Having grown up in Tasmania at a time when her very sexuality was illegal, Hannah Gadsby has forged her anger into an annihilating comic weapon. Her new show “Nanette” is a heart-wrenching piece of work that rails against the failings of comedy itself to tell enough of the truth. We talk about honesty and accessibility, and her decision to stop being a comedian. See Stu’s live interview with Aunty Donna 22nd April More on Hannah Gadbsy See Stu’s stand-up live in Melbourne Like Stu’s Facebook Fanpage
As time progressed, the word came more and more to be associated with any sort of performance intended to cause laughter. During the Middle Ages, the term “comedy” became synonymous with satire, and later with humour in general.
This provides the historical framework to examine the development of performance from the late 19th century onward. Movements like Realism, Expressionism, Surrealism and the Postmodern are examined in relation to other movements across performance disciplines including bespoke lectures in comedy. Seminars appropriate to your programme will support these lectures.
Singing The module centres on building confidence in singing and developing your vocal agility through a range of exercises and songs performed in solo and group situations. The module introduces basic musical notation, sight singing, and harmony work and you will also experiment practically with microphone techniques.
“Comedy”, in its Elizabethan usage, had a very different meaning from modern comedy. A Shakespearean comedy is one that has a happy ending, usually involving marriages between the unmarried characters, and a tone and style that is more light-hearted than Shakespeare’s other plays.
A first class guitar-wielding comedian with a captivating voice and wickedly dry sense of humour. Andy Askins has an expertly crafted routine littered with an eclectic mix of offbeat comic songs and parodies. Popular songs have been rewritten and given a perverse twist to tremendous comic effect. With impeccable timing, his inventive and quirky songs are peppered with inspired patter and the darker material is sweetened by his impish demeanour which never fails to leave audiences in the palm of his hand. With a wickedly dry sense of humour, Andy’s darker material is sweetened by his innocent and impish demeanour which never fails to leave audiences in the palm of his hand. With impeccable timing, the inventive and quirky songs are peppered with inspired patter – the material is as strong as the songs and delivered in an inimitable modest and self-deprecating style. His subject matter is wide ranging; from his many bizarre relationships: “Some of them with humans” to an unfortunate mix-up over a colostomy bag with a Columbian drug baron in Miami docks. The routine ends with a hilarious rendition of Sting’s ‘Message in A Bottle’ in which Andy recounts a weekend in Amsterdam with unfortunate but hilarious repercussions.
Also in Poetics, Aristotle defined Comedy as one of the original four genres of literature. The other three genres are tragedy, epic poetry, and lyric poetry. Literature in general is defined by Aristotle as a mimesis, or imitation of life. Comedy is the third form of literature, being the most divorced from a true mimesis. Tragedy is the truest mimesis, followed by epic poetry, comedy and lyric poetry. The genre of comedy is defined by a certain pattern according to Aristotle’s definition. Comedies begin with low or base characters seeking insignificant aims, and end with some accomplishment of the aims which either lightens the initial baseness or reveals the insignificance of the aims.
Comedy is part of all of our lives in many different guises. In recent years, the way in which we interact with and consume comedy has changed dramatically, with technologies such as YouTube and Vine enabling users to create and share their comedic content with a global audience.
This module investigates developments in the staging of Shakespeare from Elizabethan times to the 21st century. Encompassing both live and recorded performances the module encourages you to address particular approaches to Shakespeare presentation (e.g. political, feminist, intercultural) by exploring the works of for example: RSC, Peter Brook, Robert Lepage and Kenneth Branagh.
Liverpool Comedy Central is Liverpool’s most sophisticated comedy club, set in the plush surroundings of what was the world famous ‘Baby Blue’ basement club on the Albert Dock. Every Thursday, Friday and Saturday we provide four of the comedy circuit’s finest comedians to bring comedy fans a superb nights entertainment. Liverpool Comedy Central offers a range of packages. Our VIP Premier Package which includes a two course meal in the PanAm Restaurant and Bar, our one course meal deal package or a ticket only. For more information on any of these packages please click here.
