Ochiq mikrofon

Vikipediya, ochiq ensiklopediya
Musiqachi 2008-yil iyul oyida Sausalitoda boʻlib oʻtgan „ochiq mikrofon“da

Ochiq mikrofon (open mic yoki open mike) — bu qahvaxona, tungi klub, komediya klubi, striptiz klubi yoki pubklub kabi joylarda, odatda tunda boʻlib oʻtadigan jonli shou. Unda istalgan tomoshabin oʻz isteʼdodini namoyish qilishi mumkin. Odatda, ochiq mikrofonlarda havaskorlar ilk chiqishini va professionallar tez orada namoyish etilishi kerak boʻlgan biror asardan parchani targʻib qilishadi[1]. Nomidan maʼlumki, tomoshabinlarga yaxshiroq eshitilishi uchun ijrochilar mikrofondan foydalanishadi.

Ijrochilar oʻsha yerdagi tajribali ishtirokchi, dasturga masʼul menedjer yoki shu dasturning olib boruvchisi yordamida roʻyxatdan oʻtadi. Dasturni olib boruvchi shaxs yashirin qobiliyat egalariga sahnaga hozirlik koʻrishlari uchun ozroq vaqt beradi. Sahnada ular ularga beriladigan vaqt ham chegaralangan boʻladi. Ochiq mikrofonlarda asosan komediya (sketch-komediya yoki stend-up), musiqa (mualliflik qoʻshiqlari ijrochilari tomonidan kuylanadigan), sheʼriyat va deklamatsiya kabi chiqishlarni koʻrish mumkin. Rok guruhlari yoki komediya truppalarining chiqishlarini ham kuzatish mumkin, lekin, asosan bu guruhlarni oldindan tayyorlash va ovozini tekshirish uchun mahsus joy hamda logistika talablari tufayli ular kam tarqalgan[2].

Ochiq mikrofonlarga kirish narxi odatda qimmat boʻlmaydi, yoki umuman tekin boʻladi. Joyning oʻzida tashkilotchilar tomonidan lotereyaga turli xil sovgʻalar qoʻyilishi yoki maʼlum bir maqsadni koʻzlagan holda koʻngilli tomoshabinlardan pul yigʻish uchun maxsus qutilar tashkil qilinishi ham mumkin. Odatda kirish toʻlovi boʻlmagan joylarda spirtli ichimliklar va oziq-ovqat sotishdan foyda koʻriladi. Koʻp joylarda ishtirokchilarga chiqish qilgani uchun hech qanday hizmat haqi toʻlanmaydi, lekin oʻsha joyda ichimlik ichishi yoki nimadir tanovul qilishi mumkin. Ammo, tashkilotchi yo joyning egasi haq toʻlashga qurbi yetadigan boʻlsa, Ochiq mikrofon qatnashchilari oʻz chiqishlari uchun haq ham olishadi va biroz muddat hozirlik koʻrib, keyin sahnaga chiqishadi. Pul evaziga sahnaga chiqish holatlari koʻpincha maʼlum vaqt oraligʻida boʻsh qolgan sahnani toʻldirish kerak boʻlgan vaziyatlarda uchraydi. Ochiq mikrofonlar jem seyshonlarga ham biroz oʻxshash. Sababi ikkisi ham havaskor ijrochilar va ijodkorlarga sahnaga chiqish imkonini beradi. Farqi shundaki, jem seyshonlarda koʻpincha musiqiy ansambllar, musiqachilar gurugi yoki ritm guruhi, hatto professional ijrochilar ham ishtirok etishi mumkin[3].

Musiqa[tahrir | manbasini tahrirlash]

Ochiq mikrofonlar havaskor yoki musiqa olamiga endigina kirib kelayotganlarga jonli auditoriya qarshisida tajriba orttirish imkonini beradi. Mashhurlikka erishishdan oldin, yaʼni sanʼatkorning ilk chiqishlarida tomoshabinlar uni har doim ham yaxshi qabul qilishmaydi. Chunki odatda ular milliy estrada uslubidagi yoki folklor qoʻshiqlarga oʻrganishgan boʻladi. Shuningdek, tomoshabinlar akustik musiqachilar yoki yakkaxon xonandalar tomonidan ijro etilagan qoʻshiq va musiqa xalqona va ularga mos uslubda aytilishi kerak degan tushunchani ilgari surishadi. Bu notoʻgʻri qarash bugungi kunga qadar ham mavjud. Aynan shuning uchun ham ayrim joylarda tashkilotchilar „akustik kecha“, „akustik klub“lar tashkil qildilar. Bundan maqsad nafaqat folklor uslubidagi qoʻshiqlarni ommaga taqdim etish, balki turli xil musiqiy uslublar bilan tomoshabinlarni tanishtirish boʻlgan.

Ochiq mikrofonda musiqiy guruhlarning chiqishi. Phoenix, yanvar, 2015-yil.

