Comedy and stand-up Books

Book SynopsisA TIMES BEST COMEDY BOOK OF 2021 'The funniest man in the world has written the funniest book in the world.' DAVID WALLIAMS'A brilliant insight in to what it takes to go from regular funny bloke to one of the best stand ups I've ever seen.' LEE MACK'Proper laugh-out-loud funny, fascinating, and doubles up as probably the best book of advice on how to be a comedian I've ever read. A must for anyone who's interested in the business of laughter.' JOE LYCETT'The funniest book I've read in years.' ADAM KAYFrom a childhood spent making smoke bombs, killing wasps and carving soap in 70s Kent, Harry Hill then found himself in charge of hundreds of sick people as a junior doctor. Out of his depth and terrified, he chucked it all in to pursue his dream of becoming a stand-up comedian. Battling his way through the 90s Comedy circuit he quickly rose to become a household name and one of the UK's most celebrated comics, almost making it to the top of the showbiz tree . . .From being chased around a car park by an angry heckler, getting fired from Capital Radio and watching every episode of Freaky Eaters, to a bizarre assassination attempt and cutting up Simon Cowell's trousers, Harry takes an honest and hilarious look at the ups and downs of his life and career through the lens of what didn't go right.He shares his secrets on how to be a great comedian, finding joy in failure and creativity in struggle, whilst never forgetting that life is short . . .What readers are saying about Fight!'Hilarious... recommended unreservedly' *****'Lots of laughs and memories of days gone by' *****'A great book... I could not put it down' *****'Beautifully written and great fun' *****Trade ReviewHarry Hill is one of the funniest, kindest, smartest people I know. This book manages to be proper laugh out loud funny, fascinating AND doubles up as probably the best book of advice on how to be a comedian I've ever read. A must for anyone who's interested in the business of laughter. -- Joe LycettThe funniest man in the world has written the funniest book in the world -- David WalliamsThere's only three things you need to be a brilliant comedian. Funny bones, the ability to write and terrible dress sense. Harry's got the lot. This book is a brilliant insight in to what it takes to go from regular funny bloke to one of the best stand ups I've ever seen -- Lee MackThe funniest book I've read in years - no fight whatsoever -- Adam Kay

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Book SynopsisHope’s leaving her home town up north for the bright lights of London. It’s going to be mind-blowing. Attractive Hinge dates, mature new friends… A job at a dinosaur-themed bar? Hell. Yes. Several months in things are looking slightly less rosy. Her housemate seems to hate her and her manager’s a creep… But we don’t need to talk about that. Do we? Almost Adult is a brilliantly funny play that lays bare the darker side of slick modern workplaces and the underhand employment practices that police them – or fail to – with stunning lightness of touch.Trade Review'Tilley’s energy while performing is so infectious and endearing… we honestly couldn’t fault this production.' (Theatre and Other Things); 'Delights and disturbs in equal measure' (Everything Theatre); 'Blisteringly funny and deeply emotional. (The Indiependent)

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Book SynopsisUp-and-coming comics Alex and Ben have been booked in the warm-up spot for a beloved but fading double act's comeback tour. Neither is delighted to be playing to a sparse crowd in a sleepy seaside town – but when it's revealed that a Hollywood director is in the audience, both acts glimpse a final chance for their big break. Cue sabotage, mistaken identity and full-on farcical mayhem, as the performance descends into a desperate battle for the limelight. With the action alternating between offstage and on, and the tone between Noises Off and Morecambe and Wise's old-school charm, The Comeback is a heart-warming exploration of bittersweet nostalgia and the enduring power of friendship. It is the joyful and dazzlingly funny debut play by The Pin's award-winning Ben Ashenden and Alex Owen – 'destined to become one of the great comedy duos' (Radio Times). It opened at the West End's Noël Coward Theatre in December 2020.Trade Review'A bulletproof nugget of comic theatre' * Guardian *'A neat conceit, played to the hilt of escalating, exhausting buffoonery… an uproarious, gag-a-minute triumph' * Telegraph *'Has plenty of charm… a high-energy meta-comedy' * The Times *'Hugely enjoyable… a complicated, fast-paced farce' * The Arts Desk *'Has everything you'd want in a comedy show… The Comeback is jam-packed with gags; from throwaway one-liners to clever call-backs which only get funnier and never lose speed or outstay their welcome. But what makes it so clever is how emotional moments are brought in and out throughout the show; you aren't just watching farcical situations, there are real moments of emotion too… an unmissable show full of heart and hysterical chaos that will leave you smiling for days' * Broadway World *'Surreal, silly and very, very funny... will simply make you laugh your socks off’ * Evening Standard *

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Book SynopsisAbove a pub in North London, Phil is drinking and fighting off mild panic about his comeback gig. His manager's already dumped him and he's worried about finding a place to stay for the night too. As he laments his dwindling career, his supporters gather to wish him well. Craving success and celebrity too, Josh suspects his father of behaving very badly. With the time of the performance fast approaching, guilty secrets emerge that split the family wide apart. Tonight, Phil's career might not be the only thing in tatters. Comic and moving, Broken Lad is a subtle examination of masculinity in distress.Trade Review"The most powerful element of Hooper's script is looking at how a life of disappointment is compounded by one's peers doing well. A lot of Phil's bitterness comes because his contemporaries broke into television and earned enough to have comfortable lives." - Reviews Hub; "It is important to show a huge demographic of the British public (fifty-something white men, but not those running things) on the stage and we get a glimpse of their ugly self-pity and the loneliness that provokes it..." - Broadway World; 'Set in the upstairs of a traditional English pub, the play is an analytical living room drama: different friends and family members of Phil dip in and out of dialogue with him and each other. It all begins playfully with an affable and cultivated relationship between a comedian and his gay friend, only to demonstrate as the drama continues how very un-jovial this is in actuality. As the play develops, we see the consequences of a man slowly unravelling, and the cracks of a dysfunctional family starting to show.' - Everything Theatre; 'Comic and moving, Broken Lad is a subtle examination of masculinity and virility in distress.' - London Theatre;

