오픈 마이크

Open mic
이 기사는 생방송의 종류에 관한 것이다.코미디 시리즈는 Mike Bullard와 함께 열린 Mike Bullard의도하지 않게 마이크가 켜져 있는 경우는, 핫 마이크를 참조해 주세요.
2008년 7월 Sausalito 오픈 마이크 뮤지션

오픈 마이크(Open Mike)는 커피하우스, 나이트클럽, 코미디 클럽, 스트립 클럽, 펍 등의 장소에서 라이브 쇼를 하는 것으로, 관객이 아마추어나 프로를 막론하고 무대에서 공연할 수 있는 경우가 많다.[1]이름에서 알 수 있듯이, 연주자들은 보통 청중에게 들릴 수 있도록 PA 시스템에 마이크를 꽂습니다.

출연자는 사전에 호스트(일반적으로 경험이 풍부한 연주자 또는 공연장의 매니저 또는 오너)와 타임슬롯을 신청합니다.주최자는 행사장에 적합한 후보자를 선별하여 공연할 시간을 줄 수 있습니다.오픈 마이크는 코미디(스케치든 스탠드업이든), 음악(종종 어쿠스틱 싱어송라이터), 시, 구어 등의 공연 예술에 초점을 맞추고 있습니다.록 밴드나 코미디 극단과 같은 그룹이 공연을 하는 것은 흔하지 않은데, 이는 주로 그러한 그룹을 준비하고 사운드 체크를 하기 위한 공간과 물류 요건 때문이다.

오픈 마이크는 입장료가 매우 저렴하거나 입장료가 전혀 없을 수 있지만, 행사장 자체가 무료 항아리, 기부용 "모자 건네주기" 또는 다양한 경품이 포함된 추첨을 준비할 수도 있다.수수료가 부과되지 않는 장소는 술과 음식을 파는 것으로 이익을 얻는다.공연자들은 공연장에서 음료나 식사를 제공할 수도 있지만, 일반적으로 돈을 받지 않는다.주최자가 공연장의 오너/매니저가 아닌 경험 많은 프로페셔널일 경우, 그들은 보통 서비스에 대한 대가를 지불받고 저녁 중 어느 시점에 공연할 수 있습니다. 그들만의 완전한 공연을 준비하거나 연주자가 없을 때 짧은 시간에 공연할 수 있습니다.오픈 마이크는 아마추어 연주자들에게 공연의 기회가 주어지는 것을 볼 수 있다는 점에서 잼 세션과 어느 정도 관련이 있다.차이점은 잼 세션은 종종 음악 앙상블, 심지어 하우스 밴드나 리듬 섹션과 관련이 있고 전문 연주자들의 참여를 포함할 수 있다는 것이다.

음악

오픈 마이크는 새로운 음악가들이 경험이나 데모 녹음 [citation needed]없이는 하기 어려운 일반 음악 공연 과정을 거치지 않고도 라이브 관객들에게 연주 경험을 쌓을 수 있는 기회를 제공합니다.그들은 싱어송라이터들에게 배출구를 제공한다.그들의 인기가 있기 전에, 유일한 매장은 일반적으로 포크 클럽이었고, 그들은 항상 새로운 음악을 창조하는 사람들에게 우호적이지 않았고 전통적인 대중 음악을 선호했다.그들은 또한 어쿠스틱 음악가나 솔로 가수들이 이런 방식으로 연주하는 음악은 필연적으로 포크 음악일 것이라고 제안했는데, 이는 오늘날에도 여전히 일반적으로 존재하는 오해이다.몇몇 주최자들은 포크 클럽과 비슷한 방식으로 진행되지만 훨씬 더 다양한 [citation needed]음악 스타일을 가진 행사를 나타내기 위해 "어쿠스틱 나이트" 또는 "어쿠스틱 클럽"이라는 제목을 선택했습니다.

2015년 1월 피닉스 오픈마이크 잼 세션

오픈마이크 행사는 주로 주말이나 행사장 발 디딜 틈이 적은 시간에 열린다.성스러운 금요일과 토요일 밤 시간대에 공연장이 주말 손님들로 붐비고 라이브 공연이 예약되어 있는 전문가들에게는 거의 일어나지 않습니다.영국에서 가장 흔한 오픈 마이크는 목요일이고 수요일은 [2]2위입니다.현재 진행 중인 가장 큰 오픈 마이크 스타일의 음악 경연대회는 Open Mic UK로, 모든 장르의 참가자가 정기적으로 10,000명씩 모입니다.그 대회의 최고 상금은 3만 파운드의 투자금이다.행사 규모에 따라 모든 참가자는 단순히 [3][4]무대에 오르는 것이 아니라 사전에 공연 시간을 신청해야 합니다.

미국에서 인기 있는 오픈 마이크 편곡은 "Blues Night"입니다.이 형식에서 바 또는 클럽은 보통 주중에 특정 밤을 "오픈 마이크 블루스 나이트"로 바칩니다.이 시설은 하우스 밴드(일반적으로 기타, 베이스, 드럼)를 제공할 수 있으며, 때로는 키보드를 제공할 수도 있습니다.연주하고 싶은 가수, 기타 연주자, 하모니카 연주자는 주로 호스트와 함께 등록합니다.이 사람은 배우들을 심사하고, 선택과 순서를 정하고, 배우들을 정중하게 무대에 오르내리게 하는 임무를 맡는다.

함께 연주하지 않은 음악가들이 연습 없이 연주할 수 있도록 선곡된 곡들은 충분히 단순해야 하기 때문에 블루스 기준을 사용한다.노래는 "C의 12마디 빠른 셔플" 또는 "F의 12마디 느린 블루스" 또는 관련된 모든 사람들에게 친숙해야 할 유사한 문구로 발표될 수 있습니다.리드 싱어, 키보드, 호른 연주자(일반적으로 색소폰), 그리고 다양한 타악기들이 흔히 [5]추가된다.