Ochiq mikrofon tadbirlari odatda haftaning oʻrtalarida yoki dam olish kunlari, yaʼni hafta soʻnggida, bogʻlar va maydonlarda odamlar nisbatan kam boʻlgan yerlarda uyishtiriladi. Kamdan-kam hollarda muqaddas juma va shanba oqshomlari, dam olish kunlari mijozlar koʻproq toʻplanadigan yerlarda, shuningdek jonli ijro tinglash uchun buyurtma qilingan har qanday joyda tashkillashtirilishi mumkin. Buyuk Britaniyada ochiq mikrofon kechalari koʻpincha payshanba kunlari, baʼzan esa chorshanba kunlari boʻlib oʻtadi[4]. U yerda haligacha davom etib kelayotgan ochiq mikrofon uslubidagi eng mashhur musiqa tanlovlaridan biri – Open Mic UK. Buning vazivasi – muntazam ravishda yangi isteʼdodlarni kashf qilib borish. Ushbu tanlovga musiqaning deyarli barcha janrlaridan 10 000 dan ortiq ishtirokchi qatnashgan. Tanlovning bosh mukofoti £30 000 ni tashkil qiladi. Tomoshabinlardan ushbu konsertni kuzatish uchun oldindan roʻyxatdan oʻtib, konsert boshlanishidan oldin oʻz joylarini egallab olish talab qilinadi[5][6].

Qoʻshma Shtatlardagi eng mashhur ochiq mikrofon dasturlaridan biri – „Blues Night“ (Moviy Oqshom). Ushbu formatda, bar yoki klub maʼlum bir kechani „ochiq mikrofon blyuz kechasi“ sifatida odatda haftaning oʻrtalarida oʻtqizadi. Bar va klublar musiqachilar guruhini odatda gitara, bas, baraban, baʼzan esa klavishli musiqa asboblari bilan ham taʼminlab beradi. Qoʻshiqchilar, gitarachilar, garmon ijrochilari va sahnada oʻz mahoratini koʻrsatmoqchi boʻlgan boshqa musiqachilar bar egasi yoki masʼul shaxs yordamida roʻyxatdan oʻtishlari kerak boʻladi. Ushbu shaxsning asosiy vazifasi ijrochilarni koʻzdan kechirish, tanlash va buyurtma berish, ijrochilarni muloyimlik bilan sahnaga olib chiqish va oxirida kuzatib qoʻyishdan iborat.

Tanlangan qoʻshiqlar yetarlicha sodda boʻlishi lozim. Musiqachilar guruhi blyuz standartlaridan foydalangan holda ularni tayyorgarliksiz ijro eta olishlari kerak boʻladi. Qoʻshiqlar „12-bar fast shuffle in C“, „slow 12-bar blues in F“ yoki barcha tinglovchilarga tanish boʻlgan, yaʼni shunga oʻxshash tarzda ifodalangan holda eʼlon qilinishi mumkin. Qoʻshiqchilar odatda klavishlar, duhovoy asboblar (asosan saksafonlar) hamda turli xildagi zarbli cholgʻu asboblarini oʻzlari bilan olib yurishadi[7].

Komediya[tahrir | manbasini tahrirlash]

Stand-up ochiq mikrofon komediya kechasi

Stand-up komediya ochiq mikrofon kechalari koʻpincha alohida komediya klublarida oʻtkaziladi. Ammo faqat shu bilangina cheklanib qolmasdan, boshqa sahnalarda, masalan pubklublar, barlardagi alohida ajratilgan xonalarda, kitob doʻkonlarida, kollej kampuslarida, rok-klub hamda qahvaxonalarda tashkillashtirilishi mumkin[8][9][10][11]. Kamdan kam hollarda striptiz klublar[12] hamda komik kitob doʻkonlarida oʻtkaziladi[13][14]. Ehtimol komediya klublari maxsus salonga ega boʻlgan yagona ochiq mikrofon muassasasidir. Yaʼni u yerda tomoshabinlardan holi, sahnaga chiqishni kutayotgan ijrochilar uchun sahna orti maydoni mavjud[15].

Ochiq mikrofon kechalari yangi paydo boʻlgan qiziqchilarga oʻzlarining stand-up mashqlarini jonli auditoriyaga namoyish qilish imkonini beradi[28]. Odatiy ochiq mikrofon komediyalarida auditoriyadan ham talabgorlar chiqishlari mumkin[29][30]. Agar sahnaga chiquvchilar orasida voyaga yetmaganlar ham bor boʻlsa, ular klubga ota-onalari bilan kelishlari lozim[31]. Katta tajribaga ega qiziqchilar ochiq mikrofonlardan yangi material yoki yangi qahramonni kashf qilish uchun bepul imkoniyat sifatida foydalanishlari mumkin[32][33]. Ochiq mikrofon komediya kechalari ingliz tilida soʻzlashadigan yirik shaharlarda keng tarqalgan. Asosan Boston, Chikago, London va Nyu-York kabi shaharlarda stand-up sahnalari mukammal tarzda tashkillashtirilgan. Stand-up qiziqchilari ochiq mikrofonlardan haq toʻlanadigan va toʻlanmaydigan ish imkoniyatlarini topishda bir vosita sifatida yoki doʻstlar orttirishda foydalanadilar[34][35][36][37].

