How to measure a great comedian

There are many times that I wish to express my opinions in text regarding a certain style, technique or even performer but I find myself hesistant to do so. This is not due to a lack of conviction or a fear of reprisal but, rather, because of the slippery nature of the beast that is comedy. The question is, how can one make a valid appraisal of anything in stand-up when it seems implicit that it is all completely subjective? Is there any one criteria that can be used to measure the merits of a comedian or the techniques they use?

It would be valuable to consider a few possible candidates, namely originality, conviction, laughter and popularity.

Originality - Most particularly among comedians, originality is a most frequently used yardstick. This method of measure is also frequently used by reviewers, the general public and makes an appearance on the score-cards at every comedy competition. The problem with originality is it is both situational and non-qualitative. What seems original in one room in one town may appear completely derivative in another and by the time we find something that is completely original in all domains we are most likely to discover that it's obscurity should probably be maintained for the benefit of crowds everywhere. This brings up the obvious fact that originality can come in the broadest measures of quality - some is inspiring and hilarious while a large measure of originality could better be labeled as oblivous self-indulgence.

Conviction - This beast is worthy of consideration but can be dispatched swiftly in our current survey. Conviction both subtle and bombastic can provide the firmest and most genuine footing for a comedic performance but even more than originality it is a breeding ground for the most arrogant and empty of performances as well.

Laughter - Well, this is the one, isn't it? This is what so many people claim is the ultimate arbiter of stand-up. But it's not, and for too many reasons to be covered adequately here but I will take a stab at a few. To begin with, laughter is only one point on the spectrum of enjoyment and amusement that an audience can experience. On a laugh per minute scale the highest scores would be usually be made by impressionists, high energy prop acts, shock comics and the like, none of whom are destined to end up in any kind of pantheon of comedy. Acts such as Bill Cosby, Lenny Bruce and Bill Hicks would be labeled as mediocre on a good day. Also, one has to consider where are we and who is doing the laughing? Certain acts are unbeatable on their own turf in terms of sheer laugh volume but the show doesn't translate past the county line. In addition laughter is a nervous condition that can be induced by many things that don't rank as great humour; shock and the artless violation of taboos are just two such examples.

Popularity Is the customer always right? In short... no. There are many ways to acheive a measure of success in show business and while talent is among them it certainly is far from the only way. If a 3rd rate comedian gets a small but memorable part in a hit movie, they become a headline act overnight. In fact a celebrity with no stage experience or material at all can hire a writer and instantly become a bigger draw than a talented and experienced (and original) comedian.

So what is the answer? Well, the easy answer is that a good comedian provides a balanced mix of all the above factors as well as a few others. There is, I feel, more to it than that. I think there are certain more nebulous criteria that define a truly great comedian and I will leave those for a later date...... I don't want to go over my time.

www.chrismolineux.com

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The book: A place for your comedy material to live

Interestingly enough, writing stand-up comedy involves actually putting pen to paper or, at least, fingers to keyboard. Typing out your material does have certain advantages in terms of organization and editing but using the pen at some point near it's inception is often pretty much essential to capture the idea while it’s still moving. It’s also a good idea to have your material somewhere nearby when you are working so you can refresh your memory, plan your setlist etc. which is generally better done on paper. It is possible to get by with notes written on scraps of paper that you transfer to a book later on but that transfer is key as scraps get lost and often provide an insufficient writing space. Bottom line: GET A BOOK!

To a certain degree the type of book that you use is a matter of personal preference. I tend to use a book that is a few steps up from the average scratch pad or notebook. Something with a hard durable cover that can stand up well to the abuse dished out by the many environments it will likely travel to. It is my experience that if you have a comedy book that you like by itself as “a book” - it not only gives a little more importance to what you put in it but makes it less likely to be thrown away by someone because it looked like a cheap notebook full of scribble. Tiny notebooks are useful because they are back pocket portable, but they are also harder to write in and easier to lose.

Inside your comedy book is your domain – write however you want to write: doodle, draw pictures, write clearly or scribble, as long as you can read it later and get a clear idea of the idea you originally had. Try to ensure that when you come up with an idea you capture enough of it to put the idea across later – few things are more frustrating than seeing a random word or phrase and having no idea what you were thinking of at the time-

I am not the most organizational person but I try to put my new ideas and material in the front of my book and a list of buzzwords for the contents in the back. Having a couple of setlists in the back isn’t a bad idea either if you’re inclined to use setlists.

One of the reasons to buy a good quality book is that you’ll be keeping them around for a while. Try to take a look back at the old ones once in a while to refresh your memory- ideas can get altered, reduced or forgotten. Sometimes, ideas that initially seemed weak can be spun into something great further down the line, used as throwaways, or connected with material written later down the road. Remember to write down your name and contact information in the front of your book preceded by “If found, please return to” – it can save you a lot of hassle one day.

Even though it is a book for comedy material, that doesn’t mean that everything in it has to be comedy material. Material is formed from all types of ideas, observations and attitudes; they don’t all start as actual comedy so fill your book with all kinds of things. Things you find unusual, interesting, character sketches, events, put them all in and see what they eventually turn into. Even if they never make it into they show you still have a large number of things that are interesting to you by definition.

www.laughlearnlead.com

http://twitter.com/chrismolineux