Pub Date : 2022-06-25DOI: 10.1080/2040610X.2022.2091733
James A. McLaughlin
Abstract Improvisation involves a radical dynamic that has the power to liberate the creative imagination of the individual. This is observable in the training systems of the leading improvisation authorities of the Twentieth Century, Viola Spolin and Keith Johnstone, which coalesce around three key principles: engagement with reality in the moment is key to developing spontaneity, that games are a route into this state of engagement, and that discipline imposed by authority is the greatest impediment to this liberation. Following these principles can lead the individual to overcome internalized censorship and therefore liberate the creative imagination of the individual. The effect of this liberation has ripple effects that might impact the improvisor’s community and wider political discourse. Ultimately, the radical potential of improvisation can challenge stable structures of value within societies.
{"title":"Radical improvisation part 1: the liberation of the individual","authors":"James A. McLaughlin","doi":"10.1080/2040610X.2022.2091733","DOIUrl":"https://doi.org/10.1080/2040610X.2022.2091733","url":null,"abstract":"Abstract Improvisation involves a radical dynamic that has the power to liberate the creative imagination of the individual. This is observable in the training systems of the leading improvisation authorities of the Twentieth Century, Viola Spolin and Keith Johnstone, which coalesce around three key principles: engagement with reality in the moment is key to developing spontaneity, that games are a route into this state of engagement, and that discipline imposed by authority is the greatest impediment to this liberation. Following these principles can lead the individual to overcome internalized censorship and therefore liberate the creative imagination of the individual. The effect of this liberation has ripple effects that might impact the improvisor’s community and wider political discourse. Ultimately, the radical potential of improvisation can challenge stable structures of value within societies.","PeriodicalId":38662,"journal":{"name":"Comedy Studies","volume":"13 1","pages":"175 - 185"},"PeriodicalIF":0.0,"publicationDate":"2022-06-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47621659","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-06-25DOI: 10.1080/2040610X.2022.2091588
Chloé Arros-Steen
Abstract It has become evident that the sacrosanct rules of improvisational theatre are being revisited through contemporary practice. Yet, in Britain, Improv comedy often continues to be studied from the point of view of existing literature which dates back to the 50 s and 70 s. At a time where the Arts are being challenged by world events and their future has to be reimagined, it is more important than ever to consider the new over the established. As such, I present an alternative approach to what Keith Johnstone considers the ideal of improvisational theatre: a seamless narrative, that neither shows nor lets in any form of vulnerability. While I propose a dialogue with this existing literature, I also specifically challenge Johnstone in demonstrating that there does exist a performance of failure in improvisational comedy. Such a performance carefully influences the audience to believe the performer is in difficulty before they masterly recover, creating a strong impact and weaving vulnerability as a compositional tool into their artistry. Using examples of contemporary British improv, including unique primary material I gathered from personal interviews with practitioners, I bring to the fore new knowledge of what makes the expertise of improvisers.
{"title":"Fail like an improviser: the trick of comic improv","authors":"Chloé Arros-Steen","doi":"10.1080/2040610X.2022.2091588","DOIUrl":"https://doi.org/10.1080/2040610X.2022.2091588","url":null,"abstract":"Abstract It has become evident that the sacrosanct rules of improvisational theatre are being revisited through contemporary practice. Yet, in Britain, Improv comedy often continues to be studied from the point of view of existing literature which dates back to the 50 s and 70 s. At a time where the Arts are being challenged by world events and their future has to be reimagined, it is more important than ever to consider the new over the established. As such, I present an alternative approach to what Keith Johnstone considers the ideal of improvisational theatre: a seamless narrative, that neither shows nor lets in any form of vulnerability. While I propose a dialogue with this existing literature, I also specifically challenge Johnstone in demonstrating that there does exist a performance of failure in improvisational comedy. Such a performance carefully influences the audience to believe the performer is in difficulty before they masterly recover, creating a strong impact and weaving vulnerability as a compositional tool into their artistry. Using examples of contemporary British improv, including unique primary material I gathered from personal interviews with practitioners, I bring to the fore new knowledge of what makes the expertise of improvisers.","PeriodicalId":38662,"journal":{"name":"Comedy Studies","volume":"13 1","pages":"139 - 150"},"PeriodicalIF":0.0,"publicationDate":"2022-06-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45539243","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-06-25DOI: 10.1080/2040610X.2022.2091690
Paul R. J. Birch
Abstract Much of improvised comedy’s appeal comes from the shared acknowledgement between performer and audience that the material is both spontaneous and unrepeatable. But can ‘anything’ really happen? In the many and varied approaches of Short and Long-Form improvisation are performance structures which inform both the unprepared scenic material and the types of humour which can be produced. Some have argued that the evolution of Long-Form began with the abandonment of game in favour of relational scene. This helpful distinction warrants further discussion; especially since the practice of ‘finding the game’, popularised by the Upright Citizens Brigade (2013), has blurred the boundary between game and scene. How do such scenic games function within these structures? How do they relate to other notions of game and scene to be found in the performance practice of other improvised traditions? I will explore the paradox of using rules, pre-planned formats and prepared methods of play to open up the ways in which spontaneous comedy is affected by both structure and approach. The research for this paper will come from the literature in the field as well as with interviews with professional improvisers who have trained and worked at Chicago’s most influential theatres: The Second City, I.O & The Annoyance. It will also draw on my own training under some of Chicago’s most established improvisers and personal experience of staging both Short and Long-Form work.
