Open mic - Knowledge

431:. Novice performers are able to connect with seasoned performers who can offer advice on stage presence. These connections are also useful when it comes to organizing future appearances as well as collaborations. Another benefit to networking at open mics is the opportunity for exposure. Open mics offer attendees the opportunity to discover new and local talent. Performing in front of open mic attendees exposes a performer's material to people who have never heard it before. This allows attendees the opportunity to connect with a performer and share a performer's material with friends and family with similar taste. Experience is also another benefit for performers at open mics. Many performers at open mics are just beginning their career as performers or have been performing for years. Either way, performing at an open mic gives performers the opportunity to practice their stage presence and figure out the best way to perform their material that engages audiences. 374: 344:

created physical discomfort for audience members... yet audience members often talked about how much they enjoyed 'the feeling of a full house'. Conversely, when shows were not sold out and audience members had more room to spread out among empty tables and chairs, audience members were less likely to relate their experiences as one of entertainment or enjoyment." The host introduces each act by reciting the name that was placed on the sign-up list and asks the audience to give the performer an introductory round of applause. Performing first at an open mic puts the comedian at a disadvantage due to the audience being "cold" and is considered the most challenging spot to perform in.

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comedian on stage; ii. The comedian entrance, which overlaps with the audience applause. S/he starts with an opening in which s/he greets, comments, and trains the audience in the way to respond. These exchanges are used to orient the audience towards the nature of the routine and also to divert the audience attention from drinks and chats iii. The body of the show, which is made up of several joke-telling sequences iv. The closure, which is made up of a series of not necessarily funny utterances like the evaluation of the audience, a reintroduction of the comedian, and thanks that accompany her/his departure from the stage.

150: 336:"The room" is the term for the setting of a comedy performance; comedians are said to gauge the audience by their ability to "read the room". Stand-up performances have a designated stage area and use a microphone with amplification as an industry standard. Open mics for comedy have no minimum requirements to perform, a format which is known as "show and go". At a typical comedy open mic, acts will get 3–7 minutes of stage time. The routine of a five-minute slot requires approximately three minutes of material. All stand-up comedy performed must be an original creation. 1851:

are...entwined with rites, rituals, and dramatic experiences that are richer, more complex than this simple definition can embrace. We must...include seated storytellers, comic characterizations that employ costume and prop, team acts...manifestations of standup comedy routines...such as skits, improvisational situations, and films...and television sitcoms...however our definition should stress relative directness of artist/audience communication and the proportional importance of comic behavior and comic dialogue versus the development of plot and situation

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participating. Each participant is then called to come to the microphone and read a selection or two. Writers may attend an open mic to try out a new piece for an audience or to find out more about the local writing community. Others attend poetry open mics just to listen. Poetry/spoken word open mics range from laid back, serene settings to lively sessions where readers and/or performers compete for audience applause. They are usually held in libraries,

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following statements are to be read within the safe bracket of the joke. Furthermore, the comedian asserts that the disparate collection of individuals in attendance is in fact a unified group with a shared consensus, thus allowing the group to feel secure in the knowledge that their laughter is acceptable to their peers, and any potentially risky value-judgments involved in the joking are shared with others.

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starts in order to 'read' the audience. Reading the audience is a visual practice (What are the demographics?...and an affective practice (How are they responding to the comic on stage?...At the very least, comics will show up a few acts ahead of their own for that purpose. They have to know the energy of the room in order to work the crowd right.

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To produce laughter, an audience needs not only energy but also confidence. To laugh is pleasant, but can also be risky; to be caught laughing heartily when other audience members are silent could be embarrassing. Bergson describes the importance of camaraderie in laughter...It is therefore important

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Tightly arranged seating within the comedy room created physical discomfort for audience members...Yet audience members often talked about how much they enjoyed 'the feeling of a full house'...Conversely, when shows were not sold out and audience members had more room to spread out among empty tables

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tand-up comedy...cannot exist without technological advances...what distinguishes it as a whole from other forms of verbal comedy, and where one can deduce its origins, is the advanced use of the microphone...antecedents and forebears are suggested ranging from the court jester to Mark Twain and Will

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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

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Since the songs chosen need to be simple enough so that a band of musicians who have not played together can perform them without practice, blues standards are used. Songs might be announced as a "12-bar fast shuffle in C" or "slow 12-bar blues in F", or similar phrases that should be familiar to all

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Open mics provide an opportunity for emerging musicians to gain experience performing to a live audience without having to go through the process of getting normal music gigs, which is very difficult to do without experience or a demo recording. They provide an outlet for singer-songwriters. Prior to

