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And how important is They're not laughing now. Bob Monkhouse This Xomedy gag is funny but, of course, it's much better heard than read. On paper, a joke is a pale and inadequate one-dimensional version of itself. In fact, a joke scarcely exists until someone has Nked it and someone else has laughed. The who, where, Naoed, what and why of Naked comedy men joke's telling can be more significant that its topic, and no single theory - from Freud's notion of the joke as comey release of suppressed sexual cmedy to Comeedy definition of humour comedyy a reaction to incongruity - can explain how jokes work. Even comedy's greats seem stuck for a proper cmedy. When John Cleese tired of questions about where he got his jokes from, he resorted to, 'I buy them from a little man in Swindon.

Jokes are about 10 per cent inspiration and 90 per cent whittling and crafting - much of Naaked in Nsked of an audience. Related Meh Jimmy Carr: However, irony and detachment are not enough. Joke writing and performing is a craft, and while Nake all-encompassing theory of humour may elude us, it is possible to identify some of the basics in the building of a successful joke. A cowboy walks into a bar and orders a whisky. As the barman's pouring it the cowboy looks about him. Why do they call him that? However, the punchline - the destination without which a joke loses its way - is so potent a force that even on its own, with little or no narrative set-up, it can make us laugh.

Witness the hugely popular sketch comedy of The Fast Show and Little Britain, in which characters get laughs from catchphrases that function just like punchlines to the situational jokes. This is also how an 'in-joke' works among a group of friends. Life itself provides the set-up, and a word or two, sometimes just a knowing look between two people who are in on the joke, provides the punchline. A professional comic's routine may be based on true personal experience, but real experience doesn't tend to come conveniently complete with a punchline. That's why most comics are outrageous liars.

It's also why pathological observational comics may even begin to provoke 'hilarious' denouements by deliberately forgetting their wedding anniversaries or leaving their children in the supermarket. I took the wife's family out for tea and biscuits. They weren't too happy about having to give blood, though. Les Dawson Surprise is the fundamental joke mechanism. Most punchlines rely on an element of surprise - that's why they're not funny the third time you hear them. Jerry Seinfeld compares telling a joke to attempting to leap a metaphorical canyon, taking the audience with him. The set-up is the nearside cliff, and the punchline is the far side.

If they're too far apart, the listeners don't make it to the other side. And if they are too close together, the audience just steps across the gap without experiencing any exhilarating leap. The joke-hearer gets far more pleasure from the joke if he or she has to do a little work. A very cheap and easy way of making people laugh is to throw in some swear words. It's become something of a tradition among the more iconoclastic comics to write a routine that is ostensibly aimed at depriving taboo words of their power to shock, but which conveniently harnesses the power of shocking words to make us laugh.

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Jerry Seinfeld dismisses swearing as 'a trick' because it provokes laughter even when the joke isn't funny. However, George Carlin says, 'Shock is just another form of surprise, and comedy is based on surprise. This is a noisy culture… If you want to be heard, then you have to raise your voice a little bit … If it [swearing] is the only thing Naked comedy men for you, it won't last long. The surprise mechanism doesn't work without effective timing. It's almost impossible to explain in print because our eyes always skip ahead to the punchline Fuck local sluts in crouch end the set-up is properly digested.

But next time you listen to a comedian, listen to the pauses. They're not that funny on their own - obviously, they're just tiny silences - but the point is, neither are the jokes. The joke focuses your attention on a particular angle or detail of the scene, then suddenly pans out to show you the whole, surprising picture. Very often the success of these jokes hinges on the joke-teller's subtle control of rhythm: The American comedian Emo Philips is a master. My sister had a baby. We could have company over and she'll be there with her breast out, feeding him The other day she took me aside and said, Emo, can you babysit little Derek while I go to the carnival So I'm pushing him through the park, and he's crying I take him home and I'm trying to rinse out his diaper in the toilet - you ever rinse out a baby's diaper in the toilet?

I accidentally let go of his foot. And he's spinning around, crying, and I'm trying to get him out with the plunger Familiarity We have a little pamphlet, lent us by a comedian friend, called Jokes Jokes Jokes: Selected by Ike'nsmile Lettslaff, the book, apparently published in the late s, offers such gems as: He was rather shy and it was the first time that he had dared to bring her flowers. She, delighted, threw her arms about his neck and kissed him. He suddenly grabbed his hat and started out of the door. In a world now sadly bereft of proper ladies and courting swains in hats, these jokes don't have any grip on our sense of humour.

There was a sort of thrilling brazenness to making us look straight at the body part she was talking about in her jokes about rape. She had all the power. She is incredibly tan and fit and has so little cellulite. But there I am, thinking about whether I should get a spray tan. I mean, some kind of organic natural spray tan, because clearly I really respect my body and my health. Do you think she pulled off her goal of pointing out how we draw different lines? For me, it highlighted all these unspoken rules about the discourse around rape.

How did her over-the-top, almost cabaret-like personality and the multimedia and choreography work in contrast to the serious material? Someone we spoke to at the show mentioned that Truscott, who has a dance background, reminded her of a particular burlesque dancer. I think that describes her persona perfectly: I thought the way she interrupted her stand-up to use her own skin as a screen for offensive and disturbing clips was a hugely effective way to convey visually points that would have sounded hackneyed had she just read a quote or stood around while a video played.

I really do subscribe to the idea that rape jokes can be funny. If anything, the humor heightens the tragic and infuriating nature of rape without presenting emn artist as a mere victim or making the audience feel powerless or hopeless. We saw it with the second kind of audience. But now I wonder wow, how would this show work with a straighter, more male audience? They sort of took a backseat unless they were forced to participate — which, thankfully, they were. So much art and performance and comedy preaches to to the converted.


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