{"title":"The mechanics of spontaneous comedy: game verses scene in theatrical improvisation","authors":"Paul R. J. Birch","doi":"10.1080/2040610X.2022.2091690","DOIUrl":"https://doi.org/10.1080/2040610X.2022.2091690","url":null,"abstract":"Abstract Much of improvised comedy’s appeal comes from the shared acknowledgement between performer and audience that the material is both spontaneous and unrepeatable. But can ‘anything’ really happen? In the many and varied approaches of Short and Long-Form improvisation are performance structures which inform both the unprepared scenic material and the types of humour which can be produced. Some have argued that the evolution of Long-Form began with the abandonment of game in favour of relational scene. This helpful distinction warrants further discussion; especially since the practice of ‘finding the game’, popularised by the Upright Citizens Brigade (2013), has blurred the boundary between game and scene. How do such scenic games function within these structures? How do they relate to other notions of game and scene to be found in the performance practice of other improvised traditions? I will explore the paradox of using rules, pre-planned formats and prepared methods of play to open up the ways in which spontaneous comedy is affected by both structure and approach. The research for this paper will come from the literature in the field as well as with interviews with professional improvisers who have trained and worked at Chicago’s most influential theatres: The Second City, I.O & The Annoyance. It will also draw on my own training under some of Chicago’s most established improvisers and personal experience of staging both Short and Long-Form work.","PeriodicalId":38662,"journal":{"name":"Comedy Studies","volume":"13 1","pages":"151 - 160"},"PeriodicalIF":0.0,"publicationDate":"2022-06-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44083414","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-06-23DOI: 10.1080/2040610x.2022.2091820
S. Davidson, Ben Hodge
{"title":"Gender diversity within improvisation: navigating the identity, performance and expression","authors":"S. Davidson, Ben Hodge","doi":"10.1080/2040610x.2022.2091820","DOIUrl":"https://doi.org/10.1080/2040610x.2022.2091820","url":null,"abstract":"","PeriodicalId":38662,"journal":{"name":"Comedy Studies","volume":"13 1","pages":"218 - 225"},"PeriodicalIF":0.0,"publicationDate":"2022-06-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42767722","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-06-23DOI: 10.1080/2040610x.2022.2091884
Joseph Prestwich
{"title":"Interview with ShakeItUp Theatre Artistic Director James Dart","authors":"Joseph Prestwich","doi":"10.1080/2040610x.2022.2091884","DOIUrl":"https://doi.org/10.1080/2040610x.2022.2091884","url":null,"abstract":"","PeriodicalId":38662,"journal":{"name":"Comedy Studies","volume":"13 1","pages":"238 - 244"},"PeriodicalIF":0.0,"publicationDate":"2022-06-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41840221","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-06-23DOI: 10.1080/2040610X.2022.2091384
Olly Crick
Abstract The performance history of commedia dell’arte is full of tantalising clues about the genre’s relationship with the practice of live improvisation, research into which is often frustrated by ontological and epistemological differences between the ‘what happened’ approach of historians and the ‘how to’ approach of performers. The ephemerality of historical performance, compounded by the doubly ephemeral practice of improvisation, puts commedia dell’arte in a place where methodology and mythology struggle for supremacy, and what is performed as commedia today has become a contested area. Within this chapter I will explore three themes that I hope will shed add to this debate and my overall purpose is to demystify a proposed historical improvisational method and make it more accessible.
