Today is the day! I leave for Moscow to teach a master class in American-style comedy to 25 Russian actors who want to learn that brand of stand-up.
I’ve never seen Russian stand-up. In fact, I’ve never seen a Russian smile, so this will be interesting. Of course I’m joking about the smile. I know a lot of Russian-Americans and there are two things they know how to do: laugh and drink vodka!
I’m sure while I’m there, I will be doing plenty of both.
I’ll be there five days. Think about it five days of caviar, vodka and comedy. What could be better?
Flight & Weather
It’s a 10-hour flight to Munich, then a layover and 3 more hours to Moscow. I arrive at 11pm Tuesday night.
It’s gonna be like 90 degrees here today, and when I arrive in Moscow, the low will be 15. Bring on the vodka!
I’ll be updating several times daily, here on my facebook and twitter pages, so come join. Give me some feeback, give me shit give me your thoughts and prayers that my comedy translates well and doesn’t somehow wind up insulting an entire nation and put me in the gulags somewhere in Siberia! So if you don’t see an update, you know I’m rotting in a Russian prison.
Here we go!
Comedy is a Veiled Attack
You’re attacking someone or something. Even yourself. The basic rule about attacking is: Always attack up. What this means is that in our society an audience roots for the underdog. If you are a white male and you are making jokes about a minority, it is technically attacking “down.” Because the white male still dominates in our society. If you are a male and you are attacking a female (for no understandable reason), you are also attacking “down,” because we still see women as the fairer sex. If you are anyone and you are attacking Special Olympics kids, you are technically attacking “down,” because Special Olympics kids are seen as people that can’t take care of themselves and they need our help. This is a general rule and can be broken from time to time, but I think you get the idea.
However, this is not to be misunderstood. If you can set the person up (who is “beneath” you) as an antagonist that needs retaliation, then the audience will root for you to get back at them and make fun of them. Don’t be afraid to attack “down,” just make sure there is just cause.
I missed out on a Letterman audition because the talent coordinator told me that I was attacking my ex-wife for no reason. For time sake, I had cut the set-up to the joke which was how she cheated on me. If the audience had that information, the joke would’ve been more effective.
Don’t Worry About Pleasing Everyone
If someone gets offended because you use the word pee or if you curse, GOOD! Maybe they are NOT your audience. You cannot be all things to everyone. Be YOU! Unless you are doing corporates or kids’ shows or doing warm-up for studio audiences, don’t worry about being all things to everyone. In comedy people love to hear a unique perspective. George Carlin said “there’s nothing wrong with fluff. Sometimes the audience needs it, but do comedy that says something.” If you’re doing comedy that “walks” some of the room that could be a good thing. Out of those people who stayed, there could be a percentage that wind up being die-hard fans; You know, people who will follow you anywhere!
It may seem simple to understand. But what is funny? I run into people all the time (sometimes in my classes) that say, “I just want to express myself. I don’t want to write it down.” “When I write it down it doesn’t come out funny.” I understand this dilemma. It makes total sense. Sometimes when you try to hard to stick to a script, it can feel awkward or unnatural. In doing stand-up comedy, there is a fine line between doing the material as written and “free-styling.”
Here’s the key to understanding comedy: Every time the audience laughs, there is a stimulus present in the material or the action. In other words, SOMETHING triggered the audience’s laughter. Part of the science of comedy is learning what those triggers are and then how to exploit them whenever you want so that you can repeat them, almost at will.
Those laughter triggers are hidden within the structure of comedy. So whether it’s Jerry Seinfeld using recognition triggers and incongruity or it’s Bill Burr using compare and contrast, incongruity and incongruity act-outs, driven by a strong emotional point of view, their structures are very strong and very present in their material. In other words they are NOT just riffing at will. If you have read my book “Breaking Comedy’s D.N.A.,” you will learn those structures and you will begin to be able to identify them in all comedians. When you do that you can then start to plug them in to your material and you will find that the laughs start increasing exponentially.
Without the structure in your material, it simply becomes a story or an opinion that you’re sharing with the audience. All the while the audience is thinking: That’s nice, but I’m here to laugh.”
In other words, be natural. Sound conversational, but your structure is going to get the laughs.