„Auditoriya“ bu komediya shousini namoyish qilishdagi atama; yaʼni qiziqchilar tomoshabinlarni „auditoriyani oʻrganish“ qobiliyatiga qarab baholashi aytiladi[38][39]. „Auditoriyani oʻrganish“ — bu odamlarga vaziyatning dinamikasini tushunishga va oʻz xatti-harakatlarini bunga moslashtirishga yordam beradigan mahoratdir. U hozir boʻlgan odamlarni, ularning tana tilini, davom etayotgan suhbatlarni va umumiy atmosferani kuzatishni oʻz ichiga oladi. Stand-up shoulari uchun ajratilgan sahna maydonchasi mavjud va bunda industriya standarti sifatida kuchaytirgichli mikrofondan foydalaniladi[15][40][41]. Ochiq mikrofonlarda komediya uchun minimal talablar qoʻyilmaydi[42][43][44], ushbu format „namoyish qil va oq yoʻl“ deb nomlanadi[45]. Ochiq mikrofonda odatiy komediyalar uchun sahnada aktyorlarga 3-7 daqiqa vaqt ajratiladi[53]. Besh daqiqali dasturning tartibi taxminan uch daqiqalik materialni talab qiladi[54][55][56]. Namoyish etilgan barcha stand-up komediyalarida asl ijod, yaratuvchanlik boʻlishi lozim[57][58].

Ochiq mikrofon stand-up komediyasi olib boruvchisi „auditoriya“da koʻtarinki kayfiyatni saqlashda muhim rol oʻynaydi[59][60]. Mezbonlar iloji boricha tomoshabinlarni sahnaga yaqin joyga joylashtirishga harakat qiladilar, chunki bu tomoshabinlarning zavqlanishini maksimal darajada oshiradi va yumorning kuchayishiga olib keladi. Bu kabi shoularning biriga ayrim sharhlovchilar shunday izoh berishgan: „Komediya zalida joylashuvning qatʼiy tartibga solinishi tomoshabinlar uchun noqulaylik tugʻdiradi... Ammo tomoshabinlar koʻpincha boʻsh oʻrindiq qolmay, hamma joy toʻlgan vaziyatda koʻproq zavqlanishlari haqida gapirishadi. Aksincha, shou uchun oʻrinlar sotilmay qolsa va boʻsh joylar hamda stol, stullar koʻproq boʻlsa tomoshabinlar buni haqiqiy oʻyin-kulgi deya eʼtirof etishmaydi“[66]. Olib boruvchi roʻyxat boʻyicha ishtirokchini eʼlon qiladi va tomoshabinlardan uni olqishlab, qoʻllab-quvvatlab turishlarini soʻraydi[67][68][69]. Ochiq mikrofonlardagi ilk chiqish qiziqchini noqulay ahvolga solib qoʻyishi mumkin. Sababi tomoshabinlar koʻp hollarda yangi qiziqchilarni ilk chiqishdayoq „iliq“ qarshi olishmaydi[70][71].

Stand-uplarda odatda, tomoshabinga murojaat qilish uchun ikkinchi shaxsdan foydalaniladi[72]. 2011-yil yozuvchi Rob Durham ochiq mikrofon kechasining davomiyligi oʻrtacha 90 daqiqa boʻlishi va uzogʻi 15 ta aktdan oshmasligi kerakligini aytgan[73]. Ochiq mikrofon komediya kechalarida odatda tomoshabinlar 30 kishidan oshmaydi. Qiziqchi Hannibal Buressga koʻra, zaldagi tomoshabinlarning maksimal soni shuncha boʻladi[74]. Stand-uplarda ishtirokchilarning keyinchalik yana koʻrib chiqish va oʻz ustida ishlashlari uchun oʻz chiqishlarini kameraga yozib olishlari odatiy holdir[75][76]. Turli auditoriyalarning jamoaviy fikr-mulohazalari stand-up tartibini shakllantirishga sezilarli taʼsir koʻrsatadi[80].

Olib boruvchi vaqt tugashiga bir daqiqa qolganda chiroqni yoqib qiziqchini ogohlantiradi. Bu esa sahnadagi ishtirokchiga hazillarini tugatish uchun signal vazifasini bajaradi va bu „chiroqni yoqish“ deb nomlanadi[81][82]. Bugungi tezkor rivojlanib borayotgan zamonamizda tomoshabinlarni koʻzni qamashtiradigan darajadagi yoki yorqin yorugʻlik bilan chalgʻitmaslik uchun bu uyali telefon chirogʻi bilan amalga oshiriladi[83]. Agar qiziqchi bunga eʼtibor bermasdan belgilangan vaqtdan oʻtib ketib, sahnada hazillarini davom ettiraversa keyingi gal qiziqchiga oʻsha joyda chiqish qilish taqiqlanishi mumkin[82][84][85].