The Comedy Store, Manchester is a purpose built 500 seat theatre-style comedy venue and home to the finest stand-up comedy in the land. We are now in our sixteenth year – where does the time go, huh? We have live comedy on each Thursday, Friday, Saturday and Sunday night – you may laugh so hard that your head may indeed fall off. We have plenty of dining options to suit all pockets and tastes, and we also have a VIP room available for your own exclusive hire.
Gies A Giggle: Benefit in Aid of Rock Trust & Chris’s House Wednesday 19th April 2017 This benefit is being organised to honour Mandy Lindsay who sadly succumbed to her depression and took her own life. At the time of her funeral, her family requested that instead of spending money on flowers, they made a donation to Action on Depression. It raised 10k in a week. Action on Depression then allowed Mandy’s familly to use any funds they raised to allocate to the areas and campaigns of their choice, using the fund name SuperMandy. To date they have raised over 70k and it’s still going strong. Action on Depression have now ceased operations so the ticket proceeds of this show will be donated to Rock Trust who work with young people who are homeless or at risk and Chris’s House who work to prevent suicide. Please join us for a fantastic night of comedy in support of their important work. With host Billy Kirkwood , Jojo Sutherland , Julia Sutherland , Paul McDaniel and Scott Gibson ! Tickets for this show are £8 standard, £6 concession and can be reserved by calling the box office on 0141 212 3389 Book Tickets Now
In a modern sense, comedy (from the Greek: κωμῳδία, kōmōidía) refers to any discourse or work generally intended to be humorous or amusing by inducing laughter, especially in theatre, television, film, and stand-up comedy. The origins of the term are found in Ancient Greece. In the Athenian democracy, the public opinion of voters was influenced by the political satire performed by the comic poets at the theaters. The theatrical genre of Greek comedy can be described as a dramatic performance which pits two groups or societies against each other in an amusing agon or conflict. Northrop Frye depicted these two opposing sides as a “Society of Youth” and a “Society of the Old”. A revised view characterizes the essential agon of comedy as a struggle between a relatively powerless youth and the societal conventions that pose obstacles to his hopes. In this struggle, the youth is understood to be constrained by his lack of social authority, and is left with little choice but to take recourse in ruses which engender very dramatic irony which provokes laughter.
You will examine fundamental aspects of storytelling: narrative structure, character development, character types, relation of character to plot, the use of subplots. You explore differing conceptual and technical approaches in scriptwriting for theatre, TV and film.
PRP is an opportunity for you to develop your own topic or area of practice, conceptual framework, and method of investigation. It may represent a vocational or career-focused endeavour or act as a springboard for postgraduate study. Projects could include: a devised performance; an original script – comic or dramatic – an installation, multi-media performance or a directing project.
The Thursday Show Thursday 13th April 2017 The weekend starts here! Five acts on a two hour stand-up showcase. Featuring our ace comperes, the best headliners on the circuit, several support acts and a short spot for a newcomer. Great show and great value as it’s usually the same line-up as our premium Saturday night show for a fiver less. With Hailey Boyle , John Ross , Gus Lymburn , Gary Faulds and host Martin Mor . Book Tickets Now
Through class interaction, individual research and tutor supervision, you will be assisted to develop your own comic persona and write original scripts for solo live performance, radio or television. The assignment may consist of a performance at a professional comedy venue or the recording of an original comedy idea for TV or radio.Exercises are then introduced to develop comic performance, including improvisatory games to prepare you for comedy character construction.
Yet other graduates have gone to successful careers as video producers, marketing and commercial advertising executives, as radio broadcasters and editors. In recent years a number of graduates have successfully set up their own theatre/performance companies.