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Book Synopsis'Warning: so funny, even the strongest pelvic floors will be tested' - Net Mums'A very funny, honest look at the ups and downs of parenting. I absolutely loved it.' - Emily Dean, host of Walking the Dog'Lucy, a favourite comic of mine, manages to shed new light on something so universal. Her reaction to parenting is ridiculously refreshing and loaded with guilty laugh out loud honesty. After the school run, I implore you to pick a page, any page, then realise you're not alone. A gentle funny stroke of parenting genius' - Johnny Vegas'As a mum of two girls, I was nodding, laughing and emotional. I recognised so much of Lucy's journey in my own... I really loved it.' YolanDa Brown, BBC Loose EndsFrom TV's award-winning comedy mum and the writer of Hullraisers, Lucy Beaumont, comes her hilarious debut on the trials and tribulations of motherhood.Known for her sharp, witty and surreal view on everyday life, Lucy shares the unpredictable craziness of being a mum in this brilliant and laugh-out-loud 'mumoir'. Mums everywhere will recognise the madness of it all. Like when Lucy was hospitalised during her third trimester with chest pains but it turned out to be a burrito. Or when she was so tired at the park she forgot her own child's name. Heart-warming and laugh-out-loud funny, Drinking Custard also captures Lucy's marriage to comedian Jon Richardson, as they navigate Lucy's raging pregnancy hormones and balk at pram prices together.Get ready to make room on mum's bookshelf for Drinking Custard to sit alongside other mum classics such as Why Mummy Drinks, Hurrah For Gin! and The Unmumsy Mum.

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Book SynopsisStephen Colbert, Samantha Bee, John Oliver, and Jimmy Kimmelthese comedians are household names whose satirical takes on politics, the news, and current events receive some of the highest ratings on television. In this book, James E. Caron examines these and other satirists through the lenses of humor studies, cultural theory, and rhetorical and social philosophy, arriving at a new definition of the comic art form. Tracing the history of modern satire from its roots in the Enlightenment values of rational debate, evidence, facts, accountability, and transparency, Caron identifies a new genre: truthiness satire. He shows how satirists such as Colbert, Bee, Oliver, and Kimmelalong with writers like Charles Pierce and Jack Shaferrely on shared values and on the postmodern aesthetics of irony and affect to foster engagement within the comic public sphere that satire creates. Using case studies of bits, parodies, and routines, Caron reveals a remarkable process: when evidence-based news repTrade Review“Those engaged in research and thinking on “the comic” will find this book a valuable aid.”—J. C. Jaffe Choice“Should endure as an important, discerning account of the paradoxical nature of satire, especially in our postmodern media environment.”—Brian P. O’Sullivan Studies in American Humor“The book is masterful at bringing together a wide range of thinkers and using their insights to construct an account of satire that allows us to see its new roles and, as Bill Maher might put it, its new rules.”—Steven Gimbel Philosophy of Humor Yearbook“Any scholar or student interested in the roles of comic and satiric discourse in twenty-first-century culture will benefit from reading this book. In my own engagements with satire, I will turn to this book first as an authoritative sorting-out of where we are and where we are going.”—Bruce Michelson,author of Mark Twain on the Loose: A Comic Writer and the American Self

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Book SynopsisA 2022Best Comedy Book,VultureA rousing call for liberals and progressives to pay attention to the emergence of right-wing comedy and the political power of humor. Why do conservatives hate comedy? Why is there no right-wing Jon Stewart? These sorts of questions launch a million tweets, a thousand op-eds, and more than a few scholarly analyses. That's Not Funny argues that it is both an intellectual and politically strategic mistake to assume that comedy has a liberal bias. Matt Sienkiewicz and Nick Marx take readersparticularly self-described liberalson a tour of contemporary conservative comedy and the right-wing comedy complex. In That's Not Funny, complex takes on an important double meaning. On the one hand, liberals have developed a social-psychological complexit feels difficult, even dangerous, to acknowledge that their political opposition can produce comedy. At the same time, the right has been slowly building up a comedy-industrial complex, utilizing the humorous, irony-lTrade Review"Provocative. . . . Progressives will want to take notice." * Publishers Weekly *"Astute and accessible. . . . As Sienkiewicz and Marx convincingly argue, comedy’s power can be used to shift the ideological and political needle in any direction depending on who is telling the jokes. We should be paying attention lest we ignore an entire ecosystem working to accumulate not just fans but political power." * New Review of Film and Television Studies *"Sienkiewicz & Marx have produced a very significant book that will shift the view of the relationships between humor, comedy, the media (including especially new media), and the political landscape. Their book is easy to read, devoid of jargon, and very clearly presented." * Humor *"The most fascinating and haunting comedic book of an academic nature in years." * Vulture *"A timely examination of an important contemporary cultural phenomenon…certainly likely to encourage class discussion." * Studies in American Humor *"That’s Not Funny is a fast, informative read and approaches political and cultural questions with curiosity and aplomb. . . .A great introductory text for researchers looking to delve into the alt-right underground, particularly to understand its connections to other demographics and the mainstream itself." * U.S. Studies Online *Table of ContentsAcknowledgments Introduction: Right-Wing Comedy 1. Fox News and Mainstream Right-Wing Comedy 2. Making Comedy Great Again: Paleocomedy 3. Religio-Rational Satire: Owning the Libs One Faulty Syllogism at a Time 4. The Legions of Libertarian Podcasters 5. Trolling the Depths of the Right-Wing Comedy Complex Conclusion: Performing Right and Left Notes Bibliography Index

