In this research I will measure the methods to stand-up comedy performed by comedians Michael McIntyre and Peter Kay, commenting on techniques such as role play, comic exaggeration, lexical alternatives, and changes in pitch and shade, used to determine humour.
Michael McIntyre is a proud middle-class comedian increased in the heart of Hampstead, north London. During the last four years, his exuberant observational style has seen him cultivated into one of the biggest names in British isles comedy. His charm is built on the actual fact that people honestly appear like him, for the reason that his comedy is accessible to all. At this juncture, McIntyre is carrying out a sketch on 'Natural remedies and Spices' at Birmingham's NEC Industry, before an audience more than ten thousand.
McIntyre's observational style turns the pettiest of day-to-day domestic engagements into the most funny of affairs, and for that reason relies largely on his audience's capacity to relate with what he declaring. In this instance, neglected natural remedies and spices are anthropomorphised, expressing their discontent at being still left behind your kitchen cupboard, whilst rival seasonings, Sodium and Pepper sit down 'arrogantly' on your kitchen table.
The release to the sketch is composed essentially of simple and compound declarative utterances, filled with unsophisticated, high occurrence lexis, making certain the audience can absorb what is being said. The next person subjective pronoun, 'you', in combo with formal vocatives, 'gals' and 'gentlemen' in the first lines, is an exemplory case of McIntyre addressing the audience directly. He engages along with his audience so that they can make his words feel more conversational, and less such as a performance, thus establishing an amicable rapport.
The starting declarative utterances (lines 1-2) are mentioned as truth, using Standard English. They can be said within an beneficial manner, and will be the basis on which the joke is made; his observation. The essential utterance online two shows this observation. McIntyre exclaims; 'salt and pepper are so phenomenally successful in the supplement and spice world'. The monosyllabic, adverb of level 'so' coupled with the polysyllabic intensifier 'phenomenally' emphasises the metaphor, crediting the recognition of salt and pepper to success in a metaphorical market. McIntyre then later goes on to remind his audience that salt and pepper are not the only natural remedies and spices available. The declarative utterance on line 7, presents this information as somewhat of a surprising rvelation, with the stressed conjunction 'but' and adjective 'other', helping to intensify his point.
Much of the humor in McIntyre's regime is derived from comic exaggeration, fuelled by his individual larger-than-life personality. The humble world of culinary additives is metaphorically presented to the audience as an 'area', implying that we now have winners, and there are losers. The clear winners of the metaphorical battleground, being the ever-present collocation of 'salt and pepper'. Salt and Pepper also are actually the first spices anthropomorphised by McIntyre (Lines 3-5). Online 3, he starts his utterance using the 3rd person, subjective pronoun, 'they', but then replaces this with the 1st person objective pronoun, 'us', marking the change into role-play, later proved by the, again, 1st person, reflexive pronoun 'myself'. In personifying the usually inanimate numbers of salt and pepper, McIntyre is able to create personality depth. On line three, Sodium and Pepper are described as 'arrogantly' sitting on the table. The pressured polysyllabic adverb of manner 'arrogantly', personifies Salt and Pepper making them appear conceited, which provokes spite and even envy, amidst their on-looking counterparts
McIntyre is officially adept, he knows how to build on a regular and press it for maximum result. From brand 10 onwards his sketch becomes very routinely question and answer, with a high consistency of adjacency pairs and interrogatives throughout. Each spice is, subsequently, asked the same question, only to answer with an amusing personal anecdote, reflecting the type of each specific. For instance when Mediterranean supplement, Cumin is faced with this question, he recollects a period in 1992, when he previously still left the cupboard for an 'test'. McIntyre uses the abstract noun 'test' ironically, recommending that was his defining point in time, his the perfect time to shine. Then equally this cycle verges on the advantage of predictability, the schedule is shattered, with the comical launch of another new character. Step up; John Western tuna (lines 25-26). Using the benefits of John Western tuna and his wife 'Tinned Salmon', McIntyre performs on a distributed reference, implying that that they had been in the cupboard for so very long, they were in a position to forge a marriage.
Through the medium of humor, McIntyre can communicate his observation which doubles as a criticism of the fact that sooner or later with time, perhaps influenced by way of a publication article or tv set commercial, most people will consider it smart to embrace the possibility of change in the long-term future, whilst lacking any real determination for immediate change. Therefore, it is relatively easy to justify the purchase of moderately inexpensive items (such as natural herbs), in knowledge that we might not require, nor utilize them at any time later on. Rather, they are simply bought in trust that one day they will serve an intended purpose. But of course things rarely change; meaning that 'one day' never comes, giving the victims of this wasteful ideology to stay as overlooked relics, more ornamental than practical.