코미디

스탠드업 코미디 오픈마이크의 밤

스탠드업 코미디 오픈 마이크 나이트는 기존의 코미디 클럽에서 개최될 수 있지만, 일반적으로 무대가 있거나 없는 다른 장소, 종종 펍이나 바의 위층이나 뒷방 또는 서점, 대학 캠퍼스, 록 클럽 또는 커피 하우스에서 [6][7][8][9]개최됩니다.덜 흔하게, [11][12]그것들은 스트립[10] 클럽이나 만화방과 같은 장소에서도 열린다.관객이 [13]없는 무대에 오르기 위해 기다리는 배우들을 위한 무대 뒤 공간인 그린룸이 있는 유일한 오픈마이크 시설은 코미디 클럽일 수 있다.

오픈 마이크의 밤은 새로운 코미디언들이 관객 [26]없이는 할 수 없는 그들의 스탠드업 루틴을 연습할 기회를 준다.전형적인 코미디 오픈마이크의 관객은 다른 [27][28]코미디언들이다.미성년자는 부모를 [29]동반하여 클럽에 가입시켜야 한다.더 경험이 많은 코미디언들은 새로운 소재나 [30][31]새로운 캐릭터를 만들어 낼 수 있는 무급 기회로서 오픈 마이크를 사용할 수 있다.오픈 마이크 코미디 나이트는 잘 확립된 스탠드업 장면이 있는 영어권 대도시에서 가장 널리 볼 수 있습니다. 주요 예로는 보스턴, 시카고, 런던, 뉴욕시가 있습니다.스탠드업은 또한 유급과 무급 둘 다 일의 기회를 찾기 위해, 친구를 사귀기 위해, [32][33][34][35]또는 치료의 한 형태로 네트워킹을 위해 오픈 마이크를 사용합니다.

"The Room"은 코미디 공연의 배경을 나타내는 용어이다. 코미디언들은 관객들을 "The Room"[36][37]을 읽는 능력으로 평가한다고 한다.스탠드업 퍼포먼스는 무대공간이 지정돼 있으며 업계 [13][38][39]표준으로 증폭 기능이 있는 마이크를 사용한다.코미디용 오픈 마이크는 최소 공연 [40][41][42]요건이 없으며, "쇼 앤 고"[43]라고 알려진 형식입니다.전형적인 코미디 오픈마이크에서, 연극은 3분에서 7분의 무대 시간을 [51]가질 수 있다.5분 슬롯의 루틴에는 약 3분의 [52][53][54]자료가 필요합니다.공연되는 모든 스탠드업 코미디는 독창적인 [55][56]작품이어야 한다.

스탠드업 코미디 오픈 마이크의 진행자는 "방"[57][58] 내에서 감정의 균형을 유지하려고 노력합니다.진행자들은 관객들의 즐거움을 극대화하고 웃음의 증가로 이어질 수 있기 때문에 지정된 앞무대 부근에 관객들을 가까이 앉히려고 할 것이다.코미디룸 내 좌석 배치는 관객들에게 신체적인 불편함을 야기했다.하지만 관객들은 '만실감'을 얼마나 즐겼는지에 대해 종종 이야기하곤 했다.반대로 공연이 매진되지 않고 관객이 빈 테이블과 의자 사이에 넓게 펼쳐질 수 있는 공간이 넓어지면 관객들은 자신의 경험을 오락이나 [64]즐거움의 하나로 여기는 경향이 적습니다.사회자는 신청자 명단에 오른 이름을 외워 각각의 연기를 소개하고 관객들에게 소개 박수를 [65][66][67]보내달라고 부탁한다.오픈마이크에서 먼저 공연하는 것은 관객이 차갑기 때문에 개그맨에게 불리하고 [68][69]공연하기 가장 어려운 곳으로 꼽힌다.

스탠드업은 보통 [70]청중에게 연설하기 위해 두 번째 사람을 이용한다.2011년, 작가 Rob Durham은 오픈 마이크의 밤은 90분 이내로 15막 이하로 [71]구성되어야 한다고 말했다.코미디 오픈 마이크는 보통 30명을 넘지 않을 것이며, 코미디언 한니발 부레스는 그 [72]자리에 있어야 할 최대 인원으로 꼽았다.스탠딩은 나중에 검토하고 [73][74]리허설할 수 있도록 세트를 기록하는 것이 일반적입니다.서로 다른 독자들의 집단적 피드백은 스탠드업 루틴이 어떻게 [78]형성되는지에 큰 영향을 미칩니다.

진행자는 그들의 시간이 끝나기 1분 전에 그들이 현재 하고 있는 농담을 끝내기 위한 신호로 코미디언에게 불빛을 비추게 되는데,[79][80] 이것은 "빛을 얻는 연습"으로 알려져 있다.현대에는 더 크거나 밝은 [81]빛으로 청중을 산만하게 하지 않기 위해 휴대폰의 손전등으로 이것을 한다.만약 코미디언이 이 조명을 무시하고 할당된 시간까지 공연을 계속한다면, 이것은 "불꽃 피우기"로 알려져 그 코미디언이 [80][82][83]그 장소에서 공연을 하는 것이 금지될 수도 있다.

다른 유형의 코미디 오픈 마이크에는 "예약된 쇼"와 "브링거 쇼"가 있습니다.예매된 공연의 형식은 일반적이지만 출연자들은 일주일에서 한 달 전에 예매한다.브링거 쇼는 쇼케이스 형식으로 진행되며, 각 출연자는 무대 시간을 확보하기 위해 5~15명(커버 요금과 1인당 최소 2잔)을 동반해야 하지만,[84] 이는 착취적인 것으로 널리 알려져 있습니다.