Ochiq mikrofon komediya kechalarining boshqa turlariga „booked“ va „bringer“ shoular ham kiradi. „Booked“ shoular oddiy formatga ega, ammo ijrochilar sahnani bir hafta yoki bir oy oldindan band qilib qoʻyishlari kerak boʻladi. „Bringer“ shoulari vitrin formatida namoyish etiladi, har bir ijrochi sahnaga chiqish vaqtini taʼminlash uchun oʻzlari bilan 5–15 kishini olib kelishi kerak (kirish toʻlovi va bir kishi boshiga ikkita ichimlik bilan), ammo bu koʻpchilikka ekspluatatsiya boʻlib tuyuladi[86].

Sheʼriyat, rep va notiqlik[tahrir | manbasini tahrirlash]

Little Grill restoranida sheʼr oʻqiyotgan shoir. Iyun, 2008-yil.

Ochiq mikrofon sheʼriyat kechalari yoki notiqlik kechalari asosan shoirlar, soʻz ustalari va tomoshabinlardan iborat boʻladi. Baʼzan ushbu kechalarda sheʼr oʻquvchilar yoki yozish boʻyicha koʻrsatma beruvchilar oldindan saralangan boʻladi. Lekin odatda ishtirok etishni istagan har bir kishi uchun roʻyxatdan oʻtish varaqasi mavjud. Sahnaga taklif qilingan ishtirokchi mikrofon oldiga kelib oʻz ijod namunasidan bir yoki ikkita oʻqib beradi[87]. Yozuvchilar ham yangi asarni tomoshabinlarda sinab koʻrish yoki mahalliy yozuvchilar hamjamiyati haqida koʻproq maʼlumot olish uchun ochiq mikrofonlarga tashrif buyurishlari mumkin. Boshqalar esa odatda faqat sheʼr tinglash uchun ochiq mikrofonlarga tashrif buyurishadi[87]. Ochiq mikrofon sheʼriyat yoki notiqlik kechalari tinch, osoyishta muhitdan tortib, hatto ishtirokchilar va tomoshabinlarning olqishlariga toʻla jonli seanslarga ham aylanadi. Ular odatda kutubxona, qahvaxona, kafe, kitob doʻkonlari va barlarda oʻtkaziladi.

Har bir shoir yoki soʻz ustasidan koʻpincha oʻz chiqishlarini minimal yoki belgilangan vaqt oraligʻida ushlab turishlari soʻraladi. Bu degani har bir ijrochiga oʻz asarlarini tomoshabinlar bilan baham koʻrish uchun yetarlicha vaqt beriladi. Olib boruvchi yoki bunga masʼul shaxs „saralovchi“ vazifasini bajaradi va qaysi ijrochilar tadbirga mos kelishini aniqlaydi. Agar ishtirokchi belgilangan muddatdan oshib ketsa, olib boruvchi diplomatik tarzda ijrochiga chiqishi uchun minnatdorchilik bildiradi va keyingi ijrochiga sahnani boʻshatib berishini soʻraydi.

Oʻzbekistonda ochiq mikrofon[tahrir | manbasini tahrirlash]

Sheʼriyat, musiqa, stand-up va boshqa adabiy kechalar Oʻzbekistonda koʻp tashkil qilinadi. Ijodkorlar orasida ijobiy qabul qilinib, eʼtibor qozongan bunday ijodiy oqshomlardan biri bu ochiq mikrofondir. Ochiq mikrofon ham mustaqil yosh ijodkorlar birlashmasi tomonidan erkin ijodiy muhitni shakllantirish maqsadida ijodiy kecha oʻlaroq tashkil qilingan. 2023-yilning avgust oylarida boshlangan boʻlib, daslab nazm va nasr yoʻnalishida ijod qiluvchilar qatnashgan. Keyinchalik qoʻshiqchi va musiqachilar ham sahnaga chiqarilgan. Shiori — „Oʻz ovozingni, ruhingni va soʻzingni kashf et“[88]. Bundan koʻzlangan maqsad yosh ijodkorlar orasida erkin ijodiy muhitni shakllantirish, ularni katta sahnaga tayyorlash va ijod muxlislarini bir joyga jamlashdan iborat edi. Dastur Toshkent shahri Chilonzor tumanida joylashgan Book.uz kitoblar doʻkonining yertoʻlasida boʻlib oʻtadi[89]. Uning ilk sonlari har hafta shanba oqshomlari boʻlib oʻtar edi. Keyinchalik bir oyda ikki marta, soʻng bir oyda bir marta uyushtiriladigan boʻldi. Shuningdek, loyiha ijtimoiy tarmoqlarda ham ziyolilar tomonidan keng muhokamaga sabab boʻldi[90].

