Ochiq mikrofon: Versiyalar orasidagi farq
Miss Kamola (munozara | hissa) |
Miss Kamola (munozara | hissa) |
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| Qator 117: | Qator 117: | ||
|isbn=978-0-385-094023 |
|isbn=978-0-385-094023 |
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|quote=In general...the back region will be the place where the performer can reliably expect that no member of the audience will intrude...back region tends to be defined as...all places out of range of 'live' microphones.}}</ref>. |
|quote=In general...the back region will be the place where the performer can reliably expect that no member of the audience will intrude...back region tends to be defined as...all places out of range of 'live' microphones.}}</ref>. |
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Ochiq mikrofon kechalari yangi paydo boʻlgan qiziqchilarga oʻzlarining stand-up mashqlarini jonli auditoriyaga namoyish qilish imkonini beradi{{refn|<ref>{{cite journal |
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| last1 = Quirk |
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| first1 = Sophie |
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| date = November 2011 |
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| title = Containing the Audience: The 'Room' in Stand-Up Comedy |
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| url = https://www.participations.org/Volume%208/Issue%202/2e%20Quirk.pdf |
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| department = University of Kent, UK |
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| journal = Participations: Journal of Audience & Reception Studies |
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| volume = 8 |
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| issue = 2 |
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| pages = 220 |
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| doi = |
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| access-date = 4 January 2021 |
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| quote = It is the audience's cooperation which allows the act to succeed and they retain the right to undermine the interaction by withdrawing that cooperation}}</ref><ref>{{cite book |
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|last=Smith |
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|first=Daniel R. |
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|date=2018 |
|||
|chapter='''Part I: Analytical'''[:] 2 The Professionalisation of Stand-Up Comedy: Coda |
|||
|title=COMEDY AND CRITIQUE: Stand-up comedy and the professional Ethos of laughter |
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|series=Bristol Shorts Research |
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|location=UK |
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|publisher=Bristol University Press |
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|page=74 |
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|isbn=978-1-5292-0015-7 |
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|quote=Stand-up is the art of self relating to self in the presence of others.}}</ref><ref name="Smith 2018 79">{{cite book |
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|last=Smith |
|||
|first=Daniel R. |
|||
|date=2018 |
|||
|chapter='''Part II: Synthetic'''[:] 3 Representation: Stand-up: representing whom? |
|||
|title=COMEDY AND CRITIQUE: Stand-up comedy and the professional Ethos of laughter |
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|series=Bristol Shorts Research |
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|location=UK |
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|publisher=Bristol University Press |
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|page=79 |
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|isbn=978-1-5292-0015-7 |
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|quote=[S]tand-up represents a three part relation in the aesthetic completion of the comedic exchange: attempted joke, laughter, confirmed joke. }}</ref><ref>{{cite journal |
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| last1 = Lindfors |
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| first1 = Antti |
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| date = 6 May 2019 |
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| title = Cultivating Participation and the Varieties of Reflexivity in Stand-Up Comedy |
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| url = https://anthrosource.onlinelibrary.wiley.com/doi/pdf/10.1111/jola.12223 |
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| department =University of Turku, Finland |
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| journal = Journal of Linguistic Anthropology |
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| volume = 29 |
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| issue = 3 |
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| page = 279 |
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| doi = 10.1111/jola.12223 |
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| s2cid = 164354426 |
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| access-date = 26 December 2020 |
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| quote = First, stand-up is centered around public self-presentation and -reflection through verbal and nonverbal communication, that can be preliminarily described as a subjectifying mode of footing...Second, stand-up is a [sic] groupendeavor dependent on performer's abilities to reflexively accommodate assumptions of one's audience, or what comics metapragmatically designate as 'reading the room' and 'working the audience.'}}</ref><ref>{{cite web |