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Book SynopsisIdeal for classroom use, this anthology of original essays by the leading authorities on women's comedy surveys the disorderly, subversive, and unruly performances of women comics from silent film to contemporary multimediaTrade ReviewHere to meet all your funny female deep-read needs . . . a juicy read for those who love the many ways female comics use their art to question the patriarchy. * BUST *Hysterical! is and will be of benefit to any scholar studying women and humour and especially for star studies scholars that focus on funny women. * Aigne *Hysterical! is wide-ranging, well-researched, and clearly written, making it accessible to both academic and general audiences…an invaluable collection and a great read." * Journal of Popular Culture *Together, Mizejewski and Sturtevant create a collection which thoroughly explores aspects of the body, gender, and sexuality in American women’s comedy, shedding light on the fact that, to appear funny to men, women often find themselves making fun of their own bodies and sexual experiences in a way most male comics do not...Hysterical! is a thorough collection of essays on the works of women in American comedy, focusing on themes relating to the body, sexuality, and expectations of women in society. * Popular Culture Studies Journal *Table of Contents Foreword (Kathleen Rowe Karlyn) Acknowledgments Introduction (Linda Mizejewski and Victoria Sturtevant) 1. Mabel Normand: New Woman in the Flapper Age (Kristine Brunovska Karnick ) 2. Fay Tincher: Female Rowdiness and Social Change (Joanna E. Rapf ) 3. Mae West: The Constant Sinner (Kristen Hatch) 4. Fanny Brice’s New Nose: Beauty, Ethnicity, and Liminality (Kristen Anderson Wagner) 5. Lucille Ball and the Lucy Character: Familiarity, Female Friendship, and the Anxiety of Competence (Lori Landay) 6. Carol Burnett: Home, Horror, and Hilarity on The Carol Burnett Show (Linda Mizejewski) 7. Lily Tomlin: Queer Sensibilities, Funny Feminism, and Multimedia Stardom (Suzanne Leonard) 8. Moms Mabley and Wanda Sykes: “I’ma Be Me” (Bambi Haggins) 9. Roseanne Barr: Remembering Roseanne (Rosie White ) 10. Whoopi Goldberg in Hollywood: Queering Comic Genre Genealogies (Rebecca Wanzo) 11. Margaret Cho’s Army: “We Are the Baddest Motherfuckers on the Block” (Rebecca Krefting) 12. Ellen DeGeneres’s Incorporate Body: The Politics of Authenticity (Brenda R. Weber and Joselyn K. Leimbach) 13. Sarah Silverman: Cuteness as Subversion (Anthony P. McIntyre ) 14. Tina Fey: “Quality” Comedy and the Body of the Female Comedy Author (Julia Havas) 15. Lena Dunham: Cringe Comedy and Body Politics (Maria Sulimma ) Works Cited Contributors Index

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Book SynopsisIdeal for classroom use, this anthology of original essays by the leading authorities on women's comedy surveys the disorderly, subversive, and unruly performances of women comics from silent film to contemporary multimediaTrade ReviewHere to meet all your funny female deep-read needs . . . a juicy read for those who love the many ways female comics use their art to question the patriarchy. * BUST *Hysterical! is and will be of benefit to any scholar studying women and humour and especially for star studies scholars that focus on funny women. * Aigne *Hysterical! is wide-ranging, well-researched, and clearly written, making it accessible to both academic and general audiences…an invaluable collection and a great read." * Journal of Popular Culture *Together, Mizejewski and Sturtevant create a collection which thoroughly explores aspects of the body, gender, and sexuality in American women’s comedy, shedding light on the fact that, to appear funny to men, women often find themselves making fun of their own bodies and sexual experiences in a way most male comics do not...Hysterical! is a thorough collection of essays on the works of women in American comedy, focusing on themes relating to the body, sexuality, and expectations of women in society. * Popular Culture Studies Journal *Table of Contents Foreword (Kathleen Rowe Karlyn) Acknowledgments Introduction (Linda Mizejewski and Victoria Sturtevant) 1. Mabel Normand: New Woman in the Flapper Age (Kristine Brunovska Karnick ) 2. Fay Tincher: Female Rowdiness and Social Change (Joanna E. Rapf ) 3. Mae West: The Constant Sinner (Kristen Hatch) 4. Fanny Brice’s New Nose: Beauty, Ethnicity, and Liminality (Kristen Anderson Wagner) 5. Lucille Ball and the Lucy Character: Familiarity, Female Friendship, and the Anxiety of Competence (Lori Landay) 6. Carol Burnett: Home, Horror, and Hilarity on The Carol Burnett Show (Linda Mizejewski) 7. Lily Tomlin: Queer Sensibilities, Funny Feminism, and Multimedia Stardom (Suzanne Leonard) 8. Moms Mabley and Wanda Sykes: “I’ma Be Me” (Bambi Haggins) 9. Roseanne Barr: Remembering Roseanne (Rosie White ) 10. Whoopi Goldberg in Hollywood: Queering Comic Genre Genealogies (Rebecca Wanzo) 11. Margaret Cho’s Army: “We Are the Baddest Motherfuckers on the Block” (Rebecca Krefting) 12. Ellen DeGeneres’s Incorporate Body: The Politics of Authenticity (Brenda R. Weber and Joselyn K. Leimbach) 13. Sarah Silverman: Cuteness as Subversion (Anthony P. McIntyre ) 14. Tina Fey: “Quality” Comedy and the Body of the Female Comedy Author (Julia Havas) 15. Lena Dunham: Cringe Comedy and Body Politics (Maria Sulimma ) Works Cited Contributors Index