The advent of cinema in the late 19th century, and later radio and television in the 20th century broadened the access of comedians to the general public. Charlie Chaplin, through silent film, became one of the best known faces on earth. The silent tradition lived on well in to the 20th century through mime artists like Marcel Marceau, and the physical comedy of artists like Rowan Atkinson as Mr. Bean. The tradition of the circus clown also continued, with such as Bozo the Clown in the United States and Oleg Popov in Russia. Radio provided new possibilities – with Britain producing the influential Goon Show after the Second World War. American cinema has produced a great number of globally renowned comedy artists, from Laurel and Hardy, the Three Stooges, Abbott and Costello, Dean Martin and Jerry Lewis, as well as Bob Hope during the mid-20th century, to performers like George Carlin, Robin Williams, and Eddie Murphy at the end of the century. Hollywood attracted many international talents like the British comics Peter Sellers, Dudley Moore and Sacha Baron Cohen, Canadian comics Dan Aykroyd, Jim Carrey, and Mike Myers, and the Australian comedian Paul Hogan, famous for Crocodile Dundee. Other centres of creative comic activity have been the cinema of Hong Kong, Bollywood, and French farce.
Following on from Level 4 Comedy Acting Methods, you will explore areas of ‘Shortform’ and ‘Longform’ Improv. techniques following the teachings of Keith Johnstone, Viola Spolin, Del Close and other. The module explores the skills needed to be able to act ‘on the spot’ with confidence, to create characters and perform them with strength and consistency. The module wraps up with performing improvised scenes, games, and Longform formats and building on core knowledge of Improvisation in performance.
Teaching You will learn through various teaching methods. Practical classes will furnish you with a range of approaches and techniques for performance creation and will help you develop your performance skills and, where appropriate, production skills. Lectures and seminars will apply critical theory to live and mediated performance forms and methodologies. You will undertake project-based work including major performance projects and you will attend workshops with visiting professional practitioners. Assessment Practical 60 – 70% Essay 25% Presentation 5 – 10%
Comedy Acting Methods This primarily practical module focuses on the essential skills in live comic performance comprised of improvisation and physical comedy techniques. Principles covered include an introduction to spontaneity, comic characterisation, clowning, and slapstick.
Approaches to multi-media performance are studied, both theoretically and practically. You are introduced to practical techniques and the module is assessed through a devised, multi-media theatre production.
This module focuses on the aims and practices of early 20th century avant-garde movements such as Futurism, Dada and Surrealism, and traces their influence on more contemporary performance practices. You will explore and experiment with the practical techniques developed by practitioners of these movements, in relation to their challenge to naturalist and realist forms.
This project is designed to enable you to work collaboratively in a small group to generate, organise and manage your own performance work. The nature of the performance will be dependent on the individual skills and interests of the project group. Each student in the group takes on a performance and production role (e.g. actor, dancer, director, scriptwriter, choreographer, designer, stage-manager). You will undertake research appropriate to your project and keep a Personal Learning Journal in order to facilitate reflection and submit a critical analysis which reflects upon the rehearsal and production process.
In early 19th century England, pantomime acquired its present form which includes slapstick comedy and featured the first mainstream clown Joseph Grimaldi, while comedy routines also featured heavily in British music hall theatre which became popular in the 1850s. British comedians who honed their skills in music hall sketches include Charlie Chaplin, Stan Laurel and Dan Leno. English music hall comedian and theatre impresario Fred Karno developed a form of sketch comedy without dialogue in the 1890s, and Chaplin and Laurel were among the comedians who worked for him. American film producer Hal Roach stated: “Fred Karno is not only a genius, he is the man who originated slapstick comedy. We in Hollywood owe much to him.” American vaudeville emerged in the 1880s and remained popular until the 1930s, and featured comedians such as W. C. Fields, Buster Keaton and the Marx Brothers.
Documentary to Mockumentary This module aims to investigate the historical, social and industrial changes in Documentary production. The module is concerned with the development of competing theories around Documentary. It will address conflicting definitions of Documentary and Mockumentary within a global marketplace and will compare and contrast the range of production strategies adopted within mainstream TV and cinematic Documentary modes. It will build on the existing production skills from L5, providing students with the opportunity to produce and direct a short Documentary or Mockumentary film.