{"title":"(Re) evaluating improvisation in commedia dell’Arte","authors":"Olly Crick","doi":"10.1080/2040610X.2022.2091384","DOIUrl":"https://doi.org/10.1080/2040610X.2022.2091384","url":null,"abstract":"Abstract The performance history of commedia dell’arte is full of tantalising clues about the genre’s relationship with the practice of live improvisation, research into which is often frustrated by ontological and epistemological differences between the ‘what happened’ approach of historians and the ‘how to’ approach of performers. The ephemerality of historical performance, compounded by the doubly ephemeral practice of improvisation, puts commedia dell’arte in a place where methodology and mythology struggle for supremacy, and what is performed as commedia today has become a contested area. Within this chapter I will explore three themes that I hope will shed add to this debate and my overall purpose is to demystify a proposed historical improvisational method and make it more accessible.","PeriodicalId":38662,"journal":{"name":"Comedy Studies","volume":"13 1","pages":"125 - 138"},"PeriodicalIF":0.0,"publicationDate":"2022-06-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48664680","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-03-11DOI: 10.1080/2040610X.2022.2040784
Houda Belkhiri, Mohamed Douifi
Abstract Algerian popular culture is rich in comedy movies that provided Algerians with an outlet, an escape from the plight of French colonialism after independence in 1962, and Algerian Black Decade in 1990. The role of the clown in such comedy was significant. As a universal mascot, the presence of clowns in children’s theatre is marked by the well-known clown Hdidouane; a character appearing in a children’s TV show called El Hadika Essahira—Arabic for Le jardin enchanté in French, and The Enchanted Garden in English. The impact this clown figure has had on the Algerian psychology is striking as he was known in every house and recognized by every child. He also played a major role in educating Algerian youth in the darkest periods of their history. This article pays homage to the deceased clown’s marginalization in the Algerian art scene, and sheds light on his personal life, performances and even pushes further by comparing him to recognizable international clown figures such as Joseph Grimaldi, Grock clowns, Mr Punch and others.
{"title":"Hdidouane: an Algerian clown and a marginalized comic icon","authors":"Houda Belkhiri, Mohamed Douifi","doi":"10.1080/2040610X.2022.2040784","DOIUrl":"https://doi.org/10.1080/2040610X.2022.2040784","url":null,"abstract":"Abstract Algerian popular culture is rich in comedy movies that provided Algerians with an outlet, an escape from the plight of French colonialism after independence in 1962, and Algerian Black Decade in 1990. The role of the clown in such comedy was significant. As a universal mascot, the presence of clowns in children’s theatre is marked by the well-known clown Hdidouane; a character appearing in a children’s TV show called El Hadika Essahira—Arabic for Le jardin enchanté in French, and The Enchanted Garden in English. The impact this clown figure has had on the Algerian psychology is striking as he was known in every house and recognized by every child. He also played a major role in educating Algerian youth in the darkest periods of their history. This article pays homage to the deceased clown’s marginalization in the Algerian art scene, and sheds light on his personal life, performances and even pushes further by comparing him to recognizable international clown figures such as Joseph Grimaldi, Grock clowns, Mr Punch and others.","PeriodicalId":38662,"journal":{"name":"Comedy Studies","volume":"13 1","pages":"69 - 77"},"PeriodicalIF":0.0,"publicationDate":"2022-03-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44551632","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-02-23DOI: 10.1080/2040610X.2022.2040804
Ancy Anna Anto, Neerja Vyas
Abstract Stand-up comedy has gained much popularity in the recent age. The platform has widened its scope to not just performing for the live audience but through podcasts, you tube channels and other social networking sites. Comedians talk about various issues through several perspectives like politics, psychological issues, racism, and other underlying themes. Alternative Comedy has lately acquired an indispensable place in the world of comedy as it voices out the suppressed views and ideologies of the vulnerable societies. South Asian comedians like Lily Singh, Rusell Peters, Hasan Minhaj are some of the emerging comedians who express their angst and issues through comedy content. They are now well recognized comedians. Lily Singh is also known to put across her diasporic sentiments in her videos in which she celebrates her identity and breaks the general stereotypes associated with Asian culture. Hence, this paper will focus on the elements of South Asian diaspora, expatriate discourse and brown culture that have been vocalized specifically through Lily Singh’s podcasts.