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Book SynopsisSurveying comedic texts and performers from The Jack Benny Program to Key and Peele, Saturday Night Live, and Stephen Colbert, this classroom-ready anthology offers a first-ever overview of the field of comedy studies.Trade Review"An expertly conceived collection that proves both familiar and new...The Comedy Studies Reader expertly follows through on its promise for scholars—providing a clear invitation to play, to revisit old streets and explore new territories under the sheltering sky of comedy studies." * Studies in American Humor *Table of ContentsAcknowledgmentsVolume Introduction: Comedy as Theory, Industry, and Academic Discipline, Nick Marx and Matt Sienkiewicz1. The CarnivalesqueIntroduction: The Naked GunA: Rabelais and His World, Mikhail BakhtinB: “The Frames of Comic ‘Freedom,’” Umberto EcoC: “Sacred Catastrophe, Profane Laughter: Family Guy's Comedy in the Ritual of National Trauma,” Philip Scepanski2. Comedy Mechanics & AbsurdityIntroduction: Man Seeking WomanA: Laughter: An Essay on the Meaning of the Comic, Henri BergsonB: The Logic of the Absurd, Jerry PalmerC: “Pie and Chase: Gag, Spectacle and Narrative in Slapstick Comedy,” Donald CraftonD: “The New Logic of the Absurd: The Eric André Show,” Evan Elkins3. Psychoanalyzing ComedyIntroduction: ArcherA: Jokes and Their Relation to the Unconscious, Sigmund FreudB: “Humor,” Sigmund FreudC: “Lacan’s Harpo,” Paul FlaigD: “Revenge of the Nerds: Failure, Laughter, and Liberation on The Big Bang Theory,” Andrew J. Owens4. IronyIntroduction: Stephen Colbert at the White House Correspondents’ Association Dinner 2006A: Irony’s Edge, Linda HutcheonB: “Speaking Too Soon: SNL, 9/11, and the Remaking of American Irony,” Matt SienkiewiczC: “Welcome to the Clickhole: The Economics of Internet Parody and Critique,” Amber Day5. GenreIntroduction: 22 Jump StreetA: Popular Film and Television Comedy, Steve Neale and Frank KrutnikB: “Comedy Verité? The Observational Documentary Meets the Televisual Sitcom,” Ethan ThompsonC: “Inventing the Situation Comedy: Jack Benny, the ‘Fall Guy,’ and the Making of a Genre,” Kathryn Fuller-Seeley6. Race & EthnicityIntroduction: Key and PeeleA: Watching Race, Herman GrayB: “The Culture Behind Closed Doors: Issues of Gender and Race in the Writers' Room,” Felicia D. HendersonC: "Naturalizing Racial Differences Through Comedy: Asian, Black, and White Views on Racial Stereotypes in Rush Hour 2," Ji Hoon Park, Nadine G. Gabbadon, and Ariel R. CherninD: “‘Indians on TV (and Netflix)’: The Comedic Trajectory of Aziz Ansari,” Bhoomi K. Thakore and Bilal Hussain7. Gender & SexualityIntroduction: Inside Amy SchumerA: The Unruly Woman, Kathleen Rowe KarlynB: Pretty/Funny, Linda MizejewskiC: “Generic Closets: Sitcoms, Audiences and Black Male Gayness,” Alfred L. Martin Jr.8. Nation & GlobalizationIntroduction: Klovn and Curb Your Enthusiasm, Peter Kragh Jensen and Matt SienkiewiczA: A National Joke, Andy MedhurstB: “Transnational TV Comedy Audiences,” Inger-Lise Kalviknes BoreC: “Transgressing Boundaries as the Hybrid Global: Parody and Postcoloniality on Indian Television,” Sangeet KumarD: “Comedy and the Nation in The Trip,” Brett MillsIndex