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|url=https://www.thoughtco.com/tips-for-beginner-stand-up-comedians-801155 |
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|title=Breaking Into Stand-Up: 10 Tips for Beginner Comedians |
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|last= Bromley |
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|first=Patrick |
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|date=13 April 2018 |
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|website=ThoughtCo. |
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|publisher=Potdash |
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|access-date=22 March 2019 |
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|quote=It's a true 'learn-by-doing' art form, and you won't know what works (and what doesn't) until you've gotten on stage in front of an audience.}}</ref><ref>{{cite web |
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|url=https://www.dispatch.com/entertainmentlife/20190321/budding-established-comedians-hone-craft-at-open-mic-nights |
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|title=Budding, established comedians hone craft at open-mic nights |
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|last=Lagatta |
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|first=Eric |
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|date=21 March 2019 |
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|website=The Columbus Dispatch |
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|publisher=GateHouse Media, LLC. |
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|access-date=25 March 2019 |
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|quote=Most comedians see open-mic nights as a chance to test new material or refine their stage presence.}}</ref><ref>{{cite book |
|||
|last=Naessens |
|||
|first=Edward David |
|||
|title=The Dark Side of Stand-Up Comedy |
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|date=2020 |
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|chapter=Busting the Sad Clown Myth: From Cliché to Comic Stage Persona |
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|editor1-last=Oppliger |
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|editor1-first=Patrice A. |
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|editor2-last=Shouse |
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|editor2-first=Eric |
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|series=Palgrave Studies in Comedy |
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|url=http://www.palgrave.com/gp/series/14644 |
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|location=United Kingdom |
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|publisher=Springer Nature Switzerland AG: Palgrave Macmillan |
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|page=228 |
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|doi=10.1007/978-3-030-37214-9_11 |
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|isbn=978-3-030-37213-2 |
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|s2cid=216338873 |
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|quote=comedians learn how and who to be onstage in significant part by watching other comedians and attending to the responses of audiences.}}</ref><ref>{{cite journal |
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| last = Brodie |
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| first = Ian |
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| date = 2008 |
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| title = Stand-up Comedy as a Genre of Intimacy |
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| url = https://id.erudit.org/iderudit/019950ar |
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| journal = Ethnologies |
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| publisher = Cape Breton University |
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| volume = 30 |
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| issue = 2 |
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| page = 161 |
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| doi = 10.7202/019950ar |
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| access-date = 15 September 2020 |
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| quote = Pauses, rhetorical questions, digressions, diversions, distractions, and long descriptive passages all are opportunities for the audience to react in an unanticipated manner and to shift (or pull) focus away from the performer.| doi-access= |
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}}</ref><ref name=norm>{{cite news |
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| last = Marchese |
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| first = David |
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| others = Quote by [[Norm Macdonald]] |
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| date = 23 September 2016 |
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| title = Norm Macdonald Unloads on Modern Comedy, SNL, Fallon's Critics, Hillary, and Trump |
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| url = https://www.vulture.com/2016/09/norm-macdonald-book-snl.html |
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| work = Vulture: Devouring Culture |
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| access-date = 27 December 2020 |
|||
