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Stand-up Comedy as Art, Business, and Life-Style

The Laugh-Makers

Or more people try to coordinate their efforts on stage. As the comedy team strives to find a common denominator, their lines sound more and more scripted. Verbal content is the essence of stand-up comedy. Other stockin-trade aspects of legitimate theatre – notably costumes, scenery, and make-up – are either avoided or considered minor.More Movies Download from here Solar Movie

An Art Is Born

Comedy, which combine verbal and physical hum ours. In prop comedy the performer brings one or more important accessories to the stage. Here we have juggling, music, ventriloquism, and entertainment magic (not mentalism). In two other forms, singing and sound effects, the voice figures prominently. Sound effects are typically produced in various ways through a microphone and can make use of special noise-making accessories. Finally, there is pantomime and clowning. Whereas verbal content is minimal here, other properties of stand-up comedy are fully employed, especially bodily and facial gestures. Heavy reliance on props and costumes distinguishes these latter two arts from pure stand-up comedy.Please visit here for information about Electron

THE BEGINNIN G

If one person were singled out as the first stand-up comic, according to the broad definition of show business, it would have to be Mark Twain (Gibbon 1985, 48). For approximately fifty years, starting in 1856 with an after-dinner speech, he toured the United States as a “humorous lecturer” (Fat out 1960, 23).4 In this role he delivered monologues of various lengths on numerous subjects, many of which were treated not only with wit but also with satire. Twain would lounge onstage, drawling out tall tales and anecdotes, pausing skilfully while his audience roared with laughter at certain passages. He had, for those days, a unique lecturing style.Visit here PooCoin

THE CONCER T ACT

Vaudeville, usually staged in large theatres and civic auditoriums, faded from the scene in the early 1930s. This coincided with the rise of two new venues for stand-up comedy and other acts: nightclubs, and the “Borscht Belt” of Catskill Mountains resort hotels near New York City. These places did not offer variety shows. A comic or some other single performer would present an entire show, possibly all the shows, on a given evening. He or she presented what today’s comics call a concert, and sometimes did so for several successive nights.More Info About Amazon FBA

AMATEU R EXPERIMENTATIO N

Younger, less established performers had little interest in becoming “line comics.” The times were changing. These “new wave” comics (Playboy 1961) wanted to develop their own material in longer and more connected units. From the late 1950s to the early 1970s – the life-span of new wave comedy – America was beset with political tension. The public mind was forced to consider such issues as official corruption, racial inequality, police violence, and foreign war. All forms for hum our that addressed these subjects were timely. To be sure, they were sometimes addressed with one-liners, but the monologue, often satirical, enabled a more thorough examination. This was the approach of Lenny Bruce and Mort Suhl, among the few comics of their type to achieve professional status in this era.Please Visit Soap2Day

The Birth of the Comedy Room

“Comedy room” is the term comic’s use for the space within a comedy club where they present their acts. As we shall see later, comics have good reason to be concerned with those properties of a room that bear on their performance. From the comics’ standpoint, the room is something personal and hence distinct from the club of which it is a part. Today’s comedy rooms are typically located in or adjacent to hotels, restaurants, or bars. They are furnished, decorated, and operated for the presentation of stand-up comedy. Most serve food, although only a few serve dinners. Stand-up comedy is their raison dieter.hdmovieplus is an online movie platform

The Rise of the Professional

Two major factors helped change the stand-up comic’s financial situation. One was the comics’ strike in 1979 in Los Angeles and the threat of another that same year in New York. The details are presented by Borne (1987, 34-40), and her conclusion is of interest here: “Many credit the strike with being one of the most important elements in creating the current comedy ‘boom’ because, although the [new] payments were modest, they produced a significant result: comics could now, with a full week’s worth of sets, afford to support themselves by doing comedy” (39-40). Now there were amateurs and professionals in stand-up comedy, who could be distinguished by level of pay and quality of act.More Info About Amazon FBA

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And a success it has been, for stand-up comedy has spread from North American to Europe and Australia. French-speaking stand-up comics now work in France, Belgium, Quebec, and Switzerland. A small but growing number of comics, most of them Canadians, work in both English and French, notably Chris Loma Elliot, Andre-Philippe Gagnon, Yon Decamps, Mike Macdonald, and Roland Magana. Indeed, the new art appears first to have spread from the United States to Canada. Here it caught the fancy of Anglophones and shortly thereafter of francophone. Plz Visit For skymovies

 

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