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Book SynopsisEssays on teaching comedy in literature, writing, theater, and cultural studies courses.From Shakespeare to The Simpsons, comedy has long provided both entertainment and social commentary. It may critique cultural values, undermine authority, satirize sacred beliefs, and make room for the marginalized to approach the center. Comedy can be challenging to teach, but in the classroom it can help students connect with one another, develop critical thinking skills, and engage with important issues.The essays in this volume address a rich variety of texts spanning film, television, stand-up, cartoons, and memes as well as conventional literary works from different places and times. Contributors offer theoretical foundations and practical methods for a broad range of courses, including guidance on contextualizing the humor of historical works and navigating the ways that comedy can both subvert and reinforce stereotypes. Finally, the volume argues for the value of comedy in difficult times, as a way to create community and meaning.This volume contains discussion of fiction, poetry, plays, and essays by Maya Angelou, Jane Austen, Aphra Behn, Hugh Henry Brackenridge, Frances Burney, Charles W. Chesnutt, Roddy Doyle, Maria Edgeworth, Ben Jonson, Anita Loos, Emtithal Mahmoud, Thomas Middleton, Okot p'Bitek, William Shakespeare, Laurence Sterne, Jonathan Swift, Alma Villanueva, Paula Vogel, Oscar Wilde, John Wilmot, and William Wycherley; TV shows and films including Crazy Ex-Girlfriend, The Gold Rush, Life Is Beautiful, The Marvelous Mrs. Maisel, The Office, Office Space, Rick and Morty, and South Park; works and stand-up performances by Aziz Ansari, Samantha Bee, Dave Chappelle, Louis C.K., Tina Fey, Moms Mabley, Hasan Minhaj, Eddie Murphy, Trevor Noah, Richard Pryor, Issa Rae, and Wanda Sykes; and visual works and other media including Aaron McGruder's The Boondocks, Bill Watterson's Calvin and Hobbes, Nick Sousanis's Unflattening, Marvel's Hawkeye, The Onion, YouTube videos, advertisements, and memes.

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Book SynopsisThe Principles of Comedy Improv is an authoritative handbook for beginners and experts alike. More than just entertainment, improv’s tenets enable you to change every moment of your life. Your guide is Tom Blank, who crystallizes two decades of experience to convey improv in unparalleled scope, depth, and fun.Trade ReviewNot only is this the most fun, joyful, and informative book about improv I know of, it’s also an invaluable crash course in life and communication." —Heidi Gardner, actor, Saturday Night Live"This book is a brilliant look into the fascinating and often mystical process of being creative in a flash. It’s fast, funny, and bursting with instant insights. Just like you when you’ve finished reading it. Warning: improv is highly addictive.”—Bill Steinkellner, writer/producer, Emmy Award winner “Improv changed everything for me as an actor, writer, director, and human. Tom has written a smart and eye-opening book that has made me a student all over again. Happily so. Because, we can always be better. Especially at the human part.”—Jim Rash, actor, Academy Award winner “This ingenious book lets you improvise with great confidence. Tom’s take on the ins and outs of comedy improv is not only educational, it’s an exploration and celebration of all things creative. Read it or else . . . that’s not a threat, I’m just improvising.”—Jillian Bell, actor, Brittany Runs a Marathon “Shhh, don’t tell Viola Spolin, but Tom Blank has written the definitive book on comedy improv with wit, and clarity. Whether or not you are in the comedy business, it will expand your mind and broaden your world.”—Steve Little, actor, Eastbound & Down “Watching Tom Blank do improv is one of the great joys of my life. Working with Tom Blank has been one of the great joys in my life. Read this book if you want to know how to improvise with excellence.”—Jordan Black, actor, The Black Version “Tom has been around the block at the major improv theatres, and brings all his wisdom and humor to examine the psychological, social, and technical sides of improv.”—Stephanie Courtney, actor, Flo, the Progressive Insurance lady

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a huge range and FREE tracked UK delivery on ALL orders.

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a huge range and FREE tracked UK delivery on ALL orders.

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Book SynopsisThis is an Element book about stand-up comedy and public speech. It focuses on the controversies generated when the distinction between the two breaks down, when stand-up enters ? or is pushed ? into the public sphere and is interpreted according to the scripts that govern popular political and media rhetoric rather than the traditional generic conventions of comic performance. These controversies raise a larger set of questions about the comedian''s public role. They draw attention to the intention of jokes and their effects in the world. And they force us to consider how the limits of comic performance ? what can be said, by whom, and why ? respond to, and can reshape, public discourse across changing media contexts.

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a huge range and FREE tracked UK delivery on ALL orders.

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Book Synopsis"No one makes me laugh harder than Judy Gold.Trade Review"Judy Gold’s years of blazing free speech trails serve her well in this thoughtful funny book." — Jon Stewart "Judy Gold is one of the best black women comedians in the world. I'm both a student of her comedy and a follower of her teachings. The fact that we, the public, have a chance to read her book is perhaps the greatest gift that mankind has ever received. Read her book. Listen to her book. Freebase her book; it's incredible." — Chris Rock "In this staunch defense of comedians, Judy skewers a corrupt administration that regards the First Amendment as a nuisance. Using years of onstage experience and an impressive knowledge of American humor, she irrefutably demonstrates the critical role comedians play in keeping us connected, informed, empowered and laughing. Also, have you met Judy? Not a big hold-er back-er. I’ve known her for years to be ridiculously funny, and she has the intellectual bona fides to get you reading every page of this book." — Kathy Griffin "Judy Gold is the voice we need to cut through all the bullshit. I love her and she always makes me laugh. We need her now more than ever." — Margaret Cho “Judy Gold warns us all what happens when they come for the comedians. She shows how urgent and critical it is that we, as comics, speak truth to power—before it's too late. Yes, I Can Say That is funny and insightful—pure Judy!” — Rosie O'Donnell “The fact that the world needs a book like Yes, I Can Say That is appalling. That the marvelous Judy Gold has written it is a gift. With wisdom and unsparing clarity this book explains the crucial—yet too often overlooked—role comedians have played in in our country’s history and gives us a sane perspective on our insane society. Pick up or download this book NOW. It will make you laugh while reminding you why it’s vitally important to do so.” — Lewis Black “Gold’s defense of comedy, filled with great jokes and stories of censored comics, is a reminder that freedom of speech is no laughing matter.” — Publisher’s Weekly "A powerful, and powerfully funny, argument in support of how vital free speech is to comedy and comedy is to us." — Booklist