| quote = On TV, every single joke kills. That's not what happens with stand-up. You have to earn every laugh. Another thing is that there's no room for interpretation in stand-up...with stand-up, it's all about getting that noise — getting that laugh. And it has to come for everyone at the same time. Everyone has to think the same thing at the same time.}}</ref><ref>{{cite book |
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|last=Brodie |
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|first=Ian |
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|date=2014 |
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|chapter=Stand-Up Comedy and a Folkloristic Approach |
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|title=A Vulgar Art: A New Approach to Stand-up Comedy |
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|location=Jackson |
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|publisher=University Press of Mississippi |
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|page=36 |
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|isbn=978-1-62846-182-4 |
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|quote=At its core...is audience engagement: laughter is both the ends (the validation by the live audience of the comedian being found funny) and the means (data for the subsequent listener to consider in judging whether the comedian could be found funny).}}</ref><ref>{{cite book |
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|last=Quirk |
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|first=Sophie |
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|date=2015 |
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|title=Why Stand-up Matters: How Comedians Manipulate and Influence |
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|location=New York |
|||
|publisher=Bloomsbury Methuen Drama |
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|page=97 |
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|isbn=978-1-4725-7893-8 |
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|quote=Cooperation between audience and speaker is vital}}</ref><ref>{{cite book |
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|last=Borns |
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|first=Betsy |
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|year=1987 |
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|title=Comic Lives: Inside the World of American Stand-up comedy |
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|url=https://archive.org/details/comiclivesinside00born |
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|url-access=registration |
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|publisher=Simon & Schuster, Inc. |
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|page=163 |
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|isbn=0-671-62620-5 |
|||
|quote=In the beginning, most comics agree, the most important things are getting stage time, watching others work, and earning a living.}}</ref>}}. |
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== Manbalar == |
== Manbalar == |
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25-Yanvar 2024, 14:37 dagi koʻrinishi
Ochiq mikrofon (open mic yoki open mike) — bu qahvaxona, tungi klub, komediya klubi, striptiz klubi yoki pubklub kabi joylarda, odatda tunda boʻlib oʻtadigan jonli shou. Unda istalgan tomoshabin oʻz isteʼdodini namoyish qilishi mumkin. Odatda, ochiq mikrofonlarda havaskorlar ilk chiqishini va professionallar tez orada namoyish etilishi kerak boʻlgan biror asardan parchani targʻib qilishadi[1]. Nomidan maʼlumki, tomoshabinlarga yaxshiroq eshitilishi uchun ijrochilar mikrofondan foydalanishadi.
Ijrochilar oʻsha yerdagi tajribali ishtirokchi, dasturga masʼul menedjer yoki shu dasturning olib boruvchisi yordamida roʻyxatdan oʻtadi. Dasturni olib boruvchi shaxs yashirin qobiliyat egalariga sahnaga hozirlik koʻrishlari uchun ozroq vaqt beradi. Sahnada ular ularga beriladigan vaqt ham chegaralangan boʻladi. Ochiq mikrofonlarda asosan komediya (sketch-komediya yoki stend-up), musiqa (mualliflik qoʻshiqlari ijrochilari tomonidan kuylanadigan), sheʼriyat va deklamatsiya kabi chiqishlarni koʻrish mumkin. Rok guruhlari yoki komediya truppalarining chiqishlarini ham kuzatish mumkin, lekin, asosan bu guruhlarni oldindan tayyorlash va ovozini tekshirish uchun mahsus joy hamda logistika talablari tufayli ular kam tarqalgan[2].
Ochiq mikrofonlarga kirish narxi odatda qimmat boʻlmaydi, yoki umuman tekin boʻladi. Joyning oʻzida tashkilotchilar tomonidan lotereyaga turli xil sovgʻalar qoʻyilishi yoki maʼlum bir maqsadni koʻzlagan holda koʻngilli tomoshabinlardan pul yigʻish uchun maxsus qutilar tashkil qilinishi ham mumkin. Odatda kirish toʻlovi boʻlmagan joylarda spirtli ichimliklar va oziq-ovqat sotishdan foyda koʻriladi. Koʻp joylarda ishtirokchilarga chiqish qilgani uchun hech qanday hizmat haqi toʻlanmaydi, lekin oʻsha joyda ichimlik ichishi yoki nimadir tanovul qilishi mumkin. Ammo, tashkilotchi yo joyning egasi haq toʻlashga qurbi yetadigan boʻlsa, Ochiq mikrofon qatnashchilari oʻz chiqishlari uchun haq ham olishadi va biroz muddat hozirlik koʻrib, keyin sahnaga chiqishadi. Pul evaziga sahnaga chiqish holatlari koʻpincha maʼlum vaqt oraligʻida boʻsh qolgan sahnani toʻldirish kerak boʻlgan vaziyatlarda uchraydi. Ochiq mikrofonlar jem seyshonlarga ham biroz oʻxshash. Sababi ikkisi ham havaskor ijrochilar va ijodkorlarga sahnaga chiqish imkonini beradi. Farqi shundaki, jem seyshonlarda koʻpincha musiqiy ansambllar, musiqachilar gurugi yoki ritm guruhi, hatto professional ijrochilar ham ishtirok etishi mumkin[3].
