Jokes can be broken down into two sections: a setup that is not always interesting and a better punch line.
Facing the crowd looking for laughing, comics tend to reach the return as soon as possible. However, there is a rich joke tradition in the opposite direction. Interestingly, the setup continues and has long been passing what you are expecting.
The most famous example may be an unusual joke that influenced the nobles and unique documentaries. In the old bits, the family tends to be fundamentally dirty and free of charge, starting with a setup for families that their families try to reserve their actions. But last year, some of the most ambitious new time developed a more rare type of joke using a long setup.
I witness a wonderfully rare joke on the way Ronnie Chien's recent special “LOVE TO HATE IT”. This begins with trying to find a common base with the magazine exercise. He slows down the aggressive rats and lists evidence of decline -he is expected to have a punch line for you to brighten your mood as a result of bad care. It will be even more serious.
He adopted the politician's tone, and he said he did not fulfill the implicit promise that you could make it if we worked hard and played with rules. At this point, the comedy seems to be stopped. In addition, the pace of Chien changed, and from a slow and intentional one, he spooled the magnificent unification theory quickly, making it sharp, sharp. Among other economic characteristics, the tempo of chatter, which is difficult to follow tax and trade policy, has shown a deviation from a logical discussion and a ridiculous adventure. Everyone, from Stanley Cubrick to Benny Hill, recalls how to fast forward to create a comedy.
What is impressive is the insight of the analysis, but it is consistent to continue subtitles, but chieng controls the crowd at the pace instead of the theme. Even if he can't catch up with what he's saying, everyone laughs at the same moment to shift the gear. The movement of the comic here is all shaped. It all lists the difference between the left and right messaging when Chieng stops the speech, inhales, and speaks a punch line.
Most stand -ups do not try this joke. This is because long stretching can be greeted by the worst fate of comics, even without a punch line. GRY Gulman's new show, “Grandiloquent” at Lucille Lortel Theater is especially about this anxiety. It contributes to his whole career sub -text: “I'm wise, right?”
That's why Gulman, a joke, has always supported words like “Grandiloquent” (this means the use of luxurious languages to impress). The instinct of this show off has benefited him for a long time. In the scary culture of eliteism over Filistinism, Garman creates a high goal, BRAINY, and a drunk art of words. This show covers Garman's familiar basis, but deepens into the therapist's office.
He is Okk and celebrates the character of his trial while providing his most emotional comedy. It's a lot. And it's a magnificent long joke, which is bold and impressive.
When he and his wife are listening to the band's Audioslave's song, she asks an innocent question: “Who sings this?”
This poor woman doesn't know that she is trying to Hit her:, especially the history of Grunge, basketball player Mookie Blaylock, author Mary Sherry, old English poems, Beoflhu. The depletation of this month is one -tenth of the script, for several minutes. The scene on one side ends saying that his wife is dry. “Oh, we are here.”
With a coat, tie, and Van Dike's beard, Garman looks like the head of a literary publisher wrapped in very important money. His magnetism is considerable. And the fact that he pays your attention and even paid his own sacrifice is a proof of his gift through this sharp lecture. It is an effort worth praise. But it distorts the show and proves a troublesome lead to a more heartfelt coder. These long jokes are high risk and high rewards.
Last year's Hannah Aincobinder's special “Everything Must Go” (MAX) had many strange jokes, but the most memorable thing is the extreme when explaining a miraculous inspiration at a grandmother's funeral. It was a change in atmosphere. She stopped jokes and started singing a Hebrew prayer that had been last almost two minutes. After she was over, she asked how she sang this prayer, despite her unknown Hebrew. At that moment, the comedy became like a religious mystery. Then it attacked her. This is the last song at the end of “Sindler List”.
In each of these long jokes from Chieng, Gulman, and Einbinder, there is a moment due to the distrust of this setup for so long. You expect it to end, but that's not the case, that's just more ridiculous. What each bit shares not only overturn expectations, but also makes the entire company unstable.
Jokes change their genre, mood, and what they can do, and have a very incompatible element and punch line from politics and religions. At their core, these long jokes are an attempt to make the audience unstable, how long this will last, and what will happen next.
The biggest laugh explodes when manga takes the custom we know, blasts them, or simply distort them. Tig Notaro uses repetition to surprise the absurdity and perform this regularly with a long -enhanced patient joke. Such an official trick has a powerful laugh and sticks to you. Andy Kaufman reads “Great Gatsby” on the stage and reads to viewers who are not joking, but people are still talking about it. He was trying a steering stunt: a setup without a punch line.
NORM MACDONALD is one of the wonderful examples with a long joke in MOTH, but actually did similar things in Saturday Night Live. He wrote for the weekend update (cut after Dresli Hasal), so Chris Farly met a man and began to tell him something, and Farie forgets what he says. Repeat until you recognize. It's all setup, then a punch line collision. Still, it's cheerful and strangely related. Who forgot what they said, as they didn't get excited about the story?
The punch line is an artificial, unnatural, pad resolution due to its nature. Subjecting it with a simple recognized human behavior can sometimes be an interesting twist.
