The laugh factory: creating comic content for the
Description: The laugh factory: creating comic content for the digital stage KNDFF Workshop 2025 IDENTIFYING the genre A performer, the comedian, presents a series of jokes in front of a live audience, speaking directly to them with the express aim of
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slide1. The laugh factory: creating comic content for the digital stage KNDFF Workshop 2025<br>
slide2. IDENTIFYING the genre A performer, the comedian, presents a series of jokes in front of a live audience, speaking directly to them with the express aim of provoking laughter.
Closely related to the narrative, but comedy is made of bits rather than episodes.
The bits are not necessarily related chronologically.
In KNDFF, we expect the bits to be connected at theme/idea level.<br>
slide3. matters terminology Routine comprises of a number of jokes (Bits)
Bit is made up of set up (premise) and punchline (payoffs)
Bits: Jokes linked together by segues (se-gways)
Segue is a transition between two bits.
Bombing :When a bit has failed to produce laughter<br>
slide4. KNDFF vs TV comedy shows Differences:
Introduction by compere
Clean content
Time and cast limit
Language use
Sound amplification
Audience composition<br>
slide5. Comedian’s main task is to elicit laughter from the audience – Chuckles to Stitches and peals of laughter
? Does humour always elicit laughter?
? Can we have inaudible or unexpressed laughter? (laughing with closed mouth)<br>
slide6. Laughter is contagious: (Group dynamics)
Shared comic experience - an effective comedian gives some sense of superiority to the audience
Some laugh to be in sync with others, a comedian unites them<br>
slide7. SHOW parts of CLIPS
https://youtu.be/wfueWORL5Vo?si=1ZAKNbX0o1pSsnFE
https://youtu.be/Kdy7P4ULFVQ?si=YoJvrwjKnwIRFtWp
https://youtu.be/ttjI_7LCQS8?si=tYI7BEnPyASVhiQa<br>
slide8. COMMON LAUGHTER TRIGGERS Subverted expectations. The set up prepares the audience for a certain line of thought then the punchline surprises with a twist.
Mimicry/Imitation/Caricature of the familiar.
Non-verbal communication - Gestures, facial expression, body movement. Posture,<br>
slide9. Juxtaposition of characters/contexts.
Accents
Sexual Innuendo/allusion
Punning/ambiguity
Comedian’s demeanour/appearance<br>
slide10. Why Jokes Bomb Overdone/stale jokes
Poor vocal delivery: most hilarious joke can bomb if poorly delivered.
Poor plotting :pre-empted punchline
Stereotypical jokes
Offensive/Insensitive jokes<br>
slide11. Dry/hidden jokes
Complicated/windy set ups
Unfamiliar content/setting – audience can’t connect with set up.<br>
slide12. PRACTICAL Tips for Generating Laughter Select performer(s) carefully : the natural comedian vs the stage performer. One or two performers?
Qualities? Language competence and ability to create on the spot, bold and ready to take risks (Thick Skinned)
Voice quality and demeanour
Open mic sessions to pick potential performers and usable routines<br>
slide13. Source jokes widely. Possible sources
own experiences exaggerated
Social Media and AI but adapt - creativity as hiding the source
Other people’s expeiences<br>
slide14. Establish rapport with audience to gain acceptance/goodwill.
Extract active responses from audience (Moderation)
Infuse current topics/trending terminology in the jokes<br>
slide15. Use content relevant to audience level (school setting)
Rehearse to internalise the set up.
Memorise the punchline, word for word, for effect<br>
slide16. Try out jokes with different audiences
Study audience and auditorium just before performance
Relevant costume and props. Avoid if not relevant<br>
slide17. Be spontaneous or create illusion of spontaneity (Planned spontaneity/premeditated improvisation)
Demonstrate enthusiasm and confidence
Involve audience actively if possible. Use questions and imposed ‘answer’ or ‘false endings’ or involve them in role play<br>
slide18. Use well-timed pauses. (to give room for laughter, or before punchline for suspense or to let set up sink first)
Use self-depracation humour
Place best joke first and second best last. A strong finish leaves a good impression.
Kiss – Keep it short and simple<br>
slide19. Avoid AT ALL COSTS: Unnecessary Clowning in costume and manner
Embarrassing individuals, unless preplanned)
Promising mirth<br>
slide20. Duplicating others’ jokes word for word
Imitating mannerisms of other comedians
Panicking when a joke bombs
Explaining jokes<br>
slide21. Where do SCORES come from? Choice of subject matter (30%)
How familiar is it to current audience.
The question of originality? Exposure
Use of language – clarity of communication.
Coherence and connectedness of jokes<br>
slide22. Presentation (50%):
How does the performer relate to audience?
Elicits genuine laughter?
Evidence of internalization, not cramming
Spontaneity
Use of voice and sound effects
Use of space and stage presence
Use of non-verbal communication<br>
slide23. Costume and Props 5%
Clarity and relevance of dressing and props used.
Achievement 15%
Has the performer achieved? Was the laughter genuine?
What about society have we learnt?
Consider festival theme.<br>
slide24. FOOD FOR THOUGHT How original is original?
Time for laughter should it be added?
No audience? Where is the laughter?
Making people laugh is no joke!<br>
slide25. 9 Learn to laugh at yourself. Don’t take life too seriously, after all, you will never get out of it alive.