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emcee asks that the extant personal goodwill between him- or herself and the audience be extended to these more or less unknown comedians...Rutter identifies six 'turns' evident in the compere's talk: contextualization (giving background details), framing of response (directing the audience to greet

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Rutter (1997; 2000) cited in Scarpetta & Spagnolli (2009: 6) identify the following successive bits in British stand-up comedy: i. Introduction, in which the compere announces the comedian, evaluates him/her, and warms up the audience, whose responses to the compere accompany the entrance of the

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xpectancy violations theory is not particular to humor; it is a contemporary communication theory that can be applied to rhetorical situations. Expectancy violations theory is heavily based on the studies of personal space and proxemics, or the study of people's use of space (Griffin, 2009). The key

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within "the room". Hosts will try to seat audience members close together near the designated front stage area because that seems to maximize the audience's feelings of enjoyment and may lead to increased laughter; of one such event, a reviewer wrote, "Tightly arranged seating within the comedy room

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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 talk about 'Mike' he means the microphone.' This suggests the abbreviation arose as a kind of nickname, playfully anthropomorphizing

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Each poet or spoken word artist is often asked to keep their performances to a minimum/specified time slot, giving each performer enough time to share some of their work with the audience. The host or MC acts as a "gatekeeper", determining which performers are suitable for the event. If a performer

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Poetry and spoken word open mics feature a host, who is normally a poet or spoken word artist, poets and spoken word artists, and audience members. Sometimes open mic nights have featured readers, or are part of a writing workshop, but generally a sign-up sheet is available for anyone interested in

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Open mic events are most commonly held in the middle of the week or at the very end of the weekend when footfall through venues is low. They rarely occur on the hallowed Friday and Saturday night time slots, when venues are busy with weekend customers and any live performances are professionals who

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The first comic on stage carries the burden of 'building the energy in the room'. The comedians who follow in the line-up have to sustain it. Should someone fail at doing this and leave the audience 'cold', the next comic has to 'bring the energy back up'...Ideally arrive at a venue when the show

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Respondents expressed that they enjoy the limited distance between the audience and the stand-up comedian...Such explanations support Bennett's observation that the 'lessening of distance leads to fuller engagement with the spectator' (1997: 15). Although this reduced distance is important in all

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The host will flash a light at the comedian one minute before their time is up as a signal to finish the joke they are currently telling, a practise known as "getting the light". In modern times, this is done with the flashlight from a cell phone so as not to distract the audience with a larger or

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Open mic nights give emerging comedians the opportunity to practice their stand-up routine, which they cannot do without a live audience. The audience for a typical comedy open mic is other comedians. Those underage must have their parents attend clubs with them. More experienced comedians may use

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but are more commonly held at other venues with or without a stage, often the upstairs or back room of a pub or bar, or at a bookstore, college campus, rock club, or coffeehouse. Less commonly, they are also held at venues such as strip clubs and comic book shops. Comedy clubs may be the only open

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The presence of audience greeting, like audience applause, is a remarkably stable feature of opening sequences. Almost invariably the first thing a performer does is greet the audience. Although this greeting may take a variety of forms, it is an introduction. Usually the performer's entrance has

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Other types of comedy open mics include "booked shows" and "bringer shows". Booked shows have a normal format, but performers reserve spots one week to one month in advance. Bringer shows are presented in a showcase format, with each performer being required to bring 5–15 people with them (with a

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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

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to the expectancy violations theory is the argument that when our expectations are violated, we have the choice of responding negatively or positively. A comic's goal is to persuade his or her audience to respond positively to a violation of personal space or any other previously set expectation

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A strict, limiting definition of standup comedy would describe an encounter between a single, standing performer behaving comically and/or saying funny things directly to an audience, unsupported by very much in the way of costume, prop, setting, or dramatic vehicle. Yet standup comedy's roots

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Here Mintz is deconstructing the complex process of 'warming up' the audience. This is not only a matter of relaxing the audience and ensuring that they are capable of producing laughter easily; the warm-up also allows the comedian to establish that comic license is in operation, and that all

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with various prizes. Venues that charge no fees profit from selling drinks and food. The performers are not typically paid, although the venue may give them food or drink. If the host is an experienced professional and not the owner or the manager of the venue, they are usually paid for their

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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 groupendeavor dependent on performer's abilities to reflexively accommodate