{"title":"Alternative comedy: representation of brown culture through lily Singh’s podcasts","authors":"Ancy Anna Anto, Neerja Vyas","doi":"10.1080/2040610X.2022.2040804","DOIUrl":"https://doi.org/10.1080/2040610X.2022.2040804","url":null,"abstract":"Abstract Stand-up comedy has gained much popularity in the recent age. The platform has widened its scope to not just performing for the live audience but through podcasts, you tube channels and other social networking sites. Comedians talk about various issues through several perspectives like politics, psychological issues, racism, and other underlying themes. Alternative Comedy has lately acquired an indispensable place in the world of comedy as it voices out the suppressed views and ideologies of the vulnerable societies. South Asian comedians like Lily Singh, Rusell Peters, Hasan Minhaj are some of the emerging comedians who express their angst and issues through comedy content. They are now well recognized comedians. Lily Singh is also known to put across her diasporic sentiments in her videos in which she celebrates her identity and breaks the general stereotypes associated with Asian culture. Hence, this paper will focus on the elements of South Asian diaspora, expatriate discourse and brown culture that have been vocalized specifically through Lily Singh’s podcasts.","PeriodicalId":38662,"journal":{"name":"Comedy Studies","volume":"13 1","pages":"90 - 100"},"PeriodicalIF":0.0,"publicationDate":"2022-02-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45245143","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-02-23DOI: 10.1080/2040610x.2022.2040813
Natcha Chirapiwat
{"title":"Interview on 03/03/2020 with Phil Wang","authors":"Natcha Chirapiwat","doi":"10.1080/2040610x.2022.2040813","DOIUrl":"https://doi.org/10.1080/2040610x.2022.2040813","url":null,"abstract":"","PeriodicalId":38662,"journal":{"name":"Comedy Studies","volume":"13 1","pages":"115 - 121"},"PeriodicalIF":0.0,"publicationDate":"2022-02-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48714419","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-02-21DOI: 10.1080/2040610X.2022.2040799
Azade Falaki
Abstract This article explores the contemporary and historical significance of comedy and humour in Iran. It indicates how social, economic, and political issues are veiled by pleasant comedic interactions as a way of expression. It uses satire, comedy, and humour theories to analyse Mehran Modiri’s Barareh Nights and Bitter coffee as two influential and popular television series. This paper will reveal how comedy features can be linked to character representation policies to create a satiric context. It will discuss how these comedy series play a mediator role in articulating prohibited facts or critiques, as well as expressing social and political issues. It will address what comic features these television series use to define their comic world, how they employ comedy to depict socio-political matters, how they represent their characters to shape their satiric attack, and how they introduce a central mediator character to place emphasis on their vital mediating role. These comedies compel the viewers to interrogate their socio-political status and encourage them to reform their social or political behaviour. By weaving their criticism with humour, these comedies not only cross the sharp edges of censorship that is inescapable for serious criticism but also act as a mediator in socio-political communications.
{"title":"The mediating role of Iranian television comedy series: Mehran Modiri’s Barareh Nights and Bitter coffee","authors":"Azade Falaki","doi":"10.1080/2040610X.2022.2040799","DOIUrl":"https://doi.org/10.1080/2040610X.2022.2040799","url":null,"abstract":"Abstract This article explores the contemporary and historical significance of comedy and humour in Iran. It indicates how social, economic, and political issues are veiled by pleasant comedic interactions as a way of expression. It uses satire, comedy, and humour theories to analyse Mehran Modiri’s Barareh Nights and Bitter coffee as two influential and popular television series. This paper will reveal how comedy features can be linked to character representation policies to create a satiric context. It will discuss how these comedy series play a mediator role in articulating prohibited facts or critiques, as well as expressing social and political issues. It will address what comic features these television series use to define their comic world, how they employ comedy to depict socio-political matters, how they represent their characters to shape their satiric attack, and how they introduce a central mediator character to place emphasis on their vital mediating role. These comedies compel the viewers to interrogate their socio-political status and encourage them to reform their social or political behaviour. By weaving their criticism with humour, these comedies not only cross the sharp edges of censorship that is inescapable for serious criticism but also act as a mediator in socio-political communications.","PeriodicalId":38662,"journal":{"name":"Comedy Studies","volume":"13 1","pages":"78 - 89"},"PeriodicalIF":0.0,"publicationDate":"2022-02-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44241744","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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