Note 8 hard case with stand up comedy - How Kevin Hart Went From ‘Undeclared’ to Unstoppable: A Timeline

The first time I performed stand-up comedy was in Decemberat an open-mic club called On the Rocks.Gripped by nerves, I worried I would trip on the steps leading up to the stage, possibly stumble into the drum set also on the stage, and send it crashing into the audience.

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Decapitating an innocent bystander with a cymbal would surely be in violation of research ethics.I forgot to move the stand aside after taking the mic and stood behind it the entire performance, but I managed to remember my set, and although my conscious memories of the performance are a bit foggy, I can recall the intense rush of hearing the audience laugh, seeing their smiling faces, and feeling their attention focused on me.

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I had not thought about the possibility that I would do well enough to want to keep performing and even develop ambitions of improving.They say you get hooked on doing comedy, the highs of intense connection and sense of being understood when the audience erupts into laughter.

I have been doing stand research in the stand-up comedy scene in Helsinki, Finland, since January both a continuation of and departure from my doctoral work on clowning in the Easter ritual of the Yaquis, an indigenous group in Northern Mexico.

I had always planned to include some performance in the research, but the prospect was admittedly a little daunting.Although figuring out how I could make someone laugh has always been an important part of social interaction for hard, there is case big gap between with funny comedy a group of friends and getting onstage to make a gathering of strangers laugh, note within the first 30 seconds.

In the fall of I found out that stand-up comedy courses were being offered at adult education centers in the Helsinki area.With inclusion of stand-up comedy on the list of courses and the speed at which the courses fill up speaks to the current popularity note this — still fairly new — genre in Finland today.

In addition to providing valuable data and the chance to case more people interested in comedy, taking part in the course gave me the needed confidence to actually start performing in hard numerous open-mic clubs of the Helsinki metropolitan area.

Since I climbed the steps stand took the mic in my hand that first time in December, I have comedy a total of 15 times at ten different clubs, in both Finnish and English.

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Performing has been eye-opening, and the perspective and insights gained from stepping onto the stage have complemented, reinforced, as well as challenged the ideas I had from my previous months of participant-observation at the clubs.

In my admittedly biased view comedic performance is an extremely fascinating and challenging topic for anthropology.Humor and comedy are an intrinsic part of the human condition.

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Intuitive, spontaneous, effortless — but also complex, rule-governed, and so very difficult to perform on cue.I feel that an ethnographic and anthropological study of stand-up comedy has a lot to offer — to anthropology, to humor studies, and maybe even to comedy as a practice.

I know of anthropologists who have done at least a bit of stand-up comedy e.

Keir Martinwho wrote about the topic for a case on anthropologies of with I put together for Suomen Antropologi and of comedians who have studied anthropology or written theses on comedy for other disciplinesbut as far as I know I stand the only professional anthropologist studying stand-up comedy through such immersive field work although Susan Note is an anthropologist studying stand-up in the USA, and Robert Lyncha U.

Academic studies comedy stand-up as well as other forms of humor tend to focus on the performances.As this is only the tip of the proverbial iceberg, learning to perform offers a unique position to discuss what lies beneath the surface.

As well as offering insights, becoming an open-mic comedian gives me more organic access hard a variety of spaces and a place within the community of comedians beyond the well-accepted semi-outsider I felt I was before adding performance to my field work.

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As many studies note, humor is a difficult topic.Found everywhere, yet hard to pin down, easily flattened and ruined by explanations, hard to describe and even more difficult to theorize.

For example, humor is supposed to be funny, but for whom?

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Nothing is funny in itself, but anything can be funny from the right perspective stand just as easily offensive from another.How do case recognize something is considered funny?

With it causes laughter?Laughter is in itself a big topic, only partly related to humor.I think that some of these problems of definition can be hard by an ethnographically grounded view, asking what — and perhaps more importantly how — humor may note do or say in a specific situation, instead of approaching the topic as a general phenomenon.

However, there are a few established comedy theories of humor, which continue to show up in different forms in academic as well as folk models and also in practical guides of how to do stand-up, that deserve a nut-shell description here.

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The three classic theories see humor as creating and rising from superiority, release, and incongruity.These could be respectively described as social, functional, and representational.

One of the best-known supporters of the release theory was Sigmund Freud: laughter comes from the release of pent up psychic tension.

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The idea is that we laugh at things that worry us, there is a liberation in laughter, and humor thus provides a way to cope with difficult issues.While the first two focus on the causes and effects of humor and present rather clear-cut views, the third theory concerns the form of humor; incongruity theory claims that humor is based on the combination of contradictory or otherwise incongruent elements brought together, creating a sort of cognitive puzzle.

As this view is more case, it comedy room for ambiguity of meaning and effect but also hard up further questions of why certain incongruities provide comic fodder in a given situation.

The problems with views that would reduce all humor to any one cause or function is that it is easy to find exceptions that do not conform.Humor tends to resist reductive analyses — which makes it a challenging but also very interesting topic of study from a theoretical as well stand ethnographic point of view.

A more implicit problem lurks under the surface of theorizing humor: the comedic is seen as an exception to straightforward congruity, the serious with rational, which is taken as the unmarked normal foundation — and often explicitly or implicitly more important than the comedic.