Oʻzgarishlar[tahrir | manbasini tahrirlash]

„Open deck“ (bu yerda „deck“ DJ tomonidan ishlatiladigan aylanuvchi stol turi nazarda tutilyapti) va „open reel“ (bunda „reel“ 35 mm plyonkali gʻaltak nazarda tutilyapti) atamalari havaskorlar oʻz mahoratlarini sinab koʻrishi va tanqidlarni qabul qilishi uchun imkon beradigan ochiq mikrofon dasturlarida qoʻllaniladi. Zamonaviy kompyuterlarning yuqori darajadagi tahrirlash imkoniyatlari bilan birgalikda isteʼmolchilar uchun video texnologiyalar narxining pasayishi DJ va havaskor kino ijodkorlarining mashhurligini oshirishga imkon berdi. Biroq shunga qaramay bunday tadbirlar juda kam uchraydi.

Ishtirokchilar uchun imkoniyatlar[tahrir | manbasini tahrirlash]

Ochiq mikrofonlarda chiqish qilish barcha ishtirokchilar uchun, jumladan, musiqachi, qiziqchi, shoirlar uchun foydali boʻladi. Buning afzalliklardan biri oʻz ijodlarini boshqalarga ulashishidir. Bundan tashqari hali yangi boʻlgan qatnashchilar tajribalilari bilan tanishib, maslahatlashishi, nimadir oʻrganish imkoniga ham ega. Bunday aloqalar kelajakdagi ijodiy hamkorliklarni tashkil qilishda ham foydalidir. Ushbu kechalar tomoshabinlarga yangi va mahalliy isteʼdodlarni kashf qilish, yangicha uslubdagi ijod namunalari bilan tanishish imkonini beradi. Buning yana bir afzalliklaridan biri ijodiy faoliyatini endigina boshlaganlar uchun tajriba boʻladi. Anchadan beri bunday kechalarning ichida yurgan tajribalilar uchun esa kasbga aylanib ulgurgan. Umuman olganda, ochiq mikrofonlarda chiqish ishtirokchilarga sahnada oʻzini tutish, tomoshabinlarni jalb qiladigan ijod namunalarini ijro etish va bunining masʼuliyatlarini anglashga yordam beradi.

Yana qarang[tahrir | manbasini tahrirlash]

  • The Raving Poets (2000—2010-yillarda Kanadada oʻtkazilgan jonli musiqa va sheʼriyat kechasi)
  • Open Mic UK (2008-yildan beri Britaniyada oʻtkaziladigan musiqa tanlovi)

Manbalar[tahrir | manbasini tahrirlash]