Musiqa
Ochiq mikrofonlar havaskor yoki musiqa olamiga endigina kirib kelayotganlarga jonli auditoriya qarshisida tajriba orttirish imkonini beradi. Mashhurlikka erishishdan oldin, yaʼni sanʼatkorning ilk chiqishlarida tomoshabinlar uni har doim ham yaxshi qabul qilishmaydi. Chunki odatda ular milliy estrada uslubidagi yoki folklor qoʻshiqlarga oʻrganishgan boʻladi. Shuningdek, tomoshabinlar akustik musiqachilar yoki yakkaxon xonandalar tomonidan ijro etilagan qoʻshiq va musiqa xalqona va ularga mos uslubda aytilishi kerak degan tushunchani ilgari surishadi. Bu notoʻgʻri qarash bugungi kunga qadar ham mavjud. Aynan shuning uchun ham ayrim joylarda tashkilotchilar „akustik kecha“, „akustik klub“lar tashkil qildilar. Bundan maqsad nafaqat folklor uslubidagi qoʻshiqlarni ommaga taqdim etish, balki turli xil musiqiy uslublar bilan tomoshabinlarni tanishtirish boʻlgan.
Ochiq mikrofon tadbirlari odatda haftaning oʻrtalarida yoki dam olish kunlari, yaʼni hafta soʻnggida, bogʻlar va maydonlarda odamlar nisbatan kam boʻlgan yerlarda uyishtiriladi. Kamdan-kam hollarda muqaddas juma va shanba oqshomlari, dam olish kunlari mijozlar koʻproq toʻplanadigan yerlarda, shuningdek jonli ijro tinglash uchun buyurtma qilingan har qanday joyda tashkillashtirilishi mumkin. Buyuk Britaniyada ochiq mikrofon kechalari koʻpincha payshanba kunlari, baʼzan esa chorshanba kunlari boʻlib oʻtadi[4]. U yerda haligacha davom etib kelayotgan ochiq mikrofon uslubidagi eng mashhur musiqa tanlovlaridan biri – Open Mic UK. Buning vazivasi – muntazam ravishda yangi isteʼdodlarni kashf qilib borish. Ushbu tanlovga musiqaning deyarli barcha janrlaridan 10 000 dan ortiq ishtirokchi qatnashgan. Tanlovning bosh mukofoti £30 000 ni tashkil qiladi. Tomoshabinlardan ushbu konsertni kuzatish uchun oldindan roʻyxatdan oʻtib, konsert boshlanishidan oldin oʻz joylarini egallab olish talab qilinadi[5][6].
Qoʻshma Shtatlardagi eng mashhur ochiq mikrofon dasturlaridan biri – „Blues Night“ (Moviy Oqshom). Ushbu formatda, bar yoki klub maʼlum bir kechani „ochiq mikrofon blyuz kechasi“ sifatida odatda haftaning oʻrtalarida oʻtqizadi. Bar va klublar musiqachilar guruhini odatda gitara, bas, baraban, baʼzan esa klavishli musiqa asboblari bilan ham taʼminlab beradi. Qoʻshiqchilar, gitarachilar, garmon ijrochilari va sahnada oʻz mahoratini koʻrsatmoqchi boʻlgan boshqa musiqachilar bar egasi yoki masʼul shaxs yordamida roʻyxatdan oʻtishlari kerak boʻladi. Ushbu shaxsning asosiy vazifasi ijrochilarni koʻzdan kechirish, tanlash va buyurtma berish, ijrochilarni muloyimlik bilan sahnaga olib chiqish va oxirida kuzatib qoʻyishdan iborat.