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Another key feature of the minimal set up of stand-up is that it allows virtually anyone to do it. You don't need 'gear:'...neither do you need 'proof': a license, a training certificate, an academic degree. This democratic character allows live regional stand-up to showcase homegrown and

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In the heat of real-time performance...comics can 'read the room' through jokes that are optimal for gauging their interlocutors' intellectual, moral, emotional, or other boundaries and preferences, e.g., through lowbrow, strategically ambiguous, or perhaps seemingly offensive

189:, usually taking place at night, in which audience members may perform on stage whether they are amateurs or professionals, often for the first time or to promote an upcoming performance. As the name suggests, performers are usually provided with a microphone plugged into a 200:, who is typically an experienced performer or the venue's manager or owner. The host may screen potential candidates for suitability for the venue and give them a time to perform during the show. Open mics are focused on performance arts such as comedy (whether it be 3120:

No laughter? Out then. Tim 's willingness to change his act to suit his audience...The difference between Tim's censoring of material and a poet's censoring is elusive. Tim's goal is to make money, that's one of his desires, but not his primary motivating desire. His

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has cited as the maximum number of people who should be there. It is common practice for stand-ups to record their sets for later review and rehearsal. The collective feedback from different audiences has a significant impact on how a stand-up routine is shaped.

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Corroborating the communal reputation of the genre, stand-up trades on interpersonal resonance or what is called 'involvement' in sociolinguistics (Tannen 2007), where audience will (ideally) 'coauthor' the speech act by ritualized collective laughter (Duranti

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their skills/artform. A decrease in the cost of consumer video technology combined with the powerful editing capabilities of modern PCs has caused an increase in the popularity of DJing and amateur filmmaking, but these types of events are still very rare.

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The term 'room' means more than just the physical space in which the performance takes place; it is the term used to summarise a combination of factors which include the nature of the space, the way that space is set up, the character of the audience and

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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

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A popular open mic arrangement in the United States is the "Blues Night". In this format, a bar or club will dedicate a particular night, usually in the middle of the week, as being "open mic blues night". The establishment may supply a

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act as Masters of Ceremony, the club hosts who warm up the audience and introduce each comedian. This is a challenging job; the MC is responsible for maintaining the mood of the audience and adjusting it if necessary after each

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open mics as an unpaid opportunity to work out newer material or a new character. Open mic comedy nights are most widespread in larger English-speaking cities with a well-established stand-up scene; the major examples include

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to address the audience. In 2011, writer Rob Durham said that an open mic night should be no longer than 90 minutes and consist of no more than 15 acts. A comedy open mic will not normally exceed 30 people, which comedian

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who will have introduced the comedian and instigated a round of applause. informal, at times quasi-conversational approach is used in which the performer gives the impression that they are opening up a dialogue with the

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In order to get stage time at ...you bring...5 to 15 friends, each of whom must show up and agree to buy at least two drinks...Some people think bringers are a scam, and they kind of are. They're a cash grab for club

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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

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Tip No. 1: Record Every Set...Record every set. The hard part: Listen to it, and transcribe everything you want to say again...This is especially helpful early on in your career, when you're trying to build

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services and may perform at some point during the evening, either preparing a full performance of their own or filling in at short notice when a performer is unavailable. Open mics are somewhat related to

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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'

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Tip No. 17: You've been killing every night. You're not sure this is still a challenge. For the next few months, ask to go on first. It's a great test of your act. The booker and host will love you for

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brighter light. If a comedian ignores this light and continues to perform past their allotted time, this is known as "blowing the light" and may get the comedian banned from performing at that venue.

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Staging for the stand-up comedy performance is minimal. Typically, there is a stool, a microphone stand, and a neutral backdrop. The backdrop is either a blank wall (frequently brick) or a curtain.

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the comedian with a certain attitude), evaluation of comedian (commenting on performance skills), request for action (typically applause), introduction (naming), and audience applause (466).

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If you've ever been to a typical open mic, you're probably a comedian yourself. In other words, the audiences can be sparse, and they're mostly waiting for their turn at the microphone.

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The pre-established pattern of action which is unfolded during a performance and which may be presented or played through on other occasions may be called a 'part' or 'routine.'

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Performing at open mics as a musician, comedian or poet provides many benefits. One of the benefits of performing at open mics is the opportunity for performers to engage in

2075: 232:, in that they both see amateur performers being given the opportunity to perform. The difference is that jam sessions often involve musical ensembles, possibly even a 1472:

Connections to more established comedians are often helpful in finding work, and a good name and goodwill among fellow comedians is also a source of job opportunities.

