Komedier og standup

She lives right across the street from me and I have watched her day and night then one day she walked>She said I want to dance and drink plus have sex but before I could say anything she asked me if I could>Two young boys talking in the waiting room at the hospital when the first boy said he was there to getHis tonsils removed and the second boy said he had had his tonsils removed and within two days hewas as good as new and then the first boy asked the second boy what he was having done and thesecond boy said he was going to get circumcised and the first boy said ho no I had that done when I was>She told her husband that she was getting blisters from the boom and her husband said take the car>My wife told me to embrace my mistakes so I gave her a hug Today a man knocked on my door and asked for a donation towards the local swimming pool>He said his new car has a button that says rear wiper but he was afraid to push it

Troisième comédie écrite par Aristophane après les Détaliens et les Babyloniens, Les Akharniens sont un plaidoyer en faveur de la paix. En effet, la pièce prend place dans la septième année de la guerre du Péloponnèse, qui oppose Athènes et ses alliés de la ligue de Délos à Sparte et sa ligue du Péloponnèse. Athènes est à la recherche de nouveaux soutiens.Aristophane défend la paix en montrant d'abord que la guerre est absurde : selon lui, elle aurait été déclenchée par Périclès pour protéger les intérêts de sa concubine Aspasie. Ensuite, il décrit ses effets : ruineuse pour le peuple, et source de profits pour quelques profiteurs de guerre. Enfin, il affirme que tous les braves gens désirent une trêve, et que seuls les hommes politiques et les militaires y sont opposés. Le démagogue Cléon, l'une des têtes de Turc d'Aristophane, est encore une fois vigoureusement attaqué.

Furieuses contre Euripide qui a installé des soupçons à l'égard de toutes les femmes, les Athéniennes projettent de concerter leur vengeance pendant la fête des Thesmophories. Inquiet pour sa vie, Euripide envoie un de ses parents déguisé en femme pour espionner les comploteuses. Mais celui-ci se fait rapidement découvrir par ses réflexions misogynes et son ignorance des rites. Arrêté et enchaîné, il est délivré par Euripide qui abuse de la naïveté de l'archer scythe préposé à sa garde.Cette pièce d'Aristophane reprend certains stéréotypes présents dans d'autres pièces: l'ivrognerie attribuée aux femmes (l'une d'elles a déguisé une outre de vin en bébé), la misogynie attribuée à Euripide, les parodies de la tragédie euripidienne, le monde à l'envers où les femmes exerceraient le pouvoir politique.

Agoracritus, un vendeur de saucisses, est en concurrence avec Cléon pour obtenir la confiance et l'approbation de Démos, un vieillard qui incarne l'allégorie du peuple athénien. Après différentes épreuves, Agoracritus est jugé le plus digne de confiance et humilie ainsi le démagogue Cléon en restaurant la gloire de Démos.

Cinquième pièce conservée d'Aristophane, la Paix a été écrite peu après la mort du démagogue Cléon, partisan farouche de la guerre contre Sparte. Aristophane voit en ce décès une occasion favorable pour signer une paix durable avec les adversaires grecs d'Athènes. Il s'adresse donc à la population de la cité à travers cette histoire en essayant de démontrer, sur le ton comique qui lui est propre, les douceurs d'un climat pacifié. Dans la pièce, le vigneron Trygée, accablé par les longues années de guerre, se fait le messager des peuples grecs auprès des dieux. Ayant rejoint les cieux sur un coursier insolite, il se rend compte que ceux-ci ont été désertés par les divinités habituelles, auxquelles a succédé l'entité guerrière Polemos, qui projette d'écraser les cités grecques. Trygée met tout en ¿uvre pour empêcher cette catastrophe.