시, 랩, 구어

2008년 6월 리틀 그릴에서 자신의 작품을 읽는 시인

시와 구어 오픈 마이크에는 보통 시인 또는 구어 아티스트인 진행자, 시인과 구어 아티스트, 그리고 청중들이 등장한다.오픈 마이크의 밤은 독자를 특집하거나 작문 워크숍의 일부이기도 합니다만, 일반적으로 참가 희망자에게는 등록 용지가 준비되어 있습니다.그 후, 각 참가자는 마이크에 호출되어 선택 내용을 [85]읽습니다.작가들은 청중들을 위해 새로운 곡을 써보거나 지역 작문 커뮤니티에 대해 더 많은 것을 알기 위해 오픈 마이크에 참석할 수 있다.다른 사람들은 단지 [85]듣기 위해 시 오픈마이크에 참석한다.시/구어 오픈 마이크는 느긋하고 평온한 설정부터 독자나 연주자가 관객의 박수를 받기 위해 경쟁하는 활기찬 세션까지 다양합니다.그것들은 주로 도서관, 커피 하우스, 카페, 서점, 바에서 열린다.

각 시인이나 구어 예술가들은 종종 그들의 공연을 최소/특정 시간대에 맞춰 관객들과 그들의 작품을 공유할 수 있는 충분한 시간을 주도록 요구받는다.호스트 또는 MC는 이벤트에 적합한 퍼포먼스를 결정하는 "게이트키퍼" 역할을 합니다.출연자가 기한을 넘겼을 경우 진행자는 출연자의 노고에 대해 외교적으로 감사를 표하고 다음 출연자를 위해 무대를 양보해 달라고 요청한다.

보다 드문 틈새 변종

"오픈 데크"(여기서 "덱"은 DJ가 사용하는 턴테이블의 종류를 의미함)와 "오픈 릴"(여기서 "릴"은 35mm 필름 릴을 의미함)이라는 용어는 열정적인 아마추어들이 만나 그들의 기술/아트를 전시하고 비평할 수 있는 더 틈새 오픈 마이크 이벤트에 사용됩니다.최신 PC의 강력한 편집 기능과 더불어 소비자 비디오 기술의 비용 감소로 인해 DJing 및 아마추어 영화 제작의 인기가 높아졌지만, 이러한 행사는 여전히 매우 드물다.

「 」를 참조해 주세요.

  • Open Mic UK (영국 음악 콩쿠르, 2008년 이후 개최)
  • 열광하는 시인들(2000~2010년 캐나다 라이브 음악회 개최)