212:. It is less common for groups such as rock bands or comedy troupes to perform, mostly because of the space and logistical requirements of preparing equipment and 3086:

Stand-up comedy is a unique form of performance in that the reaction of the audience is an integral part of the success or failure of each individual performance.

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with an attendant set of expectations, including the dialogic properties...stand-up comedy, contemporary or otherwise, does not exist without amplification.

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goes over their time limit, the host diplomatically thanks the performer for their contribution and asks them to yield the stage for the next performer.

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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

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Sometimes bouncing from open mic to open mic, hitting two or three in a single night...comics who take the craft seriously are out almost every night

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Usually the host will shine a light to let the comedian know a minute is left. If you keep going, it's called blowing the light, and it is a sin.

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Naessens, Edward David (2020). "Busting the Sad Clown Myth: From Cliché to Comic Stage Persona". In Oppliger, Patrice A.; Shouse, Eric (eds.).

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Naessens, Edward David (2020). "Busting the Sad Clown Myth: From Cliché to Comic Stage Persona". In Oppliger, Patrice A.; Shouse, Eric (eds.).

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Naessens, Edward David (2020). "Busting the Sad Clown Myth: From Cliché to Comic Stage Persona". In Oppliger, Patrice A.; Shouse, Eric (eds.).

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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.

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the next day, my friend who was also on the show , told me a scout from casting at Fox was in the audience and they wanted to meet with him.

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When an individual or performer plays the same part to the same audience on different occasions, a social relationship is likely to arise.

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tand-up represents a three part relation in the aesthetic completion of the comedic exchange: attempted joke, laughter, confirmed joke.

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comedians learn how and who to be onstage in significant part by watching other comedians and attending to the responses of audiences.

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Staying onstage longer than their allotted time is, along with joke stealing, one of the most grievous offense a stand-up can commit.

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Today kids come on for five minutes each and curse because of a poverty of language or because they've seen too many R-rated movies.

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In the beginning, most comics agree, the most important things are getting stage time, watching others work, and earning a living.

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concerned. Lead singers, keyboards, horn players (usually saxophones), and various percussion instruments are common additions.

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Stand-up comedy, being a contemporary, popular genre, is a genre of novelty, so one does not learn the canon so much as learn

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assumptions of one's audience, or what comics metapragmatically designate as 'reading the room' and 'working the audience.'

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have been booked. The most common night for an open mic in the United Kingdom is Thursday, with Wednesday in second place.

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You need just three minutes of material...enough time to perform several jokes, get a few laughs, and then get off stage.

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cover charge and a two-drink minimum per person) in order to secure stage time, but this is widely seen as exploitative.

329:. Stand-ups also use open mics for networking to find both paid and unpaid work opportunities, for making friends, or as 117: 2762:"'Pushing the Edge' of Race and Gender Hegemonies through Stand-up Comedy: Performing Slavery as Anti-racist Critique" 3292: 3264: 3152: 2902: 2190: 2114: 2011: 1249: 681: 136: 89: 1309:. Palgrave Studies in Comedy. United Kingdom: Springer Nature Switzerland AG: Palgrave Macmillan. pp. 306–307. 3469: 1931:

Show and Go/Show Up...his is most common type of open mic...ll you have to do is show up...ut your name on the list

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and chairs, audience members were less likely to relate their experiences as one of entertainment or enjoyment.

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Open mics may have very low entrance fees or no entrance fees at all, although the venue itself may prepare a

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Fulford, Larry (2020). "The Complete and Utter Loss of Time". In Oppliger, Patrice A.; Shouse, Eric (eds.).

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Negotiating and Practicing Performance: An Ethnographic Study of a Musical Open Mic in Brooklyn, New York.

2482: 1638: 945: 568: 103: 2881:'I,' 'my,' 'me' as the comedian versus 'you' as the audience directly engages the audience in a dialogue. 31: 2434:

Thomas, James M. (2015). "Laugh through it: Assembling difference in an American stand-up comedy club".

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Rogers. Such suggestions of ancestry are not without merits, but as a form or, more precisely, as an

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Most comedians see open-mic nights as a chance to test new material or refine their stage presence.

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that, as Brook intimates, the energy that causes laughter flows freely and easily between people.

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it, locating oneself within a tradition not simply to continue it but to develop and add to it.

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Any comic nearing the time limit would face a warning: Moore waving his cell-phone flashlight.