Tanlangan qoʻshiqlar yetarlicha sodda boʻlishi lozim. Musiqachilar guruhi blyuz standartlaridan foydalangan holda ularni tayyorgarliksiz ijro eta olishlari kerak boʻladi. Qoʻshiqlar „12-bar fast shuffle in C“, „slow 12-bar blues in F“ yoki barcha tinglovchilarga tanish boʻlgan, yaʼni shunga oʻxshash tarzda ifodalangan holda eʼlon qilinishi mumkin. Qoʻshiqchilar odatda klavishlar, duhovoy asboblar (asosan saksafonlar) hamda turli xildagi zarbli cholgʻu asboblarini oʻzlari bilan olib yurishadi[7].
Komediya
Stand-up komediya ochiq mikrofon kechalari koʻpincha alohida komediya klublarida oʻtkaziladi. Ammo faqat shu bilangina cheklanib qolmasdan, boshqa sahnalarda, masalan pubklublar, barlardagi alohida ajratilgan xonalarda, kitob doʻkonlarida, kollej kampuslarida, rok-klub hamda qahvaxonalarda tashkillashtirilishi mumkin[8][9][10][11]. Kamdan kam hollarda striptiz klublar[12] hamda komik kitob doʻkonlarida oʻtkaziladi[13][14]. Ehtimol komediya klublari maxsus salonga ega boʻlgan yagona ochiq mikrofon muassasasidir. Yaʼni u yerda tomoshabinlardan holi, sahnaga chiqishni kutayotgan ijrochilar uchun sahna orti maydoni mavjud[15].
Ochiq mikrofon kechalari yangi paydo boʻlgan qiziqchilarga oʻzlarining stand-up mashqlarini jonli auditoriyaga namoyish qilish imkonini beradi[28].
Manbalar
- ↑ Zimmer, Ben. „How Should 'Microphone' be Abbreviated?“. The New York Times Magazine. New York: The New York Times Company (2010-yil 29-iyul). Qaraldi: 2020-yil 4-aprel. „Mike came first, documented from the early days of radio. In the June 1923 issue of 'The Wireless Age,' a photo caption of Samuel L. Rothafel...reads, ‘When you hear Roxy [Rothafel] talk about 'Mike' he means the microphone.’ This suggests the abbreviation arose as a kind of nickname, playfully anthropomorphizing the microphone as Mike. But by 1926, when the pioneering broadcaster Graham McNamee published his book ‘You're on the Air,’ mike appeared in lowercase, not as a name...Mic didn't begin appearing in written works for another few decades, first recorded by the Oxford English Dictionary in Al Berkman's 1961 ‘Singers' Glossary of Show Business Jargon.’ Berkman offered both mike and mic as possible clippings of microphone. Since then, mic has grown in popularity among those who work with recording equipment.“.
- ↑ „Open Mic Night – Everything You Need to Know“. vocalist.org.uk. Qaraldi: 23-avgust 2023-yil.
- ↑ „How Do Open Mic Nights Work: Expert Tips and Tricks Revealed“. cdunity.com. Qaraldi: 23-avgust 2023-yil.
- ↑ „Open Mic Finder Statistics“. Qaraldi: 2013-yil 23-fevral.
- ↑ „2010 Winners“. Open Mic UK. Qaraldi: 2011-yil 12-may.
- ↑ Almroth-Wright, Indy. „Twleve year-old 'Birdy' wins UK talent contest“. BBC (Hampshire) (2008-yil 6-dekabr). Qaraldi: 2011-yil 15-aprel.
- ↑ rayray „Phoenix Blues Jams“. www.rayrayblues.com.