레퍼런스

  1. ^ Zimmer, Ben (29 July 2010). "How Should 'Microphone' be Abbreviated?". The New York Times Magazine. New York: The New York Times Company. Retrieved 4 April 2020. Mike came first, documented from the early days of radio. In the June 1923 issue of 'The Wireless Age,' a photo caption of Samuel L. Rothafel...reads, ‘When you hear Roxy [Rothafel] talk about 'Mike' he means the microphone.’ This suggests the abbreviation arose as a kind of nickname, playfully anthropomorphizing the microphone as Mike. But by 1926, when the pioneering broadcaster Graham McNamee published his book ‘You're on the Air,’ mike appeared in lowercase, not as a name...Mic didn't begin appearing in written works for another few decades, first recorded by the Oxford English Dictionary in Al Berkman's 1961 ‘Singers' Glossary of Show Business Jargon.’ Berkman offered both mike and mic as possible clippings of microphone. Since then, mic has grown in popularity among those who work with recording equipment.
  2. ^ "Open Mic Finder Statistics". Retrieved 23 February 2013.
  3. ^ "2010 Winners". Open Mic UK. Retrieved 12 May 2011.
  4. ^ Almroth-Wright, Indy (6 December 2008). "Twleve year-old 'Birdy' wins UK talent contest". BBC (Hampshire). Retrieved 15 April 2011.
  5. ^ rayray. "Phoenix Blues Jams". www.rayrayblues.com.
  6. ^ Lindfors, Antti (6 May 2019). "Cultivating Participation and the Varieties of Reflexivity in Stand-Up Comedy". University of Turku, Finland. Journal of Linguistic Anthropology. 29 (3): 278. doi:10.1111/jola.12223. S2CID 164354426. Retrieved 26 December 2020. in Helsinki...so-called open mic clubs, which refers to organized events (usually in bars and pubs) where both established and beginning comics can try out new material as well as develop their standard routines through relatively short sets ranging from five to twenty minutes, in an environment (with live audience) specifically encouraging and framed for work-in-progress.
  7. ^ Carter, Judy (2001). The Comedy Bible: From Stand-up to Sitcom—The Comedy Writer's Ultimate How-To Guide. New York, NY: Simon & Schuster. pp. 66–67. ISBN 978-0-7432-0125-4.
  8. ^ Bromley, Patrick (6 June 2018). "How to Break Into Stand-Up Comedy". ThoughtCo. Potdash. Retrieved 22 March 2019. [Open mics] could be held anywhere, but are often found at bars, rock clubs, and coffee houses.
  9. ^ Durham, Rob (2011). Don't Wear Shorts on Stage: the stand-up guide to comedy. Middletown, DE. p. 16. ISBN 9781468004847. Each comedy club or bar has its own system for signing up for [an] open mic.
  10. ^ Isador, Graham (2 May 2018). "Comedians Tell Us the Most Epic Fails They've Seen at Open Mics". VICE. VICE MEDIA LLC. Retrieved 18 February 2019. The worst open mic I ever attended was at Zanzibar, a strip club in downtown Toronto.
  11. ^ Master, Julian (2 April 2016). "An Aspiring Stand-Up Comic Shoots Empty Open Mics Across NYC". VICE. VICE MEDIA LLC. Retrieved 18 February 2019.
  12. ^ Quirk, Sophie (November 2011). "Containing the Audience: The 'Room' in Stand-Up Comedy" (PDF). University of Kent, UK. Participations: Journal of Audience & Reception Studies. 8 (2): 232. Retrieved 27 December 2020. The more improvised spaces still tend to have high information rates [i.e., distracting stimuli that are not a part of the performance]
  13. ^ a b Goffman, Erving (1980) [1959]. The Presentation of Self in Everyday Life. New York: Anchor Books: A Division of Random House, Inc. pp. 113, 119. ISBN 978-0-385-094023. In general...the back region will be the place where the performer can reliably expect that no member of the audience will intrude...back region tends to be defined as...all places out of range of 'live' microphones.
  14. ^ Quirk, Sophie (November 2011). "Containing the Audience: The 'Room' in Stand-Up Comedy" (PDF). University of Kent, UK. Participations: Journal of Audience & Reception Studies. 8 (2): 220. Retrieved 4 January 2021. It is the audience's cooperation which allows the act to succeed and they retain the right to undermine the interaction by withdrawing that cooperation
  15. ^ Smith, Daniel R. (2018). "Part I: Analytical[:] 2 The Professionalisation of Stand-Up Comedy: Coda". COMEDY AND CRITIQUE: Stand-up comedy and the professional Ethos of laughter. Bristol Shorts Research. UK: Bristol University Press. p. 74. ISBN 978-1-5292-0015-7. Stand-up is the art of self relating to self in the presence of others.
  16. ^ a b Smith, Daniel R. (2018). "Part II: Synthetic[:] 3 Representation: Stand-up: representing whom?". COMEDY AND CRITIQUE: Stand-up comedy and the professional Ethos of laughter. Bristol Shorts Research. UK: Bristol University Press. p. 79. ISBN 978-1-5292-0015-7. [S]tand-up represents a three part relation in the aesthetic completion of the comedic exchange: attempted joke, laughter, confirmed joke.
  17. ^ Lindfors, Antti (6 May 2019). "Cultivating Participation and the Varieties of Reflexivity in Stand-Up Comedy". University of Turku, Finland. Journal of Linguistic Anthropology. 29 (3): 279. doi:10.1111/jola.12223. S2CID 164354426. Retrieved 26 December 2020. First, stand-up is centered around public self-presentation and -reflection through verbal and nonverbal communication, that can be preliminarily described as a subjectifying mode of footing...Second, stand-up is a [sic] groupendeavor dependent on performer's abilities to reflexively accommodate assumptions of one's audience, or what comics metapragmatically designate as 'reading the room' and 'working the audience.'
  18. ^ Bromley, Patrick (13 April 2018). "Breaking Into Stand-Up: 10 Tips for Beginner Comedians". ThoughtCo. Potdash. Retrieved 22 March 2019. It's a true 'learn-by-doing' art form, and you won't know what works (and what doesn't) until you've gotten on stage in front of an audience.
  19. ^ Lagatta, Eric (21 March 2019). "Budding, established comedians hone craft at open-mic nights". The Columbus Dispatch. GateHouse Media, LLC. Retrieved 25 March 2019. Most comedians see open-mic nights as a chance to test new material or refine their stage presence.
  20. ^ Naessens, Edward David (2020). "Busting the Sad Clown Myth: From Cliché to Comic Stage Persona". In Oppliger, Patrice A.; Shouse, Eric (eds.). The Dark Side of Stand-up Comedy. United Kingdom: Springer Nature Switzerland AG: Palgrave Macmillan. p. 228. doi:10.1007/978-3-030-37214-9_11. ISBN 978-3-030-37213-2. S2CID 216338873. comedians learn how and who to be onstage in significant part by watching other comedians and attending to the responses of audiences.