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Book SynopsisNEW YORK TIMES BESTSELLER • In this “essential” (Entertainment Weekly), “hilarious” (AV Club) memoir, the star of Mr. Show, Breaking Bad, and Better Call Saul opens up about the highs and lows of showbiz, his cult status as a comedy writer, and what it’s like to reinvent himself as an action film ass-kicker at fifty.“I can’t think of another entertainer who has improbably morphed so many times, and all through real genius and determination.”—Conan O’BrienONE OF THE BEST BOOKS OF THE YEAR: The New Yorker, Vulture, NewsweekBob Odenkirk’s career is inexplicable. And yet he will try like hell to explicate it for you. Charting a “Homeric” decades-long “odyssey” from his origins in the seedy comedy clubs of Chicago to a dramatic career full of award nominations—with a side-trip into the action-man world that is baffling to all who know him—it’s almost like there are many Bob Odenkirks! But there is just one and one is plenty.Bob embraced a life in comedy after a chance meeting with Second City’s legendary Del Close. He somehow made his way to a job as a writer at Saturday Night Live. While surviving that legendary gauntlet by the skin of his gnashing teeth, he stashed away the secrets of comedy writing—eventually employing them in the immortal “Motivational Speaker” sketch for Chris Farley, honing them on The Ben Stiller Show, and perfecting them on Mr. Show with Bob and David.In Hollywood, Bob demonstrated a bullheadedness that would shame Sisyphus himself, and when all hope was lost for the umpteenth time, the phone rang with an offer to appear on Breaking Bad—a show about how boring it is to be a high school chemistry teacher. His embrace of this strange new world of dramatic acting led him to working with Steven Spielberg, Alexander Payne, and Greta Gerwig, and then, in a twist that will confound you, he re-re-invented himself as a bona fide action star. Why? Read this and do your own psychoanalysis—it’s fun!Featuring humorous tangents, never-before-seen photos, wild characters, and Bob’s trademark unflinching drive, Comedy Comedy Comedy Drama is a classic showbiz tale told by a determined idiot.

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Book SynopsisNEW YORK TIMES BESTSELLER • An all-new collection of honest, hilarious, and enlightening conversations with some of the most exciting names in comedy—from lifelong comedy nerd Judd Apatow.“When I need to read an interview with a comedian while in the bathroom, I always turn to Judd Apatow for deeply personal insights into the comedic mind. Place one on your toilet today.”—Amy SchumerONE OF THE BEST BOOKS OF THE YEAR: VultureNo one knows comedy like Judd Apatow. From interviewing the biggest comics of the day for his high school radio show to performing stand-up in L.A. dive bars with his roommate Adam Sandler, to writing and directing Knocked Up and producing Freaks and Geeks, Apatow has always lived, breathed, and dreamed comedy.In this all-new collection of interviews, the follow-up to the New York Times bestselling Sick in the Head, Apatow sits down with comedy l

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Book SynopsisFrom Judd Apatow comes an intimate portrait of his mentor, the legendary stand-up comic and star of The Larry Sanders Show, with never-before-seen journal entries and photos, as well as new contributions by fellow comedians and writers.NAMED ONE OF THE BEST BOOKS OF THE YEAR BY NEW YORK Garry Shandling was a singular trailblazer in the comedy world. His two hit shows, It’s Garry Shandling’s Show and The Larry Sanders Show, broke new ground and influenced future sitcoms like 30 Rock and Curb Your Enthusiasm, and his stand-up laid the foundation for a whole new generation of comics. There’s no one better to tell Shandling’s story than Judd Apatow—Shandling gave Apatow one of his first jobs and remained his mentor for the rest of his life—and the book expands on Apatow’s Emmy Award-winning HBO documentary, The Zen Diaries of Garry Shandling.Here, Apatow has gath

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Book Synopsis“I was living every comic’s dream…with a nightmare attached.”

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Book SynopsisMichael Ewans is Conjoint Professor of Drama in the School of Humanities, Creative Industries and Social Science at the University of Newcastle, Australia.Trade ReviewExpertly prepared and edited. * Australasian Humour Studies Network *Table of ContentsList of Illustrations Notes on Contributors Series Preface Comedy Title Abbreviations Other Abbreviations Introduction, Michael Ewans (University of Newcastle, Australia) 1. Form, Gesine Manuwald (University College London, UK) 2. Theory, Caleb M. X. Dance (Washington and Lee University, USA) 3. Praxis, Michael Ewans (University of Newcastle, Australia) 4. Identities, Natalia Tsoumpra (University of Glasgow, UK) 5. The Body, Louise Peacock (De Montfort University, UK) 6. Politics and Power, Isabel Ruffell (University of Glasgow, UK) 7. Laughter, Marcel Lysgaard Lech (University of Southern Denmark, Denmark) 8. Ethics — Ethics in Greek Comedy, Valeria Cinaglia (University of Exeter, UK) — Ethics in Roman Comedy, Serena S. Witzke (Wesleyan University, USA) Notes References Index

