Venus: Women and Comedy in American Silent Film by Kristen Anderson Wagner, and: Specters of Slapstick and Silent Film Comediennes by Maggie Hennefeld (review) Diego A. Millan Studies in American Humor, Volume 5, Number 2, 2019, pp. 413-419 (Review) Published by Penn State University Press For additional information about this article https://muse.jhu.edu/article/734199 Access provided at 3 Oct 2019 16:50 GMT from Washington & Lee University & (VIVA) Book Reviews 413 Comic Venus: Women and Comedy in American Silent Film. By Kristen Anderson Wagner. Detroit: Wayne State University Press, 2018. 303 pp. Specters of Slapstick and Silent Film Comediennes. By Maggie Hennefeld. New York: Columbia University Press, 2018. 358 pp. REVIEWED BY DIEGO A. MILLAN doi: 10.5325/studamerhumor.5.2.0413 Both Kristen Anderson Wagner’s Comic Venus and Maggie Hennefeld’s Specters of Slapstick make a necessary corrective to scholarship on film comedy performances by examining come- dienne contributions from the early silent film era. A focus on major male comic silent film actors like Buster Keaton or Charlie Chaplin has overshadowed the work of comediennes, especially slapstick comediennes, who have been “virtually erased” from popular mem- ory (Wagner, Comic Venus, 1). Hennefeld’s and Wagner’s efforts to correct the error of these discursive erasures also succeed in highlighting how many comedic and filmic techniques remain indebted to silent-era comediennes. More than projects anchored in recovery, each insists that scholars wrestle with understanding how popular culture relates to power and gender normativity. Perennial questions concerning women’s capacity for humor, for instance, reify essentialist notions of femininity and contribute to the casual manner in which women’s comedic efforts get dis- paraged and thus, excluded from histories of comedy and film.
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A Fool's Journey: an Exploration of Physical Comedy in Theory and Practice
A Fool's Journey: An Exploration of Physical Comedy in Theory and Practice Author: Bryce Allen Pinkham Persistent link: http://hdl.handle.net/2345/576 This work is posted on eScholarship@BC, Boston College University Libraries. Boston College Electronic Thesis or Dissertation, 2005 Copyright is held by the author, with all rights reserved, unless otherwise noted. A Fool’s Journey An Exploration of Physical Comedy In Theory and Practice A Senior Honors Thesis By Bryce Pinkham This Thesis is submitted on 5/20/05 in partial fulfillment of the requirements of the honors program in the College of Arts and Sciences at Boston College. Submitted by Advised by Bryce Pinkham Scott T. Cummings ________________________ ________________________ TABLE OF CONTENTS Preface Introduction ....................................... 5 I. Theoretical Why Comedy........................................ 6 The fool.......................................... 9 Arlecchino: A Classical Fool...................... 15 Bill Irwin: A Contemporary Fool................... 25 II. Practical The Concept....................................... 30 A Summary......................................... 34 The Development................................... 38 III. Conclusion................................... 42 Bibliography ...................................... 46 Supplemental Materials 2 Acknowledgements A special thanks to all those who lent their time, talent and resources to this project: Howard Enoch and the Robsham Theatre Arts Center, The Arts and Sciences Honors Program, Beth Whitaker, the Signature Theatre, Kathy Peter, Gwenmarie Ewing, Steven Schmidtt, Jamie Fagant, Caitlin Henry, Dan O’Brien, Dan Destefano, Matt Thompson, Emily Dendinger, Michelle Murphy, Stephanie Marquis, Mairin Lee, Jeff Vincent, Margo Beirne, Kelly Doyle, Jen Gardner, Jim Fagan, Matt O’Hare, Mr. Bill Irwin, and the Fung Wah Bus Company. A final thanks to Shep Barnett and Scott T. Cummings: this would not have happened without you. Thank you for your dedication, inspiration, and support.
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