  21. ^ Brodie, Ian (2008). "Stand-up Comedy as a Genre of Intimacy". Ethnologies. Cape Breton University. 30 (2): 161. doi:10.7202/019950ar. Retrieved 15 September 2020. Pauses, rhetorical questions, digressions, diversions, distractions, and long descriptive passages all are opportunities for the audience to react in an unanticipated manner and to shift (or pull) focus away from the performer.
  22. ^ a b Marchese, David (23 September 2016). "Norm Macdonald Unloads on Modern Comedy, SNL, Fallon's Critics, Hillary, and Trump". Vulture: Devouring Culture. Quote by Norm Macdonald. Retrieved 27 December 2020. On TV, every single joke kills. That's not what happens with stand-up. You have to earn every laugh. Another thing is that there's no room for interpretation in stand-up...with stand-up, it's all about getting that noise — getting that laugh. And it has to come for everyone at the same time. Everyone has to think the same thing at the same time.
  23. ^ Brodie, Ian (2014). "Stand-Up Comedy and a Folkloristic Approach". A Vulgar Art: A New Approach to Stand-up Comedy. Jackson: University Press of Mississippi. p. 36. ISBN 978-1-62846-182-4. At its core...is audience engagement: laughter is both the ends (the validation by the live audience of the comedian being found funny) and the means (data for the subsequent listener to consider in judging whether the comedian could be found funny).
  24. ^ Quirk, Sophie (2015). Why Stand-up Matters: How Comedians Manipulate and Influence. New York: Bloomsbury Methuen Drama. p. 97. ISBN 978-1-4725-7893-8. Cooperation between audience and speaker is vital
  25. ^ Borns, Betsy (1987). Comic Lives: Inside the World of American Stand-up comedy. Simon & Schuster, Inc. p. 163. ISBN 0-671-62620-5. In the beginning, most comics agree, the most important things are getting stage time, watching others work, and earning a living.
  26. ^ [14][15][16][17][18][19][20][21][22][23][24][25]
  27. ^ Freeman, Zach (30 May 2019). "10 reasons why Cole's is the best comedy open mic in Chicago". Chicago Tribune. Retrieved 12 April 2020. If you've ever been to a typical open mic, you're probably a comedian yourself. In other words, the audiences can be sparse, and they're mostly waiting for their turn at the microphone.
  28. ^ Fulford, Larry (2020). "The Complete and Utter Loss of Time". In Oppliger, Patrice A.; Shouse, Eric (eds.). The Dark Side of Stand-up Comedy. United Kingdom: Springer Nature Switzerland AG: Palgrave Macmillan. pp. 306–307. doi:10.1007/978-3-030-37214-9_16. ISBN 978-3-030-37213-2. S2CID 216343536. Sometimes bouncing from open mic to open mic, hitting two or three in a single night...comics who take the craft seriously are out [performing stand-up] almost every night
  29. ^ Batz, Jr., Bob (10 June 2003). "A STAND-UP KID: Teen comic dreams of a wisecracking career". Pittsburgh Post-Gazette (Post Gazette Staff Writer). Retrieved 8 April 2019.
  30. ^ Oswalt, Patton (14 June 2014). "A Closed Letter to Myself About Thievery, Heckling and Rape Jokes". Patton Oswalt. Patton Oswalt. Retrieved 3 February 2019. Open mikes are where, as a comedian, you're supposed to be allowed to fuck up.
  31. ^ Roberts, Rebecca Emlinger (2000). Tim Allen. "Standup Comedy and the Prerogative of Art". The Massachusetts Review. The Massachusetts Review, Inc. 41 (2): 158, 159. JSTOR 25091646. No laughter? Out then. Tim [Allen]’s willingness to change his act to suit his audience...The difference between Tim’s censoring of material and a poet’s censoring is elusive. Tim’s goal is to make money, that's one of his desires, but not his primary motivating desire. His drive as a comedian is to make people laugh.
  32. ^ Oliar, Dotan; Sprigman, Christopher (2008). "There's No Free Laugh (Anymore): The Emergence of Intellectual Property Norms and the Transformation of Stand-Up Comedy". Virginia Law Review. 94 (8): 1816. JSTOR 25470605. Retrieved 16 September 2020. Connections to more established comedians are often helpful in finding work, and a good name and goodwill among fellow comedians is also a source of job opportunities.
  33. ^ Bernstein, Mike (Director); Chris Gethard; Neal Brennan; Anna Akana; Sarah Silverman; Baron Vaughn (10 October 2019). Laughing Matters [Comedians Tackling Depression & Anxiety Makes Us Feel Seen Documentary] (Motion Picture). SoulPancake in association with Funny Or Die and Alpen Pictures. Retrieved 4 December 2020.
  34. ^ Goffman, Erving (1980) [1959]. The Presentation of Self in Everyday Life. New York: Anchor Books: A Division of Random House, Inc. p. 16. ISBN 978-0-385-094023. When an individual or performer plays the same part to the same audience on different occasions, a social relationship is likely to arise.
  35. ^ Schaefer, Sara (16 March 2012). "Advice to a Young Comedian (& Myself)". Sara Schaefer. Archived from the original on 7 August 2020. Retrieved 14 February 2021. the next day, my friend who was also on the show ['in a theatre above a porn shop across from the Port Authority'], told me a scout from casting at Fox was in the audience and they wanted to meet with him.
  36. ^ Quirk, Sophie (November 2011). "Containing the Audience: The 'Room' in Stand-Up Comedy" (PDF). University of Kent, UK. Participations: Journal of Audience & Reception Studies. 8 (2): 220. Retrieved 27 December 2020. The term 'room' means more than just the physical space in which the performance takes place; it is the term used to summarise a combination of factors which include the nature of the space, the way that space is set up, the character of the audience and more.
  37. ^ Lindfors, Antti (6 May 2019). "Cultivating Participation and the Varieties of Reflexivity in Stand-Up Comedy". University of Turku, Finland. Journal of Linguistic Anthropology. 29 (3): 283. doi:10.1111/jola.12223. S2CID 164354426. Retrieved 27 December 2020. In the heat of real-time performance...comics can 'read the room' through jokes that are optimal for gauging their interlocutors' intellectual, moral, emotional, or other boundaries and preferences, e.g., through lowbrow, strategically ambiguous, or perhaps seemingly offensive bits.