  1. ↑ Zimmer, Ben. „How Should 'Microphone' be Abbreviated?“. The New York Times Magazine. New York: The New York Times Company (2010-yil 29-iyul). Qaraldi: 2020-yil 4-aprel. „Mike came first, documented from the early days of radio. In the June 1923 issue of 'The Wireless Age,' a photo caption of Samuel L. Rothafel...reads, ‘When you hear Roxy [Rothafel] talk about 'Mike' he means the microphone.’ This suggests the abbreviation arose as a kind of nickname, playfully anthropomorphizing the microphone as Mike. But by 1926, when the pioneering broadcaster Graham McNamee published his book ‘You're on the Air,’ mike appeared in lowercase, not as a name...Mic didn't begin appearing in written works for another few decades, first recorded by the Oxford English Dictionary in Al Berkman's 1961 ‘Singers' Glossary of Show Business Jargon.’ Berkman offered both mike and mic as possible clippings of microphone. Since then, mic has grown in popularity among those who work with recording equipment.“.
  2. ↑ „Open Mic Night – Everything You Need to Know“. vocalist.org.uk. Qaraldi: 23-avgust 2023-yil.
  3. ↑ „How Do Open Mic Nights Work: Expert Tips and Tricks Revealed“. cdunity.com. Qaraldi: 23-avgust 2023-yil.
  4. ↑ „Open Mic Finder Statistics“. Qaraldi: 2013-yil 23-fevral.
  5. ↑ „2010 Winners“. Open Mic UK. Qaraldi: 2011-yil 12-may.
  6. ↑ Almroth-Wright, Indy. „Twleve year-old 'Birdy' wins UK talent contest“. BBC (Hampshire) (2008-yil 6-dekabr). Qaraldi: 2011-yil 15-aprel.
  7. ↑ rayray „Phoenix Blues Jams“. www.rayrayblues.com.
  8. ↑ Lindfors, Antti (6 May 2019). "Cultivating Participation and the Varieties of Reflexivity in Stand-Up Comedy". Journal of Linguistic Anthropology 29 (3): 278. doi:10.1111/jola.12223. https://anthrosource.onlinelibrary.wiley.com/doi/pdf/10.1111/jola.12223. Qaraldi: 26 December 2020. "in Helsinki...so-called open mic clubs, which refers to organized events (usually in bars and pubs) where both established and beginning comics can try out new material as well as develop their standard routines through relatively short sets ranging from five to twenty minutes, in an environment (with live audience) specifically encouraging and framed for work-in-progress." Ochiq mikrofon]]
  9. ↑ Carter, Judy. The Comedy Bible: From Stand-up to Sitcom—The Comedy Writer's Ultimate How-To Guide. New York, NY: Simon & Schuster, 2001 — 66–67 bet. ISBN 978-0-7432-0125-4. 
  10. ↑ Bromley, Patrick „How to Break Into Stand-Up Comedy“. ThoughtCo.. Potdash (2018-yil 6-iyun). — „[Open mics] could be held anywhere, but are often found at bars, rock clubs, and coffee houses.“. Qaraldi: 2019-yil 22-mart.
  11. ↑ Durham, Rob. Don't Wear Shorts on Stage: the stand-up guide to comedy, Middletown, DE, 2011 — 16 bet. ISBN 9781468004847. „Each comedy club or bar has its own system for signing up for [an] open mic.“ 
  12. ↑ Isador, Graham „Comedians Tell Us the Most Epic Fails They've Seen at Open Mics“. VICE. VICE MEDIA LLC (2018-yil 2-may). — „The worst open mic I ever attended was at Zanzibar, a strip club in downtown Toronto.“. Qaraldi: 2019-yil 18-fevral.
  13. ↑ Master, Julian „An Aspiring Stand-Up Comic Shoots Empty Open Mics Across NYC“. VICE. VICE MEDIA LLC (2016-yil 2-aprel). Qaraldi: 2019-yil 18-fevral.
  14. ↑ Quirk, Sophie (November 2011). "Containing the Audience: The 'Room' in Stand-Up Comedy". Participations: Journal of Audience & Reception Studies 8 (2): 232. https://www.participations.org/Volume%208/Issue%202/2e%20Quirk.pdf. Qaraldi: 27 December 2020. "The more improvised spaces still tend to have high information rates [i.e., distracting stimuli that are not a part of the performance]" Ochiq mikrofon]]
  15. ↑ 15,0 15,1 Goffman, Erving. The Presentation of Self in Everyday Life. New York: Anchor Books: A Division of Random House, Inc., 1980 — 113, 119 bet. ISBN 978-0-385-094023. „In general...the back region will be the place where the performer can reliably expect that no member of the audience will intrude...back region tends to be defined as...all places out of range of 'live' microphones.“ 
  16. ↑ Quirk, Sophie (November 2011). "Containing the Audience: The 'Room' in Stand-Up Comedy". Participations: Journal of Audience & Reception Studies 8 (2): 220. https://www.participations.org/Volume%208/Issue%202/2e%20Quirk.pdf. Qaraldi: 4 January 2021. "It is the audience's cooperation which allows the act to succeed and they retain the right to undermine the interaction by withdrawing that cooperation" Ochiq mikrofon]]
  17. ↑ Smith, Daniel R. „Part I: Analytical[:] 2 The Professionalisation of Stand-Up Comedy: Coda“,. COMEDY AND CRITIQUE: Stand-up comedy and the professional Ethos of laughter, Bristol Shorts Research. UK: Bristol University Press, 2018 — 74 bet. ISBN 978-1-5292-0015-7. „Stand-up is the art of self relating to self in the presence of others.“ 