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reel) are used for more niche open mic events where keen amateurs can meet to exhibit and

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Novice stand-up comedians must introduce themselves, break the ice, and quickly provide

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in Al Berkman's 1961 'Singers' Glossary of Show Business Jargon.' Berkman offered both

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didn't begin appearing in written works for another few decades, first recorded by the

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Hitting Your Funny Bone: Writing Stand-up Comedy, and Other Things That Make You Swear

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Wuster, Tracy (2006). "Comedy Jokes: Steve Martin and the Limits of Stand-Up Comedy".

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Hitting Your Funny Bone: Writing Stand-up Comedy, and Other Things That Make You Swear

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The worst open mic I ever attended was at Zanzibar, a strip club in downtown Toronto.

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live performances, closeness and intimacy is especially important in standup comedy.

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published his book 'You're on the Air,' mike appeared in lowercase, not as a name...

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could be held anywhere, but are often found at bars, rock clubs, and coffee houses.

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The Comedy Bible: From Stand-up to Sitcom—The Comedy Writer's Ultimate How-To Guide

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Roberts, Rebecca Emlinger (2000). "Standup Comedy and the Prerogative of Art".

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Roberts, Rebecca Emlinger (2000). "Standup Comedy and the Prerogative of Art".

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Open mic night really shouldn't have more than fifteen acts... ninety minutes.

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Open-mike nights at comedy clubs typically limit performances to five minutes.

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Open mikes are where, as a comedian, you're supposed to be allowed to fuck up.

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The light will normally be flashed when you have one minute left in your set.

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It's really just three to five minutes that you need to write and then hone

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COMEDY AND CRITIQUE: Stand-up comedy and the professional Ethos of laughter

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COMEDY AND CRITIQUE: Stand-up comedy and the professional Ethos of laughter

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Seizer, Susan (2011). "On the Uses of Obscenity in Live Stand-Up Comedy".

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Comedians Tackling Depression & Anxiety Makes Us Feel Seen Documentary

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ax, 30 people, 'cause that's the max people that should be at an open mic

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Each comedy club or bar has its own system for signing up for open mic.

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This article is about the type of live show. For the comedy series, see

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Stand-up is the art of self relating to self in the presence of others.

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has grown in popularity among those who work with recording equipment.

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The more improvised spaces still tend to have high information rates

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How does a comedian know if something is funny? The audience tells .

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Brodie, Ian (2014). "Stand-Up Comedy and a Folkloristic Approach".

415: 3402:"The World's Best and Longest-Running Comedy Open Mic Just Closed" 2613:

The Corinthian: The Journal of Student Research at Georgia College

3422:"A nearly comprehensive list of D.C. area open-mic comedy nights" 3045:"Stand-Up Comics Find It Isn't Funny Writing Without an Audience" 2259: 716:"Comedians Tell Us the Most Epic Fails They've Seen at Open Mics" 318: 39: 2838:"Constructing a shared 'Hong Kong identity' in comic discourses" 2319:

he spirit of modern stand-up comedy...is focused on originality.

240:, and may involve the participation of professional performers. 322: 314: 224: 3219:"Budding, established comedians hone craft at open-mic nights" 1276:"10 reasons why Cole's is the best comedy open mic in Chicago" 1026:"Budding, established comedians hone craft at open-mic nights" 746:"An Aspiring Stand-Up Comic Shoots Empty Open Mics Across NYC" 443:(Canadian poetry event with live music, hosted from 2000–2010) 2735:. Jackson: University Press of Mississippi. pp. 85–86. 2407:

Why Stand-up Matters: How Comedians Manipulate and Influence

1351:"A STAND-UP KID: Teen comic dreams of a wisecracking career" 1210:

Why Stand-up Matters: How Comedians Manipulate and Influence

339:

The host of a stand-up comedy open mic tries to maintain an

2578:

Participations: Journal of Audience & Reception Studies

2540:

Participations: Journal of Audience & Reception Studies

1608:

Participations: Journal of Audience & Reception Studies

849:

Participations: Journal of Audience & Reception Studies

780:

Participations: Journal of Audience & Reception Studies

406:

The terms "open deck" (where "deck" refers to the kind of

208:), music (often acoustic singer-songwriters), poetry, and 3251:

Comic Lives: Inside the World of American Stand-up comedy

3031:

He explained to me the importance of recording every gig.

2151:. Jackson: University Press of Mississippi. p. 168. 1240:

Comic Lives: Inside the World of American Stand-up comedy

186: 3358:"Read a poem at an open mic | Academy of American Poets" 3145: