A Quote by Denis Norden
If the laughter of the audience was malicious we wouldn't show it.
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The best thing that I bring in my live show is that it's not scripted. It's more of a conversation with my audience. And that's what people like about the show - it's very real. There are mistakes and laughter.
The audience bursts into laughter. With the tragic gag I don't expect the audience to laugh (if they do, I have failed) but I expect a black silence from them that is almost as violent: as laughter.
The malicious sneer is improperly called laughter.
Once I'm performing the show, I think that hour show has a certain intimacy with our audience. And that intimacy is through the lens and the live audience is a witness to that, whereas the audience at home is actually the object of my efforts.
My show is an anti-show and the audience have to want to listen. I'm sitting down, there's only one of me, I don't talk much to the audience and it is very quiet. I wouldn't be able to do that kind of show if people didn't know me and my material.
There is always an audience for different individuals, but critics sometimes stop the audience finding the show and the show finding the audience.
When you introduce a character and show him for the first time, don't show him fully lit. Don't show him one hundred percent to the audience. Show maybe fifty percent or sixty percent so the audience can fill in the dark spots.
If I was just allowed to talk and handle the whole thing by myself without the audience interrupting with laughter, the show would be much more interesting. Think about all the time we waste by waiting for them to finish their noise, you know?
For anyone who works in front of an audience there is no thrill quite like that of feeling and hearing the evidence of the audience members' enjoyment. Laughter and applause really are powerful.
Making a show is also economics. Because the irony is, or the shame of it is, you cannot create a show instantaneously. It needs to be massaged. You need to see who is relating to who. How is it working with the audience? You need to give it a chance for the audience to find it, because there are so many outlets. And the audience doesn't know where to go.
The appreciative smile, the chuckle, the soundless mirth, so important to the success of comedy, cannot be understood unless one sits among the audience and feels the warmth created by the quality of laughter that the audience takes home with it.
Laughter to begin with was probably glee at the misfortunes of others. The baring of the teeth in laughter hints at its savage ancestry. Animals have no malice, hence also no laughter. They never savor the sudden glory of Schadenfreude. It was its infectious quality that made of laughter a medium of mutuality.
When the theater is gothic it matches the sensibility of the show. It's also very intimate. The audience is very close to the performers. The show is scary and the scary stuff always works best with an intimacy with the audience. And the show is erotic, and I think erotic always works best when it's close to the audience, as well.
Even though standup seems like one-way conversation, if you're doing it right, it's actually a two-way discussion between the comic and the audience... the audience just happens to be communicating through laughter.
I would love to be on a really good show and share all the stuff that goes into creating a big TV show and get my audience into it. I think that makes it personal and makes the audience feel like they're a part of it.
I've always been switching around the show to accommodate the audience, and you know it really makes it a lot more fun for me and keeps it fresh so that I'm not complacent with the same show every night and with every audience.
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