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Book SynopsisAndrew McConnell Stott is Professor of English at the University of Southern California, USA.Table of ContentsList of Illustrations Notes on Contributors Series Preface Note on Texts Introduction, Andrew McConnell Stott (University of Southern California, USA) 1. Form, Megan Herrold (University of Southern California, USA) 2. Theory, James Loxley (University of Edinburgh, UK) 3. Praxis, Lucy Munro (Kings College London, UK) 4. Identities, Maya Mathur (University of Mary Washington, USA) 5. The Body, Will Stockton (Clemson University, USA) 6. Politics and Power, Douglas Bruster (University of Texas at Austin, USA) 7. Laughter, Indira Ghose (University of Fribourg, Switzerland) 8. Ethics, Stephen Wisker (Middle Georgia State University, USA) Notes References Index

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Book SynopsisElizabeth Kraft is Professor of English at the University of Georgia, USA.Table of ContentsList of Illustrations Notes on Contributors Editor’s Acknowledgments Series Preface Introduction, Elizabeth Kraft (University of Georgia, USA) 1. Form, Brian Corman (University of Toronto, Canada) 2. Theory, Jean I. Marsden (University of Connecticut, USA) 3. Praxis: The Practice of Comedy in the Restoration and Eighteenth Century, Laura J. Rosenthal (University of Maryland, USA) 4. Identities: Deception, Discovery, and the Paradox of the Dark Lantern, Heather Ladd (Kwantlen Polytechnic University, Canada) 5. The Body: Performing Comic Eighteenth-Century Embodiment, Misty G. Anderson (University of Tennessee, Knoxville, USA) 6. Politics and Power, Aparna Gollapudi (Colorado State University, USA) 7. Laughter: Enlightenment Philosophies of Laughter, from Superiority Theory to Incongruity Theory, Andrew Benjamin Bricker (Ghent University, Belgium) 8. Ethics, Melvyn New (University of Florida, USA) Notes References Index

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Book SynopsisMatthew Kaiser is Professor of English at University of California, Merced, USA.Table of ContentsList of Illustrations Notes on Contributors Series Preface Introduction: Comic Frames in the Age of Empire, Matthew Kaiser (University of California, Merced, USA) 1. Form: An Empire of Jokes in the Age of American Expansion, Todd Nathan Thompson (Indiana University of Pennsylvania, USA) 2. Theory: Deadpan and Comedy Theory, Sarah Balkin (University of Melbourne, Australia) 3. Praxis: A Comedy Revolution, Milena Kozic (Independent scholar, Serbia) 4. Identity: Popular Performance from Peoria to Paris, Will Visconti (University of Sydney, Australia) 5. The Body: From Grimaldi to Chaplin, Sara Lodge (University of St Andrews, UK) 6. Politics and Power: Nineteenth-Century American Humor, Gregg Camfield (University of California, Merced, USA) 7. Laughter: The Ugly History, Matthew Kaiser (University of California, Merced, USA) 8. Ethics: Dickensian Satire and Mealtime Shame, Rob Jacklosky (College of Mount Saint Vincent, USA) and Matthew Kaiser (University of California, Merced, USA) Notes References Index

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Book SynopsisLouise Peacock is Associate Professor of Drama in the School of Arts, Design and Humanities at De Montfort University, UK.Table of ContentsList of Illustrations Notes on Contributors Series Preface Introduction, Louise Peacock (De Montfort University, UK) 1. Form, Brett Mills (University of East Anglia, UK) 2. Theory, Peter Buse (University of Liverpool, UK) 3. Praxis: ‘If You Laugh at Something, Then I’ll Potentially Keep It’: The Praxis of Live Comedy, Oliver Double (University of Kent, UK) 4. Identity: Laughs Last—Gender, Power, and Comic Identity, Joanne Gilbert (Alma College, USA) 5. The Body, Louise Peacock (De Montfort University, UK) 6. Politics and Power, Chris Vognar (Independent scholar, USA) 7. Laughter, Eric Weitz (Trinity College Dublin, Ireland) 8. Ethics, Michael Pickering (Loughborough University, UK) Notes References Index

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Book SynopsisReaders will be delighted by the broad array of comic talent spotlighted in this book, and for those interested in comedy with substance, it will offer an alternative punchline.Trade ReviewThis is an incredibly valuable and worthwhile read, because it explores not only the remarkable influence comedy has, but it confronts the biases that can undermined great comics while allowing certain hacks to succeed... The value of charged humor cannot be overstated, especially these days, and neither can insightful tomes like this one. -- Glenn Dallas San Francisco Book Review Krefting (American Studies, Skidmore College) draws on experience working at stand-up, improv, and directing- plus, the jokes she includes are funny... This fresh, thoughtful investigation of the political dimensions in current American stand-up comedy is a must read for those interested in the comic. ChoiceTable of ContentsAcknowledgmentsIntroduction. The Laughscape of American Humor1. Making Connections: Building Cultural Citizenship through Charged Humor2. Twentieth-Century Stand-Up: A History of Charged Humor3. Laughing into the New Millennium4. When Women Perform Charged Humor: The (Gendered) Politics of Consumption5. Robin Tyler: Still "Working the Crowd"6. Micia Mosely: Humor out of the Mouths of Babes7. Hari Kondabolu: Performing in the Age of Modern-Day MinstrelsyConclusion. How to Avoid the Last LaughNotesCharged Comic CompendiumIndex

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Book Synopsis

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Book Synopsis

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Book Synopsis

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Book SynopsisThese scenes for two female actors are divided into two sections: comedy and drama. The comedy scenes will have audiences laughing at the outrageous yet believable scenarios. Comedy scenes include: On-line Love, Dirty Laundry, Marriage Phobia, New Best Friend Forever and more. The dramatic scenes will have the audience and actors thinking about the relevant topics. Dramatic scenes include: The Wishing Well, Night Storm, Broken Promises, The Red Dress and more. All scenes are entertaining and enjoyable. Actors will be challenged by each scene in this collection. Sets and costumes can be elaborate or simple. The length of every scene is perfect for the female dramatic duo competitions sponsored nationally. They may also be used for auditions, acting practice, or an evening of entertainment. Laurie Allen''s plays for teens have had great success in productions across the United States. Many of her competition pieces have advanced to national Speech and Forensics competitions.

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Book SynopsisRenowned improvisation instructor and award-winning director Mick Napier has been at the heart of the professional improvisation community for over 25 years. The first edition of Improvise. quickly earned its position as necessary reading for improvisation students across the country and around the world and gave birth to a new generation of performers who questioned "The Rules" of improvisation. This expanded and revised edition provides additional advice and tips for success, as well as a full reproduction of Napier''s web journal from his time directing the famous show Paradigm Lost for The Second City that included Tina Fey, Rachel Dratch, and Kevin Dorff. In this entertaining and incredibly informative book, Napier will teach you the essentials of: Why "The Rules" don''t matter; How to take care of yourself in a scene; Using context to your advantage; Effective two-person scenes; Balanced large-cast scenes; Successful auditioning; Solo exercises you can practice at home.

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Book SynopsisOn This Day in Comedy is not just an encyclopedia, but a celebration of comedy. In humorous prose the book takes readers through the often-neglected subcultures of comedy in America, acknowledging the inclusiveness of the performers as well as shows and films that made this art form so vital to comics of all backgrounds. It’s artistically criminal that a search for Native American or Asian comedy information yields a virtually blank slate. Look for Middle Eastern comics and you’ll be provided information on the region's comic book revolution, and search results for Latin comedy are confined to a series of outdated articles. This encyclopedia will offer rare and in some cases never-before-seen photos and obscure facts, making it an indispensable comedy essential.

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Book Synopsis'A wonderful blend of nostalgia, hilarity and personal anecdotes that only Josh Widdicombe could deliver' James Acaster'If you read only one book by Josh Widdicombe this year, make it this one' Jack Dee'Beautifully written, cleverly crafted and charmingly funny' Adam Hills'This is a book about growing up in the '90s told through the thing that mattered most to me, the television programmes I watched. For my generation television was the one thing that united everyone. There were kids at my school who liked bands, kids who liked football and one weird kid who liked the French sport of petanque, however, we all loved Gladiators, Neighbours and Pebble Mill with Alan Titchmarsh (possibly not the third of these).'In his first memoir, Josh Widdicombe tells the story of a strange rural childhood, the kind of childhood he only realised was weird when he left home and started telling people about it. From only having four people in his year at school, to living in a family home where they didn't just not bother to lock the front door, they didn't even have a key.Using a different television show of the time as its starting point for each chapter Watching Neighbours Twice a Day... is part-childhood memoir, part-comic history of '90s television and culture. It will discuss everything from the BBC convincing him that Michael Parkinson had been possessed by a ghost, to Josh's belief that Mr Blobby is one of the great comic characters, to what it's like being the only vegetarian child west of Bristol.It tells the story of the end of an era, the last time when watching television was a shared experience for the family and the nation, before the internet meant everyone watched different things at different times on different devices, headphones on to make absolutely sure no one else could watch it with them.

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Book SynopsisAuthors Keegan-Michael Key and Elle Key build on the popularity of their 2022 Webby Award–winning podcast and delve deeper into the world of sketch, helped along with new essays created expressly for the book by comedy greats. The History of Sketch Comedy will appeal to all kinds of comedy fans as well as fans of Keegan-Michael Key, whether they know him from his Emmy- and Peabody-winning work on Key & Peele; his roles in Fargo, The Prom, Schmigadoon!, The Bubble, and the upcoming Wonka; voiceover work in The Lion King; or as President Barack Obama's anger translator, Luther. With epic personal tangents and hilarious asides, their story takes you on an illuminating look at all facets of comedy from the stock characters of commedia del arte in the 16th century, to the rise of vaudeville and burlesque, the golden age of television comedy, the influence of the most well-known comedy schools, and the ascension of comedy films and TV specials - all the way through to a look at the future of sketch on social media platforms. Along the way, we hear tales of Key's childhood, his comedy influences, and the vicissitudes of his career path. As the New York Times said in its review of their podcast, "this comedy nerd history is filtered through memoir, with Key relating stories of his budding fandom, training and rise from improv comic to television sketch artist." Part masterclass, part memoir, and hilariously embellished with priceless commentary, The History of Sketch Comedy illuminates the essential building blocks of sketch comedy while interweaving Key's experiences of personal discovery and the influence of his comedy heroes. The text is complemented by original art by Elle Key and exclusive essays compiled from conversations with some of their famous comedy friends and performers who have influenced the development of comedy, such as Jordan Peele, Mel Brooks, Julia Louis-Dreyfus, Mike Myers, Chris Rock, John Oliver, Tracy Morgan, Carol Burnett, Jim Carrey, and many more.

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