  18. ↑ 18,0 18,1 Smith, Daniel R. „Part II: Synthetic[:] 3 Representation: Stand-up: representing whom?“,. COMEDY AND CRITIQUE: Stand-up comedy and the professional Ethos of laughter, Bristol Shorts Research. UK: Bristol University Press, 2018 — 79 bet. ISBN 978-1-5292-0015-7. „[S]tand-up represents a three part relation in the aesthetic completion of the comedic exchange: attempted joke, laughter, confirmed joke.“ 
  19. ↑ Lindfors, Antti (6 May 2019). "Cultivating Participation and the Varieties of Reflexivity in Stand-Up Comedy". Journal of Linguistic Anthropology 29 (3): 279. doi:10.1111/jola.12223. https://anthrosource.onlinelibrary.wiley.com/doi/pdf/10.1111/jola.12223. Qaraldi: 26 December 2020. "First, stand-up is centered around public self-presentation and -reflection through verbal and nonverbal communication, that can be preliminarily described as a subjectifying mode of footing...Second, stand-up is a [sic] groupendeavor dependent on performer's abilities to reflexively accommodate assumptions of one's audience, or what comics metapragmatically designate as 'reading the room' and 'working the audience.'" Ochiq mikrofon]]
  20. ↑ Bromley, Patrick „Breaking Into Stand-Up: 10 Tips for Beginner Comedians“. ThoughtCo.. Potdash (2018-yil 13-aprel). — „It's a true 'learn-by-doing' art form, and you won't know what works (and what doesn't) until you've gotten on stage in front of an audience.“. Qaraldi: 2019-yil 22-mart.
  21. ↑ Lagatta, Eric „Budding, established comedians hone craft at open-mic nights“. The Columbus Dispatch. GateHouse Media, LLC. (2019-yil 21-mart). — „Most comedians see open-mic nights as a chance to test new material or refine their stage presence.“. 2021-yil 16-sentyabrda asl nusxadan arxivlangan. Qaraldi: 2019-yil 25-mart.
  22. ↑ Naessens, Edward David „Busting the Sad Clown Myth: From Cliché to Comic Stage Persona“,. The Dark Side of Stand-Up Comedy, Palgrave Studies in Comedy. United Kingdom: Springer Nature Switzerland AG: Palgrave Macmillan, 2020 — 228 bet. DOI:10.1007/978-3-030-37214-9_11. ISBN 978-3-030-37213-2. „comedians learn how and who to be onstage in significant part by watching other comedians and attending to the responses of audiences.“ 
  23. ↑ Brodie, Ian (2008). "Stand-up Comedy as a Genre of Intimacy". Ethnologies (Cape Breton University) 30 (2): 161. doi:10.7202/019950ar. https://id.erudit.org/iderudit/019950ar. Qaraldi: 15 September 2020. "Pauses, rhetorical questions, digressions, diversions, distractions, and long descriptive passages all are opportunities for the audience to react in an unanticipated manner and to shift (or pull) focus away from the performer." Ochiq mikrofon]]
  24. ↑ 24,0 24,1 Marchese, David. „Norm Macdonald Unloads on Modern Comedy, SNL, Fallon's Critics, Hillary, and Trump“. Vulture: Devouring Culture (2016-yil 23-sentyabr). Qaraldi: 2020-yil 27-dekabr. „On TV, every single joke kills. That's not what happens with stand-up. You have to earn every laugh. Another thing is that there's no room for interpretation in stand-up...with stand-up, it's all about getting that noise — getting that laugh. And it has to come for everyone at the same time. Everyone has to think the same thing at the same time.“.
  25. ↑ Brodie, Ian „Stand-Up Comedy and a Folkloristic Approach“,. A Vulgar Art: A New Approach to Stand-up Comedy. Jackson: University Press of Mississippi, 2014 — 36 bet. ISBN 978-1-62846-182-4. „At its core...is audience engagement: laughter is both the ends (the validation by the live audience of the comedian being found funny) and the means (data for the subsequent listener to consider in judging whether the comedian could be found funny).“ 
  26. ↑ Quirk, Sophie. Why Stand-up Matters: How Comedians Manipulate and Influence. New York: Bloomsbury Methuen Drama, 2015 — 97 bet. ISBN 978-1-4725-7893-8. „Cooperation between audience and speaker is vital“ 
  27. ↑ Borns, Betsy. Comic Lives: Inside the World of American Stand-up comedy. Simon & Schuster, Inc., 1987 — 163 bet. ISBN 0-671-62620-5. „In the beginning, most comics agree, the most important things are getting stage time, watching others work, and earning a living.“ 
  28. ↑ [16][17][18][19][20][21][22][23][24][25][26][27]
  29. ↑ Freeman, Zach. „10 reasons why Cole's is the best comedy open mic in Chicago“. Chicago Tribune (2019-yil 30-may). Qaraldi: 2020-yil 12-aprel. „If you've ever been to a typical open mic, you're probably a comedian yourself. In other words, the audiences can be sparse, and they're mostly waiting for their turn at the microphone.“.
  30. ↑ Fulford, Larry „The Complete and Utter Loss of Time“,. The Dark Side of Stand-Up Comedy, Palgrave Studies in Comedy. United Kingdom: Springer Nature Switzerland AG: Palgrave Macmillan, 2020 — 306–307 bet. DOI:10.1007/978-3-030-37214-9_16. ISBN 978-3-030-37213-2. „Sometimes bouncing from open mic to open mic, hitting two or three in a single night...comics who take the craft seriously are out [performing stand-up] almost every night“ 
