A Vulgar Art: A New Approach to Stand-Up Comedy by Ian Brodie

By Ian Brodie

In A Vulgar Art Ian Brodie makes use of a folkloristic method of stand-up comedy, attractive the discipline’s important approach to learning interpersonal, creative conversation and function. simply because stand-up comedy is a slightly huge classification, those that learn it frequently commence through pertaining to it to whatever they recognize―“literature” or “theatre”; “editorial” or “morality”―and learn it therefore. A Vulgar Art starts off with a extra basic statement: somebody is status in entrance of a gaggle of individuals, chatting with them at once, and attempting to cause them to giggle. So this e-book takes the instant of functionality as its concentration, that stand-up comedy is a collaborative act among the comic and the audience.

Although the shape of speak at the degree resembles speak between pals and intimates in social settings, stand-up comedy is still a career. As such, it calls for functionality open air of the comedian’s personal neighborhood to achieve better and bigger audiences. How do comedians recreate that surroundings of intimacy in a roomful of strangers? This publication regards every little thing from microphones to garments and LPs to Twitter as options for bridging the spatial, temporal, and socio-cultural distances among the performer and the audience.

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Extra info for A Vulgar Art: A New Approach to Stand-Up Comedy

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When people bullshit or gossip, they do so not so much tell lies as create situations where events can be elaborated in nonordinary ways. Just as a stage play is not a lie though it takes events from life and heightens their drama to make good theater, so bullshitting takes events and heightens their storytelling possibilities. (1978, 242) Amidst testimonial and bullshitting is the personal anecdote, a narrative told as if true but subject to contestation and negotiation. The historicity of events and the worldview that informs them are open to challenge: the narrator simultaneously challenges the worldview of the audience.

It is also worth noting that the bit takes place within five minutes of the end of the performance, which allows for references to elements previously performed: Here’s a little joke for y’all {Turning to crowd at large} y’all can listen to it too [L] ’cause I know lots of times people see my show and then go to work and try to they’re like | {in Caucasian voice} “and then he said ‘goonie-googoo’ [L] and he had a GI Joe up his ass! | [L] tell my act and fuck my jokes up on the job and shit [L] 30 The Opener: From Folk Talk to Stand-Up ‘hey-hey-hey I’m Mr.

These are narratives concerning the narrator’s extraordinary adventures and fantastical achievements, and what gives them purchase is how they coexist within the truth-frame of the testimonial: by doing so they become commensurate with the narrator’s worldview (Bethke 1976). To dispute the history, the truth of the events, is to miss the point: they are not told as history, even when they explicitly claim to be so. Chandra Mukerji makes a similar case in her study of “bullshitting” among hitchhikers: To say that people feel free to lie in these situations is both an accurate description of the possibilities of “talking off the record” and a misrepresentation of the intentions behind doing so.

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