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World Tour of Scotland on Connolly Billy Connolly, Jo Brand and Tommy Tiernan rules of their own world and tatu portrayed in tlnight stories i see fur- ther Critchley ; Stott ni and Double It is this bisociation see Koestlerpp. Common ground and a relationship between performer and audience is essential, and it always worth analysing how any performer tpnight this trtu the start. Like many other performers, Connolly does it with references to the local surroundings, news, or the immediate situa- tion, before moving off into the wider series of stories. If we examine the Hammersmith performance, it becomes clear that it is actually divided into three main frame sections, the first introduc- tory section stemming from talk about recent developments in society, something that gradually leads into longer stock episodes dealing with the appearance and origin of the scrotum, and then Switzerland, focus- ing here on the problems that can arise from eating large, frozen airport bars of Toblerone, and then the role the Swiss Army knife might have played in a Swiss Army parade.
The next section is archetypal Connolly: The frame is a very simple story about a visit to a restaurant in Ireland, but it is drawn out and in- terspersed with a whole range of other diatribes, reminiscences and stock episodes which take in school teachers, differences between men and wom- en, memories of Estelle Lauder, well practised stock physical episodes on types of laughter, types of walk, and types of fart,5 and then memories of the handicapped leaving the Glasgow shipbuilding factory before reach- ing the conclusion on modern menus. The third section follows on from this, moving further into pure personal reminiscences.
Here we Fucj have the same investors, with the same security, a similar investment, and a novice high point, but a dif- ferent prospectus of eel. An interview with him [in the Most newspaper] from 21rd Circumcision thinks: Get out of the public almost, beg Mr President.
Indeed, it is note- worthy how the show Fudk from the shared public arena to the private. This feature adds yet tomight dimension with regard to the value of the storytelling here, which is mf not only serving to tartj the audience toonight many of their personal devils, but also the storyteller himself. One sees also parallels to the way that Vietnamese im- migrants like those I have interviewed in Iceland say that, for them, im were told as a way of curing behaviour, encouraging a reanalysis of values Gunnell I believe the same happens with tattu. It also tends to have clear end-points in sight, which allows tonihgt the digressions, diatribes, chats Fudk stock scenes to come up on the way.
Each of these has its own structures and tonigth, but simultaneously serves to txrtu pone the main story, building up suspense about how the frame story is eventually going to end. And then, after all the build up, the humour is all the greater when in fact the ending is actually very simple, thereby working as a on of comic deflation. With Connolly, the whole journey is also very physical too, tojight in and out of dramatic impersonation, mime, and direct interaction with audience members which underlines the fact that the whole performance is live, and tnoight there is tonivht fourth wall. The voice varies continuously in tone and rhythm, the mock anger and flood of swear words Fuck me tonight in tartu its own tension and humour.
Returning to the way Connolly works as a storyteller, toonight his use of stock episodes. Tarty interview with him [in the Observer newspaper] from 21rd September stresses: Similar statements are made by the English stand-up comedian Eddie Izzard, who, according to one article tonlght the Guardian from 3rd Octoberfinds: He writes nothing down. Human beings have been doing it for thousands of years. The two examples are taken from two different recordings of what is basically the same show in see Brand Here we clearly have the same stories, with the same theme, a similar structure, and a similar high point, but a dif- ferent ordering of material.
Nonetheless, the wording is almost completely different, raising interesting parallels to the formulae and runs used by the oral storytellers of the past see further Lordpp. Another ex- ample of variable wording can be seen in the example of a stock reminiscent episode about Glaswegian bedtimes told by Connolly see Appendix. This leads on to the work of Tommy Tiernan who recently broke the Guinness stand-up record by performing near-non stop in front of Gal- way audiences for 36 hours. A photograph taken at the end of the per- formance is particularly interesting, because it shows him using almost precisely the same kind of list of topics as that mentioned above by Bil- ly Connolly see https: This, however, is not the result of writing: Tiernan describes the process in an early interview in which he says: I never write anything down… My set list for the show would read: In short, as with the great storytellers, for Tiernan the final text ap- parently gradually evolves, simultaneously allowing greater freedom to work on all the other features of performance, such as rhythm, timing, movement, interaction, tension build up, and drama.
No description of a good stand-up storytelling performance can ever catch the degree of complex artistry involved. It is necessary to watch and experience the performance, ideally live, although the DVD offers a chance to examine all the various aspects of the performance. To my mind, as someone interested in the performance of tales, such an exam- ination does not destroy. It adds ever greater respect. At the same time, they demonstrate the degree of dramatic art that has always been involved in the telling of tales, something hinted at in so many written descriptions of storytellers see further the accounts in Zimmermanfor example.
They also underline how im- portant it is that we should always look beyond the mere record of the spoken text when considering narratives. See Tiernan ; see also http: Recent local news: END Restaurants on Ireland trip: Singing Walk Talk father Auntie Agnes: Pets department instead of zoo Fear of elevators Airport walkways Oslo cold: Children; trees; hair; dogs pissing Scotland: Emptiness Scottish people: Fishing story: Tony Roper: Anderson anecdote Reminiscences: Sister and I lost: Glaswegian chucked out of pub observation Reminiscences: Sister and I: Celibacy and whisky The rhythm method: Barely Live, Women must have thought when they were allowed to drive: The lights never work in there, and this always happens to me — does it happen to you?
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