(Chesterton).
Thanks, and God Bless you. This Photo by Unknown Author is licensed under CC BY-NC-ND<br>
slide2. IDENTIFYING the genre A performer, the comedian, presents a series of jokes in front of a live audience, speaking directly to them with the express aim of provoking laughter.
Closely related to the narrative, but comedy is made of bits rather than episodes.
The bits are not necessarily related chronologically.
In KNDFF, we expect the bits to be connected at theme/idea level.<br>
slide3. matters terminology Routine comprises of a number of jokes (Bits)
Bit is made up of set up (premise) and punchline (payoffs)
Bits: Jokes linked together by segues (se-gways)
Segue is a transition between two bits.
Bombing :When a bit has failed to produce laughter<br>
slide4. KNDFF vs TV comedy shows Differences:
Introduction by compere
Clean content
Time and cast limit
Language use
Sound amplification
Audience composition<br>
slide5. Comedian’s main task is to elicit laughter from the audience – Chuckles to Stitches and peals of laughter
? Does humour always elicit laughter?
? Can we have inaudible or unexpressed laughter? (laughing with closed mouth)<br>
slide6. Laughter is contagious: (Group dynamics)
Shared comic experience - an effective comedian gives some sense of superiority to the audience
Some laugh to be in sync with others, a comedian unites them<br>
slide7. SHOW parts of CLIPS
https://youtu.be/wfueWORL5Vo?si=1ZAKNbX0o1pSsnFE
https://youtu.be/Kdy7P4ULFVQ?si=YoJvrwjKnwIRFtWp
https://youtu.be/ttjI_7LCQS8?si=tYI7BEnPyASVhiQa<br>
slide8. COMMON LAUGHTER TRIGGERS Subverted expectations. The set up prepares the audience for a certain line of thought then the punchline surprises with a twist.
Mimicry/Imitation/Caricature of the familiar.
Non-verbal communication - Gestures, facial expression, body movement. Posture,<br>
slide9. Juxtaposition of characters/contexts.
Accents
Sexual Innuendo/allusion
Punning/ambiguity
Comedian’s demeanour/appearance<br>
slide10. Why Jokes Bomb Overdone/stale jokes
Poor vocal delivery: most hilarious joke can bomb if poorly delivered.
Poor plotting :pre-empted punchline
Stereotypical jokes
Offensive/Insensitive jokes<br>
slide11. Dry/hidden jokes
Complicated/windy set ups
Unfamiliar content/setting – audience can’t connect with set up.<br>
slide12. PRACTICAL Tips for Generating Laughter Select performer(s) carefully : the natural comedian vs the stage performer. One or two performers?
Qualities? Language competence and ability to create on the spot, bold and ready to take risks (Thick Skinned)
Voice quality and demeanour
Open mic sessions to pick potential performers and usable routines<br>
slide13. Source jokes widely. Possible sources
own experiences exaggerated
Social Media and AI but adapt - creativity as hiding the source
Other people’s expeiences<br>
slide14. Establish rapport with audience to gain acceptance/goodwill.
Extract active responses from audience (Moderation)
Infuse current topics/trending terminology in the jokes<br>
slide15. Use content relevant to audience level (school setting)
Rehearse to internalise the set up.
Memorise the punchline, word for word, for effect<br>
slide16. Try out jokes with different audiences
Study audience and auditorium just before performance
Relevant costume and props. Avoid if not relevant<br>
slide17. Be spontaneous or create illusion of spontaneity (Planned spontaneity/premeditated improvisation)
Demonstrate enthusiasm and confidence
Involve audience actively if possible. Use questions and imposed ‘answer’ or ‘false endings’ or involve them in role play<br>
slide18. Use well-timed pauses. (to give room for laughter, or before punchline for suspense or to let set up sink first)
Use self-depracation humour
Place best joke first and second best last. A strong finish leaves a good impression.
Kiss – Keep it short and simple<br>
slide19. Avoid AT ALL COSTS: Unnecessary Clowning in costume and manner
Embarrassing individuals, unless preplanned)
Promising mirth<br>
slide20. Duplicating others’ jokes word for word
Imitating mannerisms of other comedians
Panicking when a joke bombs
Explaining jokes<br>
slide21. Where do SCORES come from? Choice of subject matter (30%)
How familiar is it to current audience.
The question of originality? Exposure
Use of language – clarity of communication.
Coherence and connectedness of jokes<br>
slide22. Presentation (50%):
How does the performer relate to audience?
Elicits genuine laughter?
Evidence of internalization, not cramming
Spontaneity
Use of voice and sound effects
Use of space and stage presence
Use of non-verbal communication<br>
slide23. Costume and Props 5%
Clarity and relevance of dressing and props used.
Achievement 15%
Has the performer achieved? Was the laughter genuine?
What about society have we learnt?
Consider festival theme.<br>
slide24. FOOD FOR THOUGHT How original is original?
Time for laughter should it be added?
No audience? Where is the laughter?
Making people laugh is no joke!<br>
slide25. 9 Learn to laugh at yourself. Don’t take life too seriously, after all, you will never get out of it alive.
(Chesterton).
Thanks, and God Bless you. This Photo by Unknown Author is licensed under CC BY-NC-ND<br>