Feminist Theatre Then & Now - Celebrating 50 Years of women theatre makers in the UK and Ireland and their battle to make their voices heard, have their work produced professionally, and promote social justice. Here, the pioneers and leading lights of the newly energised feminist theatre movement continue to fight for an equitable, diverse and inclusive theatre which speaks for all. In 30+ essays, covering three generations, the interviews and essays in this book give important insight into the lived experience of women working in theatre and what it takes to rise in an industry where race, gender, class and parenthood can be serious obstacles to success. Interviews and essays by playwrights, directors, producers and actors including: Asian Women's Theatre in Britain by Rukhsana Ahmad Derby Theatre by Sarah Brigham Interview with Moira Buffini Intersectional Feminism at Work by Kelly Burke The Personal was very Political by Clair Chapwell Behind The Lines by Alison Child How Feminism has Influenced my Playwriting by April de Angelis Interview with Suzanne Gorman Clean Break by Anna Herrmann Interview with Hannah Khalil The Women in Theatre Lab by Polly Kemp and Jennifer Tuckett Persistence, Expression and Evolution by Peta Lily Interview with Roberta Livingston Ecofeminism by Bibi Lucille The Third World of Irish Women by Jaki McCarrick Monstrous Regiment by Mary McCusker Open Clasp Theatre by Catrina McHugh Interview with Suzie Miller Interview with Ann Mitchell Interview with Rebecca Mordan Interview with Amy Ng Untold Stories by Maeve O'Neill Girls' Night Out by Rachel O'Regan Interview with Kaite O'Reilly Sphinx by Sue Parrish and Susan McGoun Interview with Julia Pascal Out of the Attic - WTW by Cheryl Robson and Anna Birch Scylla's Bite by Rebekah Smith and Abbie Lowe Interview with Dame Rosemary Squire Women in their own Words by Lucy Stevens Stella Quines & After by Gerda Stevenson Differences Matter by SuAndi Theatre from a Lesbian Perspective by Clare Summerskill Interview with Imy Wyatt Corner Index

The Art of Dying: 21st Century Depictions of Death and Dying examines how contemporary media platforms are used to produce creative accounts, responses and reflections on the course of dying, death and grief. Outside the public performance of grief at funerals, grief can strike in anticipation of a loss, or it can endure, continuing to interject itself and interrupt a permanently changed life. This book examines the particular affordances possessed by various contemporary creative forms and platforms that capture and illuminate different aspects of the phenomenology of dying and grief. It explores the subversive and unguarded nature of stand-up comedy, the temporal and spatial inventiveness of graphic novels, the creative constructions of documentary filmmaking, the narrative voice of young adult literature, the realism of documentary theatre, alongside more ubiquitous media such as social media, television and games. This book is testament to the power of creative expression to elicit vicarious grief and sharpen our awareness of death.

Ben is having a very good year. It just doesn't happen to be the current one. Invited to coffee by Angie, his best mate's wife, Ben's life ... lives ... are about to be turned upside down. And not just by the price of a latte these days.

U svom znacajnom knjizevnom opusu Jovan Sterija Popovic ostavio je vazna dela koja su redom prevazilazila okvir svoga vremena. Iako se smatra zacetnikom drame u srpskoj knjizevnosti, najznacajniji trag ostavio je kao komediograf. Ovaj srpski Molijer svojim neospornim knjizevnim talentom ovekovecio je u svojim komedijama sliku ondasnjeg palanackog i malogradjanskog drustva, uspesno se podsmevajuci njegovim glavnim anomalijama - pogresnom vaspitanju, pomodarstvu, snobizmu, laznom patriotizmu. Realist u komediji, Sterija kroz satirican prikaz i isticanje mana svojih glavnih likova, njihovih izopacenih karaktera i naravi, kontinuirano daje sebi u zadatak da edukuje svoje citaoce, nacionalno ih prosvetljava i cini da postanu razumniji i bolji ljudi.

This book develops a model to examine the language of humour, which is multimodal and accounts for the possibility of transmutation of humour as it is performed through editorial cartoons. By transmutation is meant the transition in the language of humour when it crosses its own boundaries to provoke unprecedented reactions resulting in offensiveness, disappointment or hurt sentiment. The transmutability about the language of humour points to its inherently diabolical nature which manifests in the performance of controversial cartoons. The model is built by borrowing theoretical cues from Roman Jakobson, Roland Barthes, George Lakoff and Mark Johnson. The integrated model, then, is developed to examine the cartoons which were recommended for deletion by the Thorat Committee, following a cartoon controversy in India. Through the cartoon analysis, the model discerns the significance of context and temporality in determining the impact of humour. It also examines how the ethics of humour;the blurred lines of political correctness and incorrectness are dictated by the political atmosphere and the power dynamics.

