science of laughter

[andrea]

http://www.nytimes.com/2007/03/13/scien ... &8dpc&_r=1

so apparently we just need to convince the audience that they are our underlings, and we will get more laughs.

actually, i kind of wonder if there is something to that. if we present ourselves as confident, professional, and clearly in charge of the room, are we more likely to get laughs?

[kbadr]

http://www.nytimes.com/2007/03/13/scien ... &8dpc&_r=1

so apparently we just need to convince the audience that they are our underlings, and we will get more laughs.

actually, i kind of wonder if there is something to that. if we present ourselves as confident, professional, and clearly in charge of the room, are we more likely to get laughs?

Without reading the article, I'd say yes. I think this is basically why being playful on stage makes the audience like you more. You can have a show that, while not technically anywhere near "perfect", is still really fun because nothing shakes you. You are at ease, so the audience is at ease. No one's worried about the show going south, so everyone has a good time.

[DollarBill]

http://www.nytimes.com/2007/03/13/scien ... &8dpc&_r=1

so apparently we just need to convince the audience that they are our underlings, and we will get more laughs.

actually, i kind of wonder if there is something to that. if we present ourselves as confident, professional, and clearly in charge of the room, are we more likely to get laughs?

That's definitely true in my experience and they even teach that at IO. If the audience knows you are confident and in charge then they feel taken care of and relaxed. They'll laugh more or be more easily engaged. It's like when a teacher has control of the class. Otherwise the children act up. If a stand-up isn't in control they get heckled. You have to project your relaxed, in-control energy.

The second you are uncomfortable the audience can see it. Then they get uncomfortable and naturally try to take control (by yelling things or just by leaving or "checking out" as Andy would say) to restore the balance. Like the old "If your uncomfortable... and I'M uncomfortable... WHO'S DRIVING THE BOAT!!!! AHHHHHHHHH"

It's definitely one of the most important things. Commit commit commit. Even the dog whisperer uses these techniques on his pets. It's very primal. Very powerful.

[javelina]

Here's a link to the article that doesn't require NYT registration.

Nice article. I've noticed the effect that DollarBill mentions with classes I've taught. Days when I was feeling confident and relaxed always went much better with the class -- even when I had not done any prep work. The students would usually try to destroy me on days when I was stuck in my head.

[beardedlamb]

this is particularly true for solo work. show any panic, and you're screwed. it also works with dogs. pretty much any lower lifeform.

[arthursimone]

this applies to any type of performance.

It's how you separate the sucky schoolkids from the garage band rockstars. It's how you separate the pretentious art-school wannabes from the undeniable masters.

case in point, at last year's pun-off, I drew from my crowd-pleasing experience with the comedysportz game 185 and kept throwing out shitty shitty puns. The shittiest shittiest shit puns I could, but I was selling it, I was working the crowd the best I could, I didn't care what kind of crap came out of my mouth so long as I looked like a monster of comedy while doing it. Sure, lots of the brilliant wordsmiths I went up against had well-thought-out material, but you've got to sell it, you've got to enjoy it.

We live in a culture that likes American Idol because of the freaks and fuckups that think they're hot shit but get shot down by Simon. The same culture loves American Idol for the finalists, the nobodies that rose from the clutter to become unabashed text-message-voted gods.

[York99]

This is the first article I've read in a while that I actually wanted to go on longer.

[erikamay]

i think confidence is 80% of the performance, and this article is absosmurfly correct.

on my first IO team, our coach taught us how to walk on the stage, "like you are bruce fucking springsteen". own your greatness and the audience will follow.

on a personal note, i've been experimenting with taking large strides when approaching the stage. i've found that i land on stage more relaxed and confident. the mind body connection is a powerful one.

[Jastroch]

Science has finally caught up with me.

Act like a rock star, and the audience will treat you like one.

Very nice article.

[deroosisonfire]

i read the book mentioned in the article during a very lonely summer. i thought about applying to grad school to work with that guy. if i had, i wouldn't be here making this comment.

[acrouch]

Low status can also be a powerful tool in improv. If you believe that improv should not just entertain, but empower and engage, there's a lot to be said for giving the audience the opportunity to question your control and consider their own.

I've been experimenting with playing low status to my students in improv classes over the last couple years; I think it helps them own the experience and engage the process more than if I'm the instructor on high passing down truth and guiding them through every step. And likewise with audiences, some nights I'll try to play as if I don't have any more right to be up there than they do. Not that I compromise the improv, but I try to give off a vibe that says "I'm nobody special -- you could be up here having fun like this."

[arthursimone]

And likewise with audiences, some nights I'll try to play as if I don't have any more right to be up there than they do. Not that I compromise the improv, but I try to give off a vibe that says "I'm nobody special -- you could be up here having fun like this."

I'm just going to pick on this idea a bit...

Even at festivals, playing for a crowd of other improvisers, it's dangerous to not 100% adhere your performer's hat, accept the responsibility that comes with being the center of attention and rock it hard. I say bring the 'tude, because that's what they paid for. Even when Jokyr & Jesster break character and address each other as fallible feeling failing human beings, they still maintain their fundamental status as performers.

When you're off the stage, when people are filing out of the theater, by all means drop the 'tude and smile and encourage the shyest of the shyest audience members to hang out, connect, and maybe eventually come "do what we do." Only at the end does it work to invite the spectator's continued participation, only at the end does the rockstar bring fans onstage to dance, only at the very end does Prospero drop the magic to become human and ask the audience for applause.

I'm not saying self-deprecation onstage is "wrong", it's just very very dangerous, especially when used as a crutch, especially by beginners. I'd so much rather see the abuse of too much confidence than the abuse of too much self-deprecation.

[York99]

I have to echo and build on what Arthur said. I understand and agree with the desire to show that improv is accessible. However, it's also important to maintain the true fact that what we do is difficult and skilled work. There is a reason that the audience members paid money to come see someone perform improv.

The music analogy is a great one. Good musicians are not apologetic about how they worked very hard to get where they are and how special a position they are in. That's what makes people want to pursue music and why some people worship musicians. If anyone could do it, why bother? It's not special then.

Rock on.

[nadine]

oops.