Performance Critique: April 4a

This is back in NYC and I was the first comic up in the show

httpv://www.youtube.com/watch?v=VI2qJ1fsuyo 

0m37s There’s a better way to phrase this. Maybe “the first night was great, cause I KNEW I’d take her HOME” 

1m17s I’m not excitable enough when I say “tubes” 

1m40s More emphasis on the words “unemployment office” 

2m15s This took way too many words to get to the punch line 

2m50s If the first person hasn’t gotten the dog anything for Christmas, I should try to ask someone else, before saying they’re a terrible person. Then I can look back at them when I say “MOST people love their dogs” 

3m06s I love when audiences find it hysterical that they’ve ruined your joke 

4m07s I need to pause a second longer before “I don’t mean to give the game away” 

6m11s The full sentence, which cracked me up is “it’s federal mandate that every comic has to end their set with a joke about AIDS 

Overall: It was an okay set but the Tibet joke needs to be tightened. It’s not a great set when my biggest laugh was when I said “well this joke isn’t gonna work anymore”

“Fans, Friends and Followers” Quotes Part 1/2

I recently reviewed Fans, Friends and Followers by Scott Kirsner. I finally got around to typing up the quotes I found interesting enough to underline in the book.

“The more opportunities you create for fans to participate in your process, the more engaged and loyal you’ll find they become.” (6)

“When someone is getting their first taste of your work, you need to give them a reason – quickly – to dive in deeper. What you’re up to needs to be crystal clear, or so mysterious and bizarre that people can’t help but have their curiosity piqued.” (11)

“I’ve found that educational stuff can attract an audience. Share your techniques, and tell people about the software you’re using.” (13)

“One piece of advice for people is about consistency. A lot of people put out one thing and it’s really popular. They’re surprised, and they don’t have anything else to do. People really want consistent content. You can’t go three or four months without something new.“ -Michael Burns (40)

“The idea that we’re going to hit some sort of steady model is false hope. You’ve just got to keep moving. We’ve had forty business models in nine years. I don’t see it slowing down at all.” -Gregg and Evan Spiridellis (46)

“The Internet is a collection of communities. You need to create a community around your film. That will not happen if you keep things to yourself. You need to open yourself up, show your face, show your production, let people get inside. People do a lot of things when they get enthusiastic about something. They help the production, give money, or run into the streets and scream about your production. You need to allow people to do that. It’s an enormous viral force.” -Timo Vuorensola (47)

“You need to offer different monetization options for different customers. Some people watch it on the Web for twenty minutes and then want to buy the DVD. Some people watch the whole film on BitTorrent, but then want to support us by buying merchandise. We want to let you give us money in any way possible.” -Timo Vuorensola (48)

“The way I meet people and get most of my jobs is offering to help people.” -Steve Garfield (49)

“I email everybody back. I respond to everything. Think about regular TV shows. In that world, you’d never expect to get any sort of response.” -Steve Garfield (50)

“The audience votes with their ‘forward’ button. If they see a video that they think has something to say, they forward it. All the money in the world and all the kings horses can’t get them to do that.” -Robert Greenwald (52)

“We want to have 5,000 people who are video distributors – who understand that they are Paramount Studios, they are CBS. If they take our video and get it to 100 people, that’s hugely important.” -Robert Greenwald (53)

“As fast as someone becomes your fan, they can become someone posting everywhere and saying you suck. But if you respond to them, they become powerful. They’re like bees, spreading your message.” -M dot Strange (55)

Performance Critique: April 2nd

I hosted this show, there were 8 people in the audience and the headliner was Artie Fletcher.

httpv://www.youtube.com/watch?v=bXa2bsblgqg 

1m12s I did a bunch of crowd work before getting into a joke 

3m30s Since I was hosting, I went back to crowd work after two minutes of jokes 

5m04s A cell phone went off as I was saying that, so I changed the tubes joke a little bit 

5m36s Yeah just between us… and the millions of people who could potentially see this video 

7m01s I like calling someone “good sir” instead of just “sir”, I should remember to that more often

8m12s My tonality didn’t change between “proud and vicious” and “I didn’t even get any snuggle head” it needs to change for the joke to have full effect 

Part 2

httpv://www.youtube.com/watch?v=HISAbqmE6xE

This show only had me, a feature and a headliner. And I decided to do a quick joke in between the two. No real comments on it.

Overall: I think I did my job as host pretty well as I interacted with the audience and got them ready to laugh for the two performers. My favorite part was watching the headliner make a small corwd laugh a lot harder than I thought possible. I still got a long way to go to reach that level.

The Five Basic Improv Techniques

Yesterday I introduced the basic idea of improvisational comedy. Today I present the five basic improv techniques that help turn a random one word suggestion into (hopefully) comedy.

Be Specific
When starting a scene try to answer the who/what/when/where/why/how in the first sentence or two. You’ll notice good improvisers start scenes with direct statements, not questions. You tell your partner who they are, and what their relationship is to you. Then they react to it. This relates to the concept of

“Yes and…”
Whatever your scene partner suggests, you should go along with it and try to add onto what is already being built. If she starts the scene by saying “Hey Randy, those crops sure are growing slow” a good response would take the information you just learned and add on to it by saying something like “Yes and they’re going to take away our farm any day now, honey.” This establishes where you are (on a farm), the situation (farm foreclosure is imminent) and the relationship between the two of you (married). A worse way to respond would be to say something like “Who the hell is Randy? I’m Scott the destroyer. The crops are taking so long to grow because we’re in a parking lot.” Your scene partner doesn’t have a lot to work with when you give such a response.

More advanced improv actors will also use the “no and” technique, where they deny some part of their partner’s statements but keep the scene moving forward.

Object Work
Object work is the ability to mime an object just using your body (usually your hands). Since you don’t know what environment you’ll be in beforehand (a ship, a steel factory or Mars are all possibilities) there are no real props to bring to the stage. Therefore you can help the scene’s realism by miming to the audience that you’re holding and drinking a beer, or driving a car, etc. While you can have a funny scene without object work, this helps the audience get into the moment and can even buy time when you want to think of your next line.

The best type of object work is if you’re talking about something completely different than the object  you’re using. For example, you’ll be mopping a floor, implying you’re a janitor but stating that your 401k just dropped by 45%.

Emotion
As in stand up, half of the funny is in the delivery. The meaning and direction of a scene changes entirely based on the emotional subtext. The emotion behind a line like “I cant believe what just happened” influences where you and your partner take the scene. If the line is said happily, maybe the two of you just got engaged. If sad, grandma might’ve just got run over by a cement mixer. If angry, perhaps you caught your partner in bed with a goat.

One advanced technique is to start a scene with one emotion and gradually shift until the scene ends with you having a different emotion. For example, you start off sad about the fact that your wife is leaving to Africa for 3 months, but by the end after the two of you have a heated argument about if Michael Jordan could’ve won six titles without Scottie Pippen (nothing is too absurd for improv!), you become thrilled and can’t wait for her to leave. Even more advanced is when both you and your partner are each able to shift emotions during the scene.

Status
Status refers to the relationship between the two (or more) actors in a scene. You can be either high status or low status, and so can your partner. This sets up 3 different relationship dynamics: you’re both awesome, you’re both scum of the earth, and one of you is great and talking down to the scummy one. If your scene is a CEO who just killed someone talking to a secretary who just walked in and became a witness, the secretary would be in the position of high status. Status, in other words, refers to who has the power in the relationship. Like emotion, a good scene will have character’s who are able to shift from one status to another.

Additional Notes
Each improv scene should be part of the highlight reel of that character’s life and not something mundane. If you ever feel the scene getting boring, you can always say “I just realized that ___” and it will spice things up.

If you ever get stuck in a scene, ask yourself “what’s the relationship between these characters?” and do something to demonstrate that.

If you wanna take an improv class, I highly recommend The People’s Improv Theater.

If you wanna try stand-up comedy, I teach a Comedy Class in NYC. I also do private one-on-one comedy coaching (in-person or via Zoom).

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