- ↑ Lindfors, Antti (6 May 2019). "Cultivating Participation and the Varieties of Reflexivity in Stand-Up Comedy". Journal of Linguistic Anthropology 29 (3): 278. doi:10.1111/jola.12223. https://anthrosource.onlinelibrary.wiley.com/doi/pdf/10.1111/jola.12223. Qaraldi: 26 December 2020. "in Helsinki...so-called open mic clubs, which refers to organized events (usually in bars and pubs) where both established and beginning comics can try out new material as well as develop their standard routines through relatively short sets ranging from five to twenty minutes, in an environment (with live audience) specifically encouraging and framed for work-in-progress."Ochiq mikrofon]]
- ↑ Carter, Judy. The Comedy Bible: From Stand-up to Sitcom—The Comedy Writer's Ultimate How-To Guide. New York, NY: Simon & Schuster, 2001 — 66–67 bet. ISBN 978-0-7432-0125-4.
- ↑ Bromley, Patrick „How to Break Into Stand-Up Comedy“. ThoughtCo.. Potdash (2018-yil 6-iyun). — „[Open mics] could be held anywhere, but are often found at bars, rock clubs, and coffee houses.“. Qaraldi: 2019-yil 22-mart.
- ↑ Durham, Rob. Don't Wear Shorts on Stage: the stand-up guide to comedy, Middletown, DE, 2011 — 16 bet. ISBN 9781468004847. „Each comedy club or bar has its own system for signing up for [an] open mic.“
- ↑ Isador, Graham „Comedians Tell Us the Most Epic Fails They've Seen at Open Mics“. VICE. VICE MEDIA LLC (2018-yil 2-may). — „The worst open mic I ever attended was at Zanzibar, a strip club in downtown Toronto.“. Qaraldi: 2019-yil 18-fevral.
- ↑ Master, Julian „An Aspiring Stand-Up Comic Shoots Empty Open Mics Across NYC“. VICE. VICE MEDIA LLC (2016-yil 2-aprel). Qaraldi: 2019-yil 18-fevral.
- ↑ Quirk, Sophie (November 2011). "Containing the Audience: The 'Room' in Stand-Up Comedy". Participations: Journal of Audience & Reception Studies 8 (2): 232. https://www.participations.org/Volume%208/Issue%202/2e%20Quirk.pdf. Qaraldi: 27 December 2020. "The more improvised spaces still tend to have high information rates [i.e., distracting stimuli that are not a part of the performance]"Ochiq mikrofon]]
- ↑ Goffman, Erving. The Presentation of Self in Everyday Life. New York: Anchor Books: A Division of Random House, Inc., 1980 — 113, 119 bet. ISBN 978-0-385-094023. „In general...the back region will be the place where the performer can reliably expect that no member of the audience will intrude...back region tends to be defined as...all places out of range of 'live' microphones.“
- ↑ Quirk, Sophie (November 2011). "Containing the Audience: The 'Room' in Stand-Up Comedy". Participations: Journal of Audience & Reception Studies 8 (2): 220. https://www.participations.org/Volume%208/Issue%202/2e%20Quirk.pdf. Qaraldi: 4 January 2021. "It is the audience's cooperation which allows the act to succeed and they retain the right to undermine the interaction by withdrawing that cooperation"Ochiq mikrofon]]
- ↑ Smith, Daniel R. „Part I: Analytical[:] 2 The Professionalisation of Stand-Up Comedy: Coda“,. COMEDY AND CRITIQUE: Stand-up comedy and the professional Ethos of laughter, Bristol Shorts Research. UK: Bristol University Press, 2018 — 74 bet. ISBN 978-1-5292-0015-7. „Stand-up is the art of self relating to self in the presence of others.“
- ↑ Smith, Daniel R. „Part II: Synthetic[:] 3 Representation: Stand-up: representing whom?“,. COMEDY AND CRITIQUE: Stand-up comedy and the professional Ethos of laughter, Bristol Shorts Research. UK: Bristol University Press, 2018 — 79 bet. ISBN 978-1-5292-0015-7. „[S]tand-up represents a three part relation in the aesthetic completion of the comedic exchange: attempted joke, laughter, confirmed joke.“
- ↑ Lindfors, Antti (6 May 2019). "Cultivating Participation and the Varieties of Reflexivity in Stand-Up Comedy". Journal of Linguistic Anthropology 29 (3): 279. doi:10.1111/jola.12223. https://anthrosource.onlinelibrary.wiley.com/doi/pdf/10.1111/jola.12223. Qaraldi: 26 December 2020. "First, stand-up is centered around public self-presentation and -reflection through verbal and nonverbal communication, that can be preliminarily described as a subjectifying mode of footing...Second, stand-up is a [sic] groupendeavor dependent on performer's abilities to reflexively accommodate assumptions of one's audience, or what comics metapragmatically designate as 'reading the room' and 'working the audience.'"Ochiq mikrofon]]
- ↑ Bromley, Patrick „Breaking Into Stand-Up: 10 Tips for Beginner Comedians“. ThoughtCo.. Potdash (2018-yil 13-aprel). — „It's a true 'learn-by-doing' art form, and you won't know what works (and what doesn't) until you've gotten on stage in front of an audience.“. Qaraldi: 2019-yil 22-mart.