  38. ^ Brodie, Ian (2008). "Stand-up Comedy as a Genre of Intimacy". Ethnologies. Cape Breton University. 30 (2): 156–157. doi:10.7202/019950ar. Retrieved 15 September 2020. [S]tand-up comedy...cannot exist without technological advances...what distinguishes it as a whole from other forms of verbal comedy, and where one can deduce its origins, is the advanced use of the microphone...antecedents and forebears are suggested ranging from the court jester to Mark Twain and Will Rogers. Such suggestions of ancestry are not without merits, but as a form or, more precisely, as an emic genre with an attendant set of expectations, including the dialogic properties...stand-up comedy, contemporary or otherwise, does not exist without amplification.
  39. ^ Brodie, Ian (2014). "Stand-Up on Stage". A Vulgar Art: A New Approach to Stand-up Comedy. Jackson: University Press of Mississippi. p. 49. ISBN 978-1-62846-182-4. Staging for the stand-up comedy performance is minimal. Typically, there is a stool, a microphone stand, and a neutral backdrop. The backdrop is either a blank wall (frequently brick) or a curtain.
  40. ^ Seizer, Susan (2011). "On the Uses of Obscenity in Live Stand-Up Comedy". Anthropological Quarterly. The George Washington University Institute for Ethnographic Research. 84 (1): 215–216. doi:10.1353/anq.2011.0001. JSTOR 41237487. S2CID 144137009. Another key feature of the minimal set up of stand-up is that it allows virtually anyone to do it. You don't need 'gear:'...neither do you need 'proof': a license, a training certificate, an academic degree. This democratic character allows live regional stand-up to showcase homegrown and working-class talent.
  41. ^ Mintz, Lawrence E. (Spring 1985). "Special Issue: American Humor" (PDF). American Quarterly. The Johns Hopkins University Press. 37 (1): 71–72. doi:10.2307/2712763. JSTOR 2712763. Retrieved 2 August 2020. A strict, limiting definition of standup comedy would describe an encounter between a single, standing performer behaving comically and/or saying funny things directly to an audience, unsupported by very much in the way of costume, prop, setting, or dramatic vehicle. Yet standup comedy's roots are...entwined with rites, rituals, and dramatic experiences that are richer, more complex than this simple definition can embrace. We must...include seated storytellers, comic characterizations that employ costume and prop, team acts[,]...manifestations of standup comedy routines...such as skits, improvisational situations, and films...and television sitcoms...however our definition should stress relative directness of artist/audience communication and the proportional importance of comic behavior and comic dialogue versus the development of plot and situation
  42. ^ Naessens, Edward David (2020). "Busting the Sad Clown Myth: From Cliché to Comic Stage Persona". In Oppliger, Patrice A.; Shouse, Eric (eds.). The Dark Side of Stand-up Comedy. United Kingdom: Springer Nature Switzerland AG: Palgrave Macmillan. p. 229. doi:10.1007/978-3-030-37214-9_11. ISBN 978-3-030-37213-2. S2CID 216338873. Novice stand-up comedians must introduce themselves, break the ice, and quickly provide background to audiences of strangers.
  43. ^ Martin, Sarah. "Comedy Open Mic Formats & Etiquette". Vocal. Jerrick Ventures LLC. Retrieved 4 April 2020. Show and Go/Show Up...[t]his is most common type of open mic...[a]ll you have to do is show up...[and p]ut your name on the list
  44. ^ Bunce, Alan (13 January 1989). "What's So Funny, America?". The Christian Science Monitor. Mort Sahl. Retrieved 10 September 2019. Today kids come on[stage at open mics] for five minutes each and curse because of a poverty of language or because they've seen too many R-rated movies.
  45. ^ "PDX Comedy Blog". PDX Comedy Blog. Portland, OR, USA. Retrieved 18 February 2019.
  46. ^ Durham, Rob (2011). Don't Wear Shorts on Stage: the stand-up guide to comedy. Middletown, DE. p. 21. ISBN 9781468004847. [Y]ou'll get four or five minutes to perform.
  47. ^ Ball, Joseph (25 July 2018). "I Did Stand-Up Comedy For The First Time And Didn't Become A Punchline". Indianapolis Monthly. Indianapolis Monthly. Retrieved 25 March 2019. Those three minutes felt like 30, in a good way
  48. ^ Luschei, Abby (25 July 2018). "Advice from five Salem comedians on getting started doing stand-up". statesman journal. Part of the USA Today Network. Retrieved 25 March 2019. Each comic gets five minutes
  49. ^ Neill, Geoffrey (22 December 2015). Hitting Your Funny Bone: Writing Stand-up Comedy, and Other Things That Make You Swear. San Bernardino, CA. p. Chapter 6. ISBN 9781515180661. (It's usually three to four minutes).
  50. ^ Brodie, Ian (2014). "Stand-Up Comedy Broadcasts". A Vulgar Art: A New Approach to Stand-up Comedy. Jackson: University Press of Mississippi. p. 168. ISBN 978-1-62846-182-4. Open-mike nights at comedy clubs typically limit performances to five minutes.
  51. ^ [44][45][46][47][48][49][50]
  52. ^ Durham, Rob (2011). Don't Wear Shorts on Stage: the stand-up guide to comedy. Middletown, DE. pp. 9–10. ISBN 9781468004847. You need just three minutes of material...enough time to perform several jokes, get a few laughs, and then get off [the] stage.
  53. ^ Bienenstock, David (20 November 2017). "Bob Saget Helped Me Prepare for My Stand-Up Debut" (Interview). VICE. Bob Saget. VICE MEDIA LLC. Retrieved 18 February 2019. It's really just three to five minutes that you need to write and then hone
  54. ^ a b Goffman, Erving (1980) [1959]. The Presentation of Self in Everyday Life. New York: Anchor Books: A Division of Random House, Inc. p. 16. ISBN 978-0-385-094023. The pre-established pattern of action which is unfolded during a performance and which may be presented or played through on other occasions may be called a 'part' or 'routine.'
  55. ^ Oliar, Dotan; Sprigman, Christopher (2008). "There's No Free Laugh (Anymore): The Emergence of Intellectual Property Norms and the Transformation of Stand-Up Comedy". Virginia Law Review. 94 (8): 1830. JSTOR 25470605. Retrieved 16 September 2020. [T]he spirit of modern stand-up comedy...is focused on originality.
  56. ^ Brodie, Ian (2014). A Vulgar Art: A New Approach to Stand-up Comedy. Jackson: University Press of Mississippi. p. 21. ISBN 978-1-62846-182-4. Stand-up comedy, being a contemporary, popular genre, is a genre of novelty, so one does not learn the canon so much as learn from it, locating oneself within a tradition not simply to continue it but to develop and add to it.
  57. ^ Keisalo, Marianna (2018). "The invention of gender in stand-up comedy: transgression and digression". Social Anthropology. 26 (4): 555–556. doi:10.1111/1469-8676.12515. Retrieved 1 February 2021. [They] act as Masters of Ceremony, the club hosts who warm up the audience and introduce each comedian. This is a challenging job; the MC is responsible for maintaining the mood of the audience and adjusting it if necessary after each performance.