Professional Preparation You will study and perform a variety of extracts, designed to develop your skills as a developing professional. Elizabethan, Jacobean, and Restoration works as well as contemporary television and radio scripts will be considered. You will be encouraged to experiment with rhythm and language, and to apply characterisation techniques in both naturalistic and non-naturalistic performance styles. Sight-reading skills for audition will be developed. You will thoroughly research the characters, and extracts are rehearsed and directed with the aim of achieving a scale and technical profiency appropriate to the medium and context of performance: stage, camera recording or audio production. Particular attention is paid to the layering of subtext, psychological details and technical, vocal and physical skills, as well as sensitivity to language, particularly heightened language. You will be individually guided on specific strengths and weaknesses, and strategies suggested for development and improvement.
You will discuss examples of a range of radio and TV comedy before working in a small group to create an original comedy idea and to develop your own characters within it. You will be encouraged to develop range and flexibility in your vocal, facial and physical skills in order to produce a range of comic personas. You will then perform, record and edit the resultant TV/radio sitcom or sketch show. The module also examines aspects of storytelling – theme, narrative structure, character development, comic types, the relationship of character to plot, use of subplots – in relation to the writing of comedy drama and situation comedy. The module explores the writing and devising of comedy for recorded media..
This article is about a genre of dramatic works. For other uses, see Comedy (disambiguation). For the popular meaning of the term “comedy”, see Humour.
Parties larger than 8 are not allowed in the Friday or Saturday night shows. Our space is limited, intimate and cozy. Over the years, we have found that larger parties disrupt the atmosphere of the show, even without meaning to. Sorry for any inconvenience.
Alun Cochrane is a no-nonsense comedian who specialises in funny nonsense. Much of his comedy begins simply as something he’s seen, heard or felt in his own life, or in the street, or the kitchen, or anywhere and from that it blossoms into a highly amusing anecdote or a strange flight of fancy.
Physical Theatres During this module you are introduced, with reference to specific practitioners, to the theories and practices of physical theatres in Europe, North America and Asia. Practitioners and styles covered may include Tanztheatre and companies such as Gecko, seminal practitioners such as Grotowski, Eugenio Barba and Odin Teatret, and Tadashi Suzuki.
For free shows, please arrive early to avoid disappointment – especially at the weekend! For 8pm shows, getting here by 7.30pm is a good idea. On Saturday you should aim to arrive by 7pm.
Entry Requirements Qualification Entry requirements GCSE English and Maths GCSE grade C UCAS tariff points 112 points BTEC National Diploma DDM BTEC Higher National Diploma Media and Performing Arts subjects with relevant experience may be considered for 2nd Year entry Foundation Degree If you have a relevant Foundation Degree, you can join the course at year 2 Scottish Highers 112 points Irish Leaving Certificate 112 points International Baccalaureate 31 points, 5 or 6 (Higher level) in a relevant subject Salford Alternative Entry Scheme (SAES) We welcome applications from students who may not meet the stated entry criteria but who can demonstrate their ability to pursue the course successfully. Once we have received your application we will assess it and recommend it for SAES if you are an eligible candidate. There are two different routes through the Salford Alternative Entry Scheme and applicants will be directed to the one appropriate for their course. Assessment will either be through a review of prior learning or through a formal test. English Language Requirements International applicants will be required to show a proficiency in English. An IELTS score of 6.0 (no element below 5.5) is proof of this. Applicant profile This course will appeal to both performers and writers, to those interested in live comedy as much as broadcast comedy. It is one thing to be considered funny by your family and friends, and quite another to practice the craft of comedy. Comedy Studies, as a broad field, will be of interest to people fascinated by human behaviour, by what makes people laugh and why, by sociology, psychology and the performance of identity. There is an expectation on this course that you will develop the ability to articulate ideas related to comedy in extended writing as well as performance, and that there will be a dialogue between these two practices.