- ↑ Lagatta, Eric „Budding, established comedians hone craft at open-mic nights“. The Columbus Dispatch. GateHouse Media, LLC. (2019-yil 21-mart). — „Most comedians see open-mic nights as a chance to test new material or refine their stage presence.“. Qaraldi: 2019-yil 25-mart.
- ↑ Naessens, Edward David „Busting the Sad Clown Myth: From Cliché to Comic Stage Persona“,. The Dark Side of Stand-Up Comedy, Palgrave Studies in Comedy. United Kingdom: Springer Nature Switzerland AG: Palgrave Macmillan, 2020 — 228 bet. DOI:10.1007/978-3-030-37214-9_11. ISBN 978-3-030-37213-2. „comedians learn how and who to be onstage in significant part by watching other comedians and attending to the responses of audiences.“
- ↑ Brodie, Ian (2008). "Stand-up Comedy as a Genre of Intimacy". Ethnologies (Cape Breton University) 30 (2): 161. doi:10.7202/019950ar. https://id.erudit.org/iderudit/019950ar. Qaraldi: 15 September 2020. "Pauses, rhetorical questions, digressions, diversions, distractions, and long descriptive passages all are opportunities for the audience to react in an unanticipated manner and to shift (or pull) focus away from the performer."Ochiq mikrofon]]
- ↑ Marchese, David. „Norm Macdonald Unloads on Modern Comedy, SNL, Fallon's Critics, Hillary, and Trump“. Vulture: Devouring Culture (2016-yil 23-sentyabr). Qaraldi: 2020-yil 27-dekabr. „On TV, every single joke kills. That's not what happens with stand-up. You have to earn every laugh. Another thing is that there's no room for interpretation in stand-up...with stand-up, it's all about getting that noise — getting that laugh. And it has to come for everyone at the same time. Everyone has to think the same thing at the same time.“.
- ↑ Brodie, Ian „Stand-Up Comedy and a Folkloristic Approach“,. A Vulgar Art: A New Approach to Stand-up Comedy. Jackson: University Press of Mississippi, 2014 — 36 bet. ISBN 978-1-62846-182-4. „At its core...is audience engagement: laughter is both the ends (the validation by the live audience of the comedian being found funny) and the means (data for the subsequent listener to consider in judging whether the comedian could be found funny).“
- ↑ Quirk, Sophie. Why Stand-up Matters: How Comedians Manipulate and Influence. New York: Bloomsbury Methuen Drama, 2015 — 97 bet. ISBN 978-1-4725-7893-8. „Cooperation between audience and speaker is vital“
- ↑ Borns, Betsy. Comic Lives: Inside the World of American Stand-up comedy. Simon & Schuster, Inc., 1987 — 163 bet. ISBN 0-671-62620-5. „In the beginning, most comics agree, the most important things are getting stage time, watching others work, and earning a living.“
- ↑ [16][17][18][19][20][21][22][23][24][25][26][27]