  58. ^ Quirk, Sophie (2015). Why Stand-up Matters: How Comedians Manipulate and Influence. New York: Bloomsbury Methuen Drama. p. 108. ISBN 978-1-4725-7893-8. Here Mintz is deconstructing the complex process of 'warming up' the audience. This is not only a matter of relaxing the audience and ensuring that they are capable of producing laughter easily; the warm-up also allows the comedian to establish that comic license is in operation, and that all following statements are to be read within the safe bracket of the joke. Furthermore, the comedian asserts that the disparate collection of individuals in attendance is in fact a unified group with a shared consensus, thus allowing the group to feel secure in the knowledge that their laughter is acceptable to their peers, and any potentially risky value-judgments involved in the joking are shared with others.
  59. ^ Thomas, James M. (2015). "Laugh through it: Assembling difference in an American stand-up comedy club". Ethnography. Sage Publications, Ltd. 16 (2): 174. doi:10.1177/1466138114534336. JSTOR 26359086. S2CID 144390090. Tightly arranged seating within the comedy room created physical discomfort for audience members...Yet audience members often talked about how much they enjoyed 'the feeling of a full house'...Conversely, when shows were not sold out and audience members had more room to spread out among empty tables and chairs, audience members were less likely to relate their experiences as one of entertainment or enjoyment.
  60. ^ Lindfors, Antti (6 May 2019). "Cultivating Participation and the Varieties of Reflexivity in Stand-Up Comedy". University of Turku, Finland. Journal of Linguistic Anthropology. 29 (3): 277. doi:10.1111/jola.12223. S2CID 164354426. Retrieved 26 December 2020. Corroborating the communal reputation of the genre, stand-up trades on interpersonal resonance or what is called 'involvement' in sociolinguistics (Tannen 2007), where audience will (ideally) 'coauthor' the speech act by ritualized collective laughter (Duranti 1986).
  61. ^ Quirk, Sophie (November 2011). "Containing the Audience: The 'Room' in Stand-Up Comedy" (PDF). Participations: Journal of Audience & Reception Studies. University of Kent, UK. 8 (2): 228. Retrieved 27 December 2020. To produce laughter, an audience needs not only energy but also confidence. To laugh is pleasant, but can also be risky; to be caught laughing heartily when other audience members are silent could be embarrassing. Bergson describes the importance of camaraderie in laughter...It is therefore important that, as Brook intimates, the energy that causes laughter flows freely and easily between people.
  62. ^ Lockyer, Sharon; Myers, Lynn (November 2011). "'It's About Expecting the Unexpected': Live Stand-up Comedy from the Audiences' Perspective" (PDF). Participations: Journal of Audience & Reception Studies. Brunel University. 8 (2): 177. Retrieved 29 December 2020. Respondents expressed that they enjoy the limited [spatial] distance between the audience and the stand-up comedian...Such explanations support Bennett's observation that the 'lessening of distance leads to fuller engagement with the spectator' (1997: 15). Although this reduced distance is important in all live performances, closeness and intimacy is especially important in standup comedy.
  63. ^ Greene, Grace F. (2012). "Rhetoric in Comedy: How Comedians Use Persuasion and How Society Uses Comedians". The Corinthian: The Journal of Student Research at Georgia College. 13 (11): 138. Retrieved 26 January 2021. [E]xpectancy violations theory is not particular to humor; it is a contemporary communication theory that can be applied to rhetorical situations. Expectancy violations theory is heavily based on the studies of personal space and proxemics, or the study of people’s use of space (Griffin, 2009). The key to the expectancy violations theory is the argument that when our expectations are violated, we have the choice of responding negatively or positively. A comic’s goal is to persuade his or her audience to respond positively to a violation of personal space or any other previously set expectation
  64. ^ [59][60][22][61][62][63]
  65. ^ Rutter, Jason (1997). "Stand-up as interaction: Performance and Audience in Comedy Venues" (PDF). Department of Sociology. CORE. University of Salford: Institute for Social Research. p. 169. Retrieved 13 November 2020. The presence of audience greeting, like audience applause, is a remarkably stable feature of opening sequences. Almost invariably the first thing a performer does is greet the audience. Although this greeting may take a variety of forms, it is an introduction. Usually the performer's entrance has been preceded by a short sequence from a compere who will have introduced the comedian and instigated a round of applause. [An] informal, at times quasi-conversational approach is used in which the performer gives the impression that they are opening up a dialogue with the audience.
  66. ^ Filani, Ibukun (2015). "Discourse types in stand-up comedy performances: an example of Nigerian stand-up comedy". Department of English. European Journal of Humour Research. 3 (1): 43–44. doi:10.7592/EJHR2015.3.1.filani. Retrieved 4 January 2021. Rutter (1997; 2000) cited in Scarpetta & Spagnolli (2009: 6) identify the following successive bits in British stand-up comedy: i. Introduction, in which the compere announces the comedian, evaluates him/her, and warms up the audience, whose responses to the compere accompany the entrance of the comedian on stage; ii. The comedian entrance, which overlaps with the audience applause. S/he starts with an opening in which s/he greets, comments, and trains the audience in the way to respond. These exchanges are used to orient the audience towards the nature of the routine and also to divert the audience attention from drinks and chats iii. The body of the show, which is made up of several joke-telling sequences iv. The closure, which is made up of a series of not necessarily funny utterances like the evaluation of the audience, a reintroduction of the comedian, and thanks that accompany her/his departure from the stage.