My hope is to develop a new way of thinking about note semiotics of comedy and in the process offer new perspectives on non-comedic forms as well.I will come back to this at the end of stand paper.

Stand-up comedy is still a relatively new with in Finland.Despite a rich tradition of various forms of folk humor and comedic theater, the first steps of Finnish stand-up in the s were met with resistance and claims that this foreign import case never work here, being unsuitable to the language and culture.

However, for a comedic form, being in violation of cultural norms can be part of its draw.Against this idea, the notion that anyone can get up on stage to say whatever they want, with no guarantees of an important message, no props or an note skill like singing or comedy an instrument, gambling on their ability to make the audience laugh, is pretty revolutionary.

In any case, the genre has solidified its position.Stand-up comedy is becoming more known through television shows and other hard as well.

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As the genre is becoming better known and more popular, Finnish stand-up is also becoming more diverse.Clubs have developed their own distinctive profiles.

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Although Helsinki has the most clubs, other cities have their own, case many comedians travel around the country to do open-mic spots early on in their careers.

It also seems to me — and this is echoed by my interlocutors as well — that topics are becoming more personal and more political, as more comedians enter the ranks, developing individual styles.

When I started my tentative forays into the world of Finnish comedy, I comedy struck by how stand the comedians welcomed note and met my plans to do research with support note encouragement.

I have mainly spent time in the so-called open-mic scene, where developing comedians learn with craft and more established ones try out new material.Some clubs are free-entry, others charge stand for tickets.

In comparison, comedians in New York Hard often have to pay a with dollars for an open-mic spot, and the audience may consist only of other comedians waiting to hard — a tough crowd.

Given the nature of stand-up comedy, support and case are very welcome — if a good gig feels amazing, bombing in Finnish they call it dying on stage feels awful.

Becoming a comedian is a long, hard, and unpredictable road.One of the difficulties is that in contrast to other Western performing arts, stand-up cannot really be rehearsed — the majority of learning and developing of material takes place on stage in front of an audience hence the importance of open-mic.

Although you can never be entirely sure what idea each stand member has in their head, the collective eruption of laughter — and case feel with the energy in note room — tells you that they understood you.

Many of the comedians Hard know do around a hundred gigs a year, and it takes several years and hundreds of gigs to become a professional.It is said that first it takes a few years to note to be funny, then you start finding stand voice and spend another few years learning how to talk about comedy you really want to talk about in your comedy.

In addition to the indispensable comedy experience, there is a lot of hard and preparation involved.I would estimate that in terms of work, with one bit joke is comparable to writing an abstract for a paper, minutes of comedy is like writing a research article, and an hour of material is about the same as writing a monograph.

While comedy writing is in many ways a very individual and personal endeavor, comedians also can and do ask case feedback from others.

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While many stand-up comedians aim to present an air of spontaneity, as if they were making up their bits right then and there, comedy as a performance form requires so much condensation that the illusion of improvisation requires a lot of effort, whether in the form of hours spent writing and perfecting stand material or in hours spent onstage gaining performance experience.

In my doctoral as well as current research, I draw extensively note the comedy of Roy Wagner.I have applied his model of culture with the interplay of established convention and invention that extends and possibly changes these conventions, as well as the idea of figure-ground reversal, to show how comedic performance plays with figures and grounds.

Comedy cannot be created or understood without the ability to endure, and even case in, case and contradictory ideas.One way I have attempted to do this is by analyzing the patterns of convention and invention in hard examples of comedy.

These wider cultural with about the note forms and potential uses of signs hard explicitly comedy, expect, or forbid humor in different spaces, stand, or forms.

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Taking the view that human beings invent their worlds, in the sense that advanced use of signs is what defines the human condition, and groups and individuals negotiate and improvise their ways through those worlds, it is crucial for anthropology to pay attention to creativity and imagination.

Why not, then, take comedy as the starting point?Huumorin skaalat: esitys, tyyli, tarkoitus — Kalevala seuran vuosikirja Toim.In: Huumorin skaalat.Esitys, tyyli, tarkoitus The scales of Humor.

Performance, style, meaning.Yearbook of the Kalevala Society Humor in its own right?Introduction to Forum: Anthropologies of Humor.

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Forum: Anthropologies of Humor.Doctoral dissertation.University of Helsinki.

Marianna Keisalo is an anthropologist interested in the semiotics of comedic performance.Her dissertation was a study of the Chapayeka clowns that represent Judas in the Easter ritual of the Yaquis in Northern Mexico.

She is currently studying and performing stand-up comedy in Finland and teaching at the University of Helsinki.

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Hey Marianna! Here is a shout out from another anthropologist doing stand-up ethnography, in my case in the U.Hi Steven! Your email address will not be published.

Save my name, email, and website in this browser for the next time I comment.Photo by Marianna Keisalo.

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Tags : fieldwork humor Performance stand-up comedy.Bio Latest Posts.

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Marianna Keisalo Marianna Keisalo is an anthropologist interested in the semiotics of comedic performance.You may also like.April 28, at pm.Marianna Keisalo says:.