Alternative Comedy Now and Then: Critical Perspectives is the first academic collection focusing on the history and legacy of the alternative comedy movement in Britain that began in 1979 and continues to influence contemporary stand-up comedy. The collection examines the contexts, performances and reception of alternative comedy in order to provide a holistic approach to examining the socio-political impact and significance of alternative comedy from its historical roots through to present day performances. As alternative comedy celebrated its 40th anniversary in 2019, critically reflecting on its impact and significance is a timely endeavour. The book adopts a distinctive interdisciplinary approach, synthesizing theory, concepts and methodologies from comedy studies, theatre and performance, communication and media studies, sociology, political sciences and anthropology. This approach is taken in order to fully understand and examine the dynamics and nuances of the alternative comedy movement which would not be possible with a single-discipline approach.
Author(s): Oliver Double, Sharon Lockyer
Series: Palgrave Studies in Comedy
Publisher: Palgrave Macmillan
Year: 2022
Language: English
Pages: 296
City: Cham
Acknowledgements
Contents
Notes on Contributors
List of Figures
List of Tables
Chapter 1: Alternative Comedy Now and Then: An Introduction
‘We were mixing everything up’
‘Something other than straight stand-up’
Outline of the Book
References
Chapter 2: Alternative Comedy Timeline
References
Part I: Alternative Comedy Venues
Chapter 3: The Meccano Club: The Business of Alternative Comedy
Introduction
‘Minimal Lighting. PA. No Piano.’
‘Such a Low Ceiling’
‘Such a Champion of Alternative Comedy’
‘A Self-Portrait of the Promoter’
‘Everyone Got the Same’
Conclusion
References
Chapter 4: ‘A Local Show for Local People’: Alternative Cabaret at the Tower Arts Centre, Winchester, UK, 1981–1984
Introduction
Attempt at a Genealogy
Performance Archaeology 1, ‘Blank Verse for Blank Minds’
Local Antecedents: A Prehistory
The Tower
And Now, What You’ve All Been Waiting for, Ladies and Gentlemen, the Acts
Performance Archaeology 2: ‘Life’
Return to Space
Reflecting: Backwards and Forwards
Before You Leave
References
Chapter 5: The Story of Cabaret A Go Go
Introduction
Poster Method and Technique
The Influence of CAST/New Variety
The Live Theatre and Newcastle Arts Centre
Newcastle Arts Centre
Postscript
References
Part II: Performers’ Perspectives
Chapter 6: Trends with Benefits
Put Your Hands Together for the Opening Act—Introducing the Artistic and Socio-political Contexts 1983–1992
First Dates 1983–1984
A Gig Is a Gig, Even When It’s Unpaid—Impact of the Miner’s Strike 1984–1985
From the Local to the Empire—Comedy Moves to Bigger Venues 1985–1990
The Fault Is in the Stars—1990 Onwards
Party Time—Red Wedge and the 1987 Election Campaign
Show, Don’t Tell—Snapshot of a Fundraiser April 1990
References
Chapter 7: Alternative Cabaret in Conversation
References
Part III: Interpreting Alternative Comedy
Chapter 8: Pressing for No Change? Political Correctness, the Defence of the ‘mainstream’ and Class in UK Newspaper Responses to the Emergence of ‘Alternative Comedy’
Introduction
Key Findings of Quantitative Analysis of the UK Press
What Does Alternative Comedy Mean?
Is Alternative Comedy Funny?
Emergence of Press Accounts of Alternative Comedy as Negatively Conceived ‘Political Correctness’
Conclusion
References
Chapter 9: The Dramatic Script of Alternative Comedy
Introduction
The Year Was 1988
Our Jaded Militants
The Politics of Antagonism
The Politics of Affirmation
Conclusion
References
Part IV: Alternative Comedy Today
Chapter 10: Alternative Comedy in Finland: Juhani Nevalainen, Musician Not Comedian
Introduction
Juhani Nevalainen, Musician Not Comedian
Invention, Convention and Things That Don’t Belong
Framing the Relation Between Spectator and Performer
Conclusions: Nevalainen as Comedy, Anticomedy and Metacomedy
References
Chapter 11: ‘Less Dick Jokes’: Women-Only Comedy Line-Ups, Audience Expectations and Negotiating Stereotypes
Introduction
Data Collection Methods
Where have Women-Only Comedy Nights Come from and What Were They Set Up to Achieve?
How Women Comics Understand Women-Only Comedy Nights as Alternative
How Audiences Understand Women-Only Comedy Spaces as Alternative
Concluding Thoughts
References
Chapter 12: New Alternative Comedy: Productive Crises c.2005–Present
Introduction
Crisis of Creativity and Commercialisation
Performance-Based Response
Functions and Effects
A Crisis of Representation
Negotiating the Crisis of Representation: FOC It Up Comedy Club
Conclusion
References
Index