  67. ^ Brodie, Ian (2014). "The Social Identity". A Vulgar Art: A New Approach to Stand-up Comedy. Jackson: University Press of Mississippi. pp. 85–86. ISBN 978-1-62846-182-4. [The] emcee asks that the extant personal goodwill between him- or herself and the audience be extended to these more or less unknown comedians...Rutter identifies six 'turns' evident in the compere's talk: contextualization (giving background details), framing of response (directing the audience to greet the comedian with a certain attitude), evaluation of comedian (commenting on performance skills), request for action (typically applause), introduction (naming), and audience applause (466).
  68. ^ Antoine, Katja (2016). "'Pushing the Edge' of Race and Gender Hegemonies through Stand-up Comedy: Performing Slavery as Anti-racist Critique". Etnofoor. Stichting Etnofoor. 28 (1): 41. JSTOR 43823941. Retrieved 14 September 2020. The first comic on stage carries the burden of 'building the energy in the room'. The comedians who follow in the line-up have to sustain it. Should someone fail at doing this and leave the audience 'cold', the next comic has to 'bring the energy back up'...Ideally [the comedians] arrive at a venue when the show starts in order to 'read' the audience. Reading the audience is a visual practice (What are the demographics?[)]...and an affective practice (How are they responding to the comic on stage?[)]...At the very least, comics will show up a few acts ahead of their own for that purpose. They have to know the energy of the room in order to work the crowd right.
  69. ^ Gulman, Gary (26 March 2020). "Gary Gulman's Comedy Tips: The Complete Collection 366 bits of wisdom, advice, and encouragement from the stand-up veteran". Vulture: Devouring Culture. NEW YORK MEDIA LLC. Retrieved 14 September 2020. Tip No. 17: You’ve been killing every night. You’re not sure this is still a challenge. For the next few months, ask to go on first. It’s a great test of your act. The booker and host will love you for it.
  70. ^ Tsang, Wai King; Wong, Matilda (2004). "Constructing a shared 'Hong Kong identity' in comic discourses". Discourse & Society. Sage Publications, Ltd. 15 (6): 777. doi:10.1177/0957926504046504. JSTOR 42888651. S2CID 145745392. Retrieved 16 September 2020. 'I,' 'my,' 'me' as the comedian versus 'you' as the audience directly engages the audience in a dialogue.
  71. ^ Durham, Rob (2011). Don't Wear Shorts on Stage: the stand-up guide to comedy. Middletown, DE. p. 20. ISBN 9781468004847. Open mic night really shouldn't have more than fifteen acts...[or] ninety minutes.
  72. ^ Hannibal Buress (3 August 2018). Hannibal Buress: Advice for Comedians. The Atlantic. Event occurs at 3:12–3:22. Retrieved 10 September 2019. [M]ax, 30 people, 'cause that's the max people that should be at an open mic
  73. ^ Gulman, Gary (26 March 2020). "Gary Gulman's Comedy Tips: The Complete Collection 366 bits of wisdom, advice, and encouragement from the stand-up veteran". Vulture: Devouring Culture. NEW YORK MEDIA LLC. Retrieved 14 September 2020. Tip No. 1: Record Every Set...Record every set. The hard part: Listen to it, and transcribe everything you want to say again...This is especially helpful early on in your career, when you’re trying to build time.
  74. ^ Naessens, Edward David (2020). "Busting the Sad Clown Myth: From Cliché to Comic Stage Persona". In Oppliger, Patrice A.; Shouse, Eric (eds.). The Dark Side of Stand-up Comedy. United Kingdom: Springer Nature Switzerland AG: Palgrave Macmillan. p. 244. doi:10.1007/978-3-030-37214-9_11. ISBN 978-3-030-37213-2. S2CID 216338873. He explained to me the importance of recording every gig.
  75. ^ Kornelis, Chris (25 August 2020). "Stand-Up Comics Find It Isn't Funny Writing Without an Audience". The Wall Street Journal. Retrieved 25 December 2020. How does a comedian know if something is funny? The audience tells [the stand-up comedian through a call and response with laughter].
  76. ^ Wuster, Tracy (2006). "Comedy Jokes: Steve Martin and the Limits of Stand-Up Comedy". Studies in American Humor. American Humor Studies Association (14): 25. JSTOR 42573700. Stand-up comedy is a unique form of performance in that the reaction of the audience is an integral part of the success or failure of each individual performance.
  77. ^ Roberts, Rebecca Emlinger (2000). Tim Allen. "Standup Comedy and the Prerogative of Art". The Massachusetts Review. The Massachusetts Review, Inc. 41 (2): 158, 159. JSTOR 25091646. No laughter? Out then. Tim [Allen]'s willingness to change his act to suit his audience...The difference between Tim's censoring of material and a poet's censoring is elusive. Tim's goal is to make money, that's one of his desires, but not his primary motivating desire. His drive as a comedian is to make people laugh.
  78. ^ [75][16][76][77][54]
  79. ^ Durham, Rob (2011). Don't Wear Shorts on Stage: the stand-up guide to comedy. Middletown, DE. p. 21. ISBN 9781468004847. The light will normally be flashed when you have one minute left in your set.
  80. ^ a b Ewing, Creig (25 July 2018). "The secret to comedy? Time... hard work". LEO Weekly. LEO Weekly. Retrieved 25 March 2019. Usually the host will shine a light to let the comedian know a minute is left. If you keep going, it's called blowing the light, and it is a sin.
  81. ^ Lagatta, Eric (21 March 2019). "Budding, established comedians hone craft at open-mic nights". The Columbus Dispatch. GateHouse Media, LLC. Retrieved 25 March 2019. Any comic nearing the time limit would face a warning: Moore waving his cell-phone flashlight.
  82. ^ Borns, Betsy (1987). Comic Lives: Inside the World of American Stand-up comedy. Simon & Schuster, Inc. p. 179. ISBN 0-671-62620-5. Staying onstage longer than their allotted time is, along with joke stealing, one of the most grievous offense a stand-up can commit.
  83. ^ Neill, Geoffrey (22 December 2015). Hitting Your Funny Bone: Writing Stand-up Comedy, and Other Things That Make You Swear. San Bernardino, CA. p. Chapter 6. ISBN 9781515180661.
  84. ^ Kelly-Clyne, Luke (20 September 2018). "I Want Out: How to Leave the Boring Job You Don't Like and Start Your Comedy Career". Vulture: Devouring Culture. NEW YORK MEDIA LLC. Retrieved 4 April 2020. In order to get stage time at [bringer shows]...you [have to] bring...5 to 15 friends, each of whom must show up and agree to buy at least two drinks...Some people think bringers are a scam, and they kind of are. They're a cash grab for club owners
  85. ^ a b Poets, Academy of American. "Read a poem at an open mic Academy of American Poets". poets.org. Retrieved 28 June 2020.

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