Sure, you might be funny; but looks aren't everything! This guide offers an in-depth look at laughter, humor, and comedy. Do you want to be more humorous? Have you ever watched someone effortlessly make a group laugh and wished you knew their magic? Well, wonder no more. The mystery of charisma is finally unveiled, the fallacy of "you either have it, or you don't" has been laid bare. Anyone can learn to make people laugh, and it is not as hard as you think. Observing a couple of surprisingly simple rules, the 7 EASY STEPS take us on a comedic tour-de-force as they explore all the facets of laughter. The lessons and techniques found within this guide will let you write your own jokes as you learn about the how's and why's of wordplay, slapstick, conversational, and beyond. On the quest for a belly laugh, no grin is too tiny, no joke left behind. Understanding the biological imperative to laugh and social desire will give you a leg up when you try to get them going. Humor is one of humanity's genuinely universal expressions, and learning how to tap that emotion and elicit it in others will go a long way toward improving your communication skills in general. YOU'LL LEARN:· Timing isn't an important thing- it's the only thing; How to practice, improve and master the perfect time and place for any joke.· Why jokes work; the universal commonality that almost everything you might laugh at has in common· Why more than 50% of laughter you hear is not in response to intended humor; how to take advantage of that fact· The power of silence and the unspoken joke; physical humor beyond slapstick and props· And so much more! No other guide dares to deconstruct humor itself, look at why we laugh and when, then seek to put those pieces to use, giving the reader the tools they need to pull laughter out of even the driest temperament. Learn to "read the room" and cut the clowning, or crank up the crazy if the mood is right. When you have every style of humor available, you are accessible to fine-tune your sense of humor your personality. Whether your delivery is a bone-dry deadpan or flamboyant, gushy tirade, this book contains all the information you need to take your jokes from stale to hale. Follow these 7 EASY STEPS today and start making merry tomorrow! With easy, practical lessons and simple, fun homework, you will be the life of the party in no time, or at least capable of consistent comedy. When you laugh, the world laughs with you, so start improving your sense of humor today. Like any sense, it will atrophy if you neglect it or thrive when you focus on it. Turn your lazy bones into funny bones, and you will have made the world a better place. Let's get started!

This book reprints and analyses reviews of music hall acts from the family magazine The Red Letter, which was published by the Scottish based firm D C Thomson from 1899 to 1987. The articles under review range in date from 1902 to 1914, covering theatres all over Britain and acts from around the world. The reviews are uniquely detailed and shed light not only on the early acts of comics who would later go on to achieve wider fame, such as Will Hay and Robb Wilton, but also reveal the acts of long forgotten performers. These so-called ¿wines and spirits¿ acts¿acts that would never top the bill but who nevertheless toured the halls, sometimes for years on end, such as female impersonator Albert Letine, comedy magician Chris van Bern and female stand up Anna Dorothy amongst many others¿deserve to be remembered every bit as much as the top of the bill acts. The articles are arranged in sections, covering race, gender, character comedy, physical comedy, male comedy and specialty or ¿spesh¿acts. The reviews reveal not only the contents of the acts but also the audience reactions to those acts and prevailing contemporary Edwardian attitudes. The articles are accompanied by their original illustrations, some of which are unique and, like the articles themselves, unseen for over a century.

Pas de deux est un enchainement de scénettes courtes à deux personnages dans le style de Roland Dubillard ou Jean-Michel RibesChaque scène porte un nom de pas de danse classique, les deux comédiens sont en tutu et pendant toutes les scènes, effectuent les mouvements correspondants aux pas de danse annoncés.La pièce a été écrite pour des hommes, mais jusqu'à présent plutôt jouée par des femmes. Dans tous les cas les personnages sont nommés A et BPas de nombres de comédiens définis, un minimum de deux qui peut être multiplié par le nombre de scènes.Pas de décors non plus pour ces scènesAvec en bonus trois petites pièces sous forme d'hommages à Jean Tardieu, Guy Foissy et Dante.A la manière de Jean Tardieu (Finissez vos phrases)A la manière de Guy Foissy, #jet'aimesurlatoile (3615 code Jeanne l'artiste)A la manière de Dante, Le premier prix (L'enfer) . Attention les styles sont très différents....