By making light of funny in the most regular of every-day, Michael McIntyre reminds us that stand-up does not have to be brutal, in order to be funny.
Peter Kay is probably Britain's most loved comedian. A thirty-nine 12 months old male from Bolton, northern England, whose style of humor, like McIntyre's, is made loosely upon observation. However, a combination of cherishable British ideals and a hallmark loveable nostalgia established him aside from most other acts. Nevertheless, Peter Kay can be an improbable comedian at best. Wide-eyed and clean-shaven, he steers clear of jokes about sex and politics. His workout lacks cruelty and he hardly ever swears. A married man and, in many respects, a little of an average Joe. In this instance, we find Kay nearing the middle of a routine, doing a sketch on biscuits in front of an audience numbering more than three thousand, at Manchester's Apollo Theatre in 2002.
Kay's observation is situated around the problems faced whilst accomplishing the universal act of dipping biscuits into hot beverages. In this case, Kay is questioning the structural quality of any Full Tea biscuit. Online 17 he personifies the Rich Tea, talking about it, using high regularity adjectives 'cocky' and 'lazy', implying that the humble azoic biscuit is actually, conspiring against him. He later compares this to a Hobnob biscuit, which he metaphorically likens to; a 'Sea', 'the SAS' and lastly to TV hardman 'Steven Segal', making a comparative juxtaposition, which becomes the foundation of the joke.
As a lot of Kay's comedy relies on audience participation, rapport is vital. Kay's working school qualifications is something that many participants of his audience will be able to relate to, and so as a result the guy can hire a significant degree of informal, high consistency colloquial lexis, including concrete noun 'brew' and vocative 'mum', which recreates a typical conversational build. Clipping of the very first person singular pronoun, 'I' in I am, to leave only 'am' in the starting utterance on line one can be an example of Kay's regional dialect, which is the principal feature in this casual tone. Furthermore to creating rapport, Kay's Lancashire dialect works to his advantages, as it pieces him besides from other comedians. The preposition 'in' elided with the particular article 'the' online 3, is another example of this regional dialect. Also the very first person objective singular pronoun, 'me', and the possessive determiner 'my', are used interchangeably, in typical north fashion, as seen on line seven.
Another factor adding to the establishment of rapport is Kay's local accent, which, in addition to dialect, provides a certain individuality to his regime. Unlike McIntyre, with his specifically received pronunciation and Standard English, Kay athletics a notably lusty Lancashire accent. By clipping today's participle at the end of the emphasised, low frequency active verb, planing (creating 'planin') on line five, Kay eliminates the tough sounding consonant, thus extenuating his conversation and alluding to a standard more colloquial tone.
Kay is also able to use prosodics as an effective feature of funny. Changes in the dynamics of his speech are prevalently used to differentiate between word moods. For instance an increase in pitch online 29, in the interrogative utterance, 'where's me brew' creates emphasis and conveys his misunderstanding. Whereas a contrasting reduction in pitch online 39 is employed to express the military-esque seriousness of the hobnob. Since Kay so often chooses to stay free from taboo, when coupled with the infrequent use of expletives, this system becomes a particularly effective feature of comedy. Online 18, the cresc, clipped expletive fucking (creating 'ruler), followed by the proper noun 'One-Dips' stresses the torment that the Full Tea has induced him, further expressing his anguish.
In McIntyre's work, there are incredibly few examples of non-fluency features (complimenting his suave stage persona). On the other hand, they are prevalent throughout Kay's. Although Kay will have scripted and, somewhat, rehearsed his schedule, the inclusion of non-fluency features (incidentally or otherwise) bestows a feeling of spontaneity, which adds to his colloquial appeal. Towards the end of brand 22, there is an exemplory case of a bogus start, gives his earlier point ('they're on the arses') sincerity, and reflects his excitement towards stand-up all together. Then later, on line 23, he exclaims 'they're cocky' which, following a slight pause, then repeats, partially to stress his point, but generally to permit him time to gather his thoughts before continuing.
Behind the gleaming eye and boyish tone, there is the astute mind of the shrewd operator. It is not hard to forget that it requires nerves of steel and a few witty one-liners to have success in funny.
Two people, from two completely different strolls of life. Nevertheless, Kay and McIntyre equally have the uncanny capacity to captivate followers of the broadest kind; a virtue which includes propelled them to the forefront of modern day British comedy. From gags about natural remedies and spices, to High Tea biscuits; in celebrating the daft little dramas that punctuate even the most inauspicious lives, their integrity and sincerity evoke sentiment, making them feel just like a long-lost good friend.
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