Portal Rasmi Yayasan Waqaf Malaysia

The Way To Be A Comedian

The Way To Be A Comedian

Avis Acting International

One of the most often asked questions I receive while touring is"how to I get into this business?" I have been a professional touring comedian for 25 decades, so I've heard this a lot! In the bigger, sense, getting a comedian is really a three-pronged endeavor.

Compose your material

Hone and create your comedy content (rehearse your"collection")

Get work.

Sound easy enough? Well now comes the complicated part; really doing it. The facts are that if I gave you all the answers only one to 2% of you would really employ it and go out and do it.

Comedy is not only an art. It's a science and a business. But most comics--both skilled and novice-- revolve comedy with frivolity and they handle their professions frivolously. Like anything worth doing, comedy takes work. It takes work to write new material and it requires more work to really go out and find the gigs. Show company is two phrases; there is the"show" and there is the"business" and it may surprise you to understand that a lot of the moment, you have to put more effort into the business than the series. The good news is, if you do it correctly, you're having such a blast that you don't actually work a day in your life!

Sound like fun? Let's move forward!

Let's start with writing and developing material. You will find a whole lot of folks out there that think you can't learn comedy, which you're either born with it or you're not. That's a pure and simple fallacy spoken by people that don't have any idea about the science behind laughter or the structure behind it. If you really Consider It, have you ever noticed a baby pop out of his mother's uterus:

"So two individuals were making love. . .then boom! Out pops me! Is this thing on?" You call that a birth canal? It's similar to trying to push an egg via a stir rod! Hey Mom? (spit, spit), you should shave that stuff! Haven't you heard of a'Brazilian?'"

It simply doesn't happen! Granted, there are some people who seem to naturally have a sense of humor built in. They appear to get it. My theory is that they grew up around comedy, possibly listening to the greats in a young age, or they were raised in a household that was full of humor. All the comedians I know that make me laugh had exposure to funny people in a young age and started adapting comedic behaviors. Those behaviors obtained them attention. They started to comprehend the patterns of behaviour and speech which led to laughter and applied them to other scenarios with good outcomes.

The crucial word from the above paragraph is"patterns" There are particular patterns which professionals use time and time again, for laughs and it's usually a pattern that produces surprise. According to psychologists who study comedy, in this context, surprise is the number one element that activates human bliss, If you can surprise someone with what you will say, they will generally laugh. Among the simplest ways to do so is to employ one of the 12 major comedy formulas that I found over the years of analyzing the best comedians. Heck, you do not even have to study the greats to recognize this formula. If you've got a friend (I believe we all do), that turns all you say to a sexual connotation, than he/she is most likely applying this formula. It is known as the"Double Entendre." This literally means"two significance ." You basically have a frequent phrase and spin the supposed meaning to mean something entirely different, but it may actually fit in the statement, but its exaggerated...

The other day I was in the supermarket. The clerk said,"Did you find everything you were looking for?" I said,"I found the wine as well as the candles, but I couldn't find a soul mate... You had Mahi-Mahi, but I'm not into twins"

In the aforementioned joke, when the clerk used the word"everything," she meant everything in the shop. As a comedian the term everything may be a lot of things. In this case I proceeded with a'soul mate' What makes the joke work isn't merely the misdirection on the intended meaning of this word, but the simple fact that comedic interpretation of this word still fits inside the context of this question. In case it didn't make sense, then there would not be a joke.

Let us look at another Double-Entendre play on words: Former head coach of the Tampa Bay Buccaneers was having a terrible year. At the press conference a journalist said to the coach,"Coach, how to you feel about the implementation of the offense?" McKay replied,"I'm all for it."

You can see that the word execute was utilized in two different ways. This structure should be a normal tool for anybody who's learning how to write comedy. Among the ways that I refine this ability and make it more available to my everyday life is by way of practice. Once a month I do a word exercise that reminds me that our language has a slew of words which have multiple meanings. Keeping this elegant in my mind, gives me a tool that's always sharp and accessible. This allows me to re-interpret something somebody says and apply a comedic spin on the term. The practice is simple, yet extremely strong. For your practice, I take fifteen arbitrary, but rather common phrases and write them down. Then I find at least five distinct meanings for each word. Working this workout consistently will give you an wonderful leg up in your own quickness and finesse for a comedian. It is easy, yet extremely powerful. Notably because few comedians really do it. This is but one of twelve major comedy structures used by all the top comedians and comedy writers. If I was to include them all in this article, it might take you a week to finish studying. It's an easy, yet powerful example of ways to control the English language and create surprise and activate laughter from an audience.

FACT: Every comedian that makes you laugh utilizes a minumum of one comedy structure. It's the structure of the the act-out that triggers the laughter. With no arrangement, there's not any laughter. .

Even once you have all twelve comedy structures , (most comics operate with 3-4), and you build an act of five or more minutes, to start, thirty minutes to begin getting paid, you need to start to work and hone it in front of an audience. I'd start using buddies. Run the material by them, see what they believe, see if you're able to make it better by tweaking the shock. As soon as you feel comfortable you may do the five minutes without thinking about it, then perform it in front of an audience. How can you do so? Well, if you are in a bigger city, there are probably lots of open mics. These are places where you are able to do 5-10 minutes of material to'test it' in the front of an audience. This is how I started. If you don't have the benefit of being in a big city, then you might have a comedy series that plays once a week or two once a month in town at a local bar or restaurant. If that's the case, have a trip down there and inquire whether you can M.C. the show. Most bars that have'one-niter' comedy shows, do not have an M.C.. So if you appear and ask, they will most likely be more than happy to have you do it. If you do your five or ten minutes up front, then you can video tape it. Once you've got a video tape that is of excellent quality, you've got a calling card to find work. So today you still need to work the'business' aspect of the best way to become a comedian equation. When you've got an action that's generating a laugh every 18-20 seconds, also has a good beginning, middle and end, it is time to escape there. What most start comedians do not see is that if you hit this degree, (may take 6 months( or two years), it is time to get serious about treating your stand up comedy like a business. You're presently a product (or service), and you want to sell. Now in your career, you won't have a supervisor or a broker. If you're fortunate enough to have the cash, you can hire a Public Relations supervisor (around $3500 a month). They will be able to help you get out media releases, stains on the radio or tv. However, you have to have a gig to advertise first. But most of us don't have that option once we're starting out so let's leave that alone. So you've got a 30 minute act that you have been growing at open mics and other events such as meetings, parties, etc.. How do you get it on the road? At this point you could be looking at several possibilities in your journey to becoming a comedian:

Targeting the comedy club and also one-niter market

Breaking into corporate comedy or speaking engagements.

I do both nightclubs and corporates in my career, but now I mainly target corporate only because there's more money in it for me personally. There is also the college comedy market, cruise ship market, hotel and casino market, warm up comedian market (for live sit-com, game and talk show crowds ), and army shows. Military shows can be large. I was working with a liaison for the military who said he would have me working for the remainder of my life doing military displays. We could spend a lot of time going through all the possibilities, but that may take days. The key issue to keep in mind is that if you're able to write and create a comedy routine that's clean and good, you can work forever. As soon as you have this information, it is time to target your niche, do your homework and start selling. That is right. Start selling. You're your own company now and you supply a service. If you learn to treat yourself as a business by drawing up a business plan, setting goals and following through, you will start to work. When you start in comedy there are 3 places available. They are each expected to do for various periods of time:

Opener/M.C. (15 minutes)

Characteristic or Middle (sometimes called"premiere") (30 minutes)

Headliner or Closing behave (45 mins. -1 hour)

NOTE: This is business is aggressive, but here's something most comedians do not know: If you work hard and you also develop your action and you also develop your reputation for being a fantastic comedian, you WILL do the job! This business and the bookers who supply comedians around the country are always looking for good talent.

If you would like to aim the club market, it's also wise to target the one-nighter market.This manner you've got more booking options available to you when booking moves. How do you aim? Start small; start neighborhood. If you have comedy in your area, speak to the clubs, go to the clubs, then ask the supervisors, door people, M.C.'s exactly what the protocol would be for getting in the door and auditioning or performing a guest collection. Be considerate and be persistent. Jay Leno drove from Boston to the New York City Improv several days every week for many months before Bud Friedman (the owner of the Improv) let him perform a set. He had been prepared. He did a fantastic job. The rest is history. When you get your opportunity, be well prepared and do a well-crafted 5-10 minute set. Later, talk to folks, see what is needed to return to perform another set. As soon as you mingle with people and develop relationships and a reputation for being a good act, today you've got all you need to find work. A lot of comedy talent bookers on the street require to see movie. Some will take a chance on you if you have testimonials from a headliners. It's a good idea to build relationships with as many comedians as you can. Be wonderful to everybody, always act professionally. It's these relationships which could make or break your odds for getting work. Make at least 10 phone calls per day to your livelihood.

Call comedy clubs and bookers. If you don't get them on the phone, always, I mean always leave a message. Keep accurate records on which you talked to, that the decision maker is, the names of supporters and the best time to call.

If it sounds like you're a sales man. . .then nicely, you are. This is the business side of the equation of how to be a comedian and it's where most comedians neglect.

If you do finally get a booker on your telephone. Be considerate and ask them if you may send them a video and if they would rather see the movie on the internet or on DVD or E.P.K. (Electronic Press Kit). Believe it or not, there are nonetheless some bookers out there who would prefer to maintain a DVD in their hands.

A few of these bookers are tough nuts to crack. When I run in that dilemma, it is time to make a personal sales call. I simply call or email and ask them,

"I really need to meet with you and perform your room. If I could fly out there within two weeks or so, do you think that could find room in the line up for a guest collection?"

For the roughest bookers in the country, it has always functioned. But how do you afford that? Why your own building your contacts and one-niter gigs, you make sure you reserve something in or around the area of the club you so covet. When you have this date in place and booked, call the club and see if it is possible to fall in and do an audition set. Place in this excess step and you will probably get a guest set.

Once you perform your guest series, send them a thank you card (and or some thing with your image on it), to thank them for the chance and keep following up till you get a place. Never follow up more than once a week, unless you still have not spoken to this target person, then follow up every 3 times.

Calvin Coolidge said,"consistency and persistence trump talent any day." So be persistent and consistent. Be considerate and keep following up. And if calling doesn't work. Pay them a visit. Let them know you're persistent.

When you start putting dates together. Utilize every chance to video tape. Attempt to get good audio quality, if possible. A great tape leads to more work.

If you follow these steps:

Write your comedy material

Hone and develop your substance (your"set")

Get work.

You'll be on your way to understanding how to become a comedian.

Current in France, London and the USA, the Avis Acting International theater and cinema school has been contributing to the development of the world's best actors for more than 30 decades. The educational concept of Acting International, unique in its completeness and singularity, is based on the complementarity of global methods and the foundations necessary for learning in direct contact with all the demands of today's profession. This educational process is continually redefined throughout the organic interaction of complementary knowledge and proven methods of a team of renowned masters - French, Russian, American, English and Italian - all busy artists.

The school offers multidisciplinary theater and cinema courses that span a period of 3 years. Two courses are accessible to students who will select between theatre and cinema classes (full class ) or cinema specialization. Additionally, advanced workshops have been stored in Hollywood, New York and London.
Anda berada di: Halaman Utama The Way To Be A Comedian