Branislav Nusic iza sebe je ostavio impozantan knjizevni opus. Iako je pisao i romane, price, eseje i drame, najprepoznatljiviji je po svojim komedijama. Medju njima znacajno mesto zauzimaju i dve drustvene komedije napisane u trenutku kada se cinilo da je njegov knjizevni rad zaokruzen. Desetak godina pred smrt pisac sa mladelackim poletom i cudesnom energijom pise, po mnogima, svoja dva najbolja dela - Gospodju ministarku (1929) i Ozaloscenu porodicu (1934). Smestajuci u fokus oba ova humoristicna komada temu borbe za licnu korist, svoje likove autor prikazuje kao licemerne, pohlepne, gramzive, samozive, sebicne i prevrtljive, ostavljajuci nam istovremeno dobronamernu opasku u tekstu da je pojava plejade ovakvih likova i dogadjaja moguca ¿svakad i svuda".

Games-based improv, also known as short-form improv, is a style of improvisational comedy that utilizes games while performing completely unscripted scenes. This style of improvisational comedy has been popularized by such popular live shows as ComedySportz(R), Theatresports(TM), and the Canadian Improv Games. It is also seen on television programs including Whose Line Is It Anyway and Wild 'n Out. This guide is a playbook of many of the games played in matches at ComedySportz(R) matches all over the world, and is written with that style in mind.

Branislav Nusic iza sebe je ostavio impozantan knjizevni opus. Iako je pisao i romane, price, eseje i drame, najprepoznatljiviji je po svojim komedijama. Me¿u njima znacajno mesto zauzimaju prve dve koje je napisao - Narodni poslanik (1883) i Sumnjivo lice (1888). Oba komada imala su neobican i tezak put ka pozorisnoj publici, pa ne cudi da su postavljena na scenu tek trinaest, odnosno, u slucaju Sumnjivog lica, tek trideset i pet godina kasnije. Iako je u svojim komedijama slikao drustvene anomalije i negativne pojave u srpskom drustvu s kraja XIX i pöetka XX veka, njegovi, ostrasceni i ambiciozni u svojim nastojanjima da ugrabe vlast, moc, bogatstvo i dominaciju nad drugima, likovi, u velikoj meri prepoznatljivi su i u savremenom drustvu.

Comedy in Crises provides a novel contribution to an emerging comedy studies field, offering a fresh approach and understanding toward both the motivation and reception of humour in diverse contemporary art contexts. Drawing together research by artists, theorists, curators, and historians from around the world (from Palestine, to Greece, Brazil, and Indigenous Australia), it provides new insight into how humour is weaponised in contemporary art ¿ focusing on its role in negotiating complex cultural identities, the expectations of art markets, the impact of historical legacies, as well as its role in bolstering cultural resilience. In so doing, this book explores a vital, yet under-explored, aspect of contemporary art. Over the last decade, we have witnessed an overwhelming emphasis on experiences of precarity and emergency in contemporary art discourse, reflecting a popular view that the decade following the outbreak of the global financial crisis has been marked by an intersection of constant crises (refugee crisis, sovereign debt crisis, environmental disaster, COVID). Comedy in Crises offers innovative analysis of the relationship between this context and the growing use of humour by artists from around the world, making clear the vital role of laughter in mediating the collective trauma that takes shape today in a period of protracted crisis.

From holiday camp Redcoat to Bluecoat then onto his first big break on television, (after many struggles), going on to headline for four of his own series for Central television in the 1980's with 'Royal Command Performances' and TV Variety shows in between, then his BBC Radio 2 series written by the great scriptwriter Eddie Braben in the 1990's which run for five years called, 'Jimmy's Cricket Team'.>'I hope it brings back warm memories for older readers', and gives a taste to younger readers of a form of entertainment that seemed to vanish before our very eyes'.