  31. ↑ Batz, Bob Jr.. „A STAND-UP KID: Teen comic dreams of a wisecracking career“. Pittsburgh Post-Gazette (Post Gazette Staff Writer) (2003-yil 10-iyun). Qaraldi: 2019-yil 8-aprel.
  32. ↑ Oswalt, Patton „A Closed Letter to Myself About Thievery, Heckling and Rape Jokes“. Patton Oswalt (2014-yil 14-iyun). — „Open mikes are where, as a comedian, you're supposed to be allowed to fuck up.“. 2019-yil 4-martda asl nusxadan arxivlangan. Qaraldi: 2019-yil 3-fevral.
  33. ↑ Roberts, Rebecca Emlinger (2000). Tim Allen. "Standup Comedy and the Prerogative of Art". The Massachusetts Review (The Massachusetts Review, Inc.) 41 (2): 158, 159. https://archive.org/details/sim_massachusetts-review_summer-2000_41_2/page/158. "No laughter? Out then. Tim [Allen]’s willingness to change his act to suit his audience...The difference between Tim’s censoring of material and a poet’s censoring is elusive. Tim’s goal is to make money, that's one of his desires, but not his primary motivating desire. His drive as a comedian is to make people laugh." 
  34. ↑ Oliar, Dotan; Sprigman, Christopher (2008). "There's No Free Laugh (Anymore): The Emergence of Intellectual Property Norms and the Transformation of Stand-Up Comedy". Virginia Law Review 94 (8): 1816. https://www.jstor.org/stable/25470605. Qaraldi: 16 September 2020. "Connections to more established comedians are often helpful in finding work, and a good name and goodwill among fellow comedians is also a source of job opportunities." Ochiq mikrofon]]
  35. ↑ Bernstein, Mike (Director); Chris Gethard; Neal Brennan; Anna Akana; Sarah Silverman; Baron Vaughn. Laughing Matters [Motion Picture]. SoulPancake in association with Funny Or Die and Alpen Pictures.
  36. ↑ Goffman, Erving. The Presentation of Self in Everyday Life. New York: Anchor Books: A Division of Random House, Inc., 1980 — 16 bet. ISBN 978-0-385-094023. „When an individual or performer plays the same part to the same audience on different occasions, a social relationship is likely to arise.“ 
  37. ↑ Schaefer, Sara „Advice to a Young Comedian (& Myself)“. Sara Schaefer (2012-yil 16-mart). — „the next day, my friend who was also on the show ['in a theatre above a porn shop across from the Port Authority'], told me a scout from casting at Fox was in the audience and they wanted to meet with him.“. 2020-yil 24-fevralda asl nusxadan arxivlangan. Qaraldi: 2021-yil 14-fevral.
  38. ↑ Quirk, Sophie (November 2011). "Containing the Audience: The 'Room' in Stand-Up Comedy". Participations: Journal of Audience & Reception Studies 8 (2): 220. https://www.participations.org/Volume%208/Issue%202/2e%20Quirk.pdf. Qaraldi: 27 December 2020. "The term 'room' means more than just the physical space in which the performance takes place; it is the term used to summarise a combination of factors which include the nature of the space, the way that space is set up, the character of the audience and more." Ochiq mikrofon]]
  39. ↑ Lindfors, Antti (6 May 2019). "Cultivating Participation and the Varieties of Reflexivity in Stand-Up Comedy". Journal of Linguistic Anthropology 29 (3): 283. doi:10.1111/jola.12223. https://anthrosource.onlinelibrary.wiley.com/doi/pdf/10.1111/jola.12223. Qaraldi: 27 December 2020. "In the heat of real-time performance...comics can 'read the room' through jokes that are optimal for gauging their interlocutors' intellectual, moral, emotional, or other boundaries and preferences, e.g., through lowbrow, strategically ambiguous, or perhaps seemingly offensive bits." Ochiq mikrofon]]
  40. ↑ Brodie, Ian (2008). "Stand-up Comedy as a Genre of Intimacy". Ethnologies (Cape Breton University) 30 (2): 156–157. doi:10.7202/019950ar. https://id.erudit.org/iderudit/019950ar. Qaraldi: 15 September 2020. "[S]tand-up comedy...cannot exist without technological advances...what distinguishes it as a whole from other forms of verbal comedy, and where one can deduce its origins, is the advanced use of the microphone...antecedents and forebears are suggested ranging from the court jester to Mark Twain and Will Rogers. Such suggestions of ancestry are not without merits, but as a form or, more precisely, as an emic genre with an attendant set of expectations, including the dialogic properties...stand-up comedy, contemporary or otherwise, does not exist without amplification." Ochiq mikrofon]]
  41. ↑ Brodie, Ian „Stand-Up on Stage“,. A Vulgar Art: A New Approach to Stand-up Comedy. Jackson: University Press of Mississippi, 2014 — 49 bet. ISBN 978-1-62846-182-4. „Staging for the stand-up comedy performance is minimal. Typically, there is a stool, a microphone stand, and a neutral backdrop. The backdrop is either a blank wall (frequently brick) or a curtain.“ 
  42. ↑ Seizer, Susan (2011). "On the Uses of Obscenity in Live Stand-Up Comedy". Anthropological Quarterly (The George Washington University Institute for Ethnographic Research) 84 (1): 215–216. doi:10.1353/anq.2011.0001. https://archive.org/details/sim_anthropological-quarterly_winter-2011_84_1/page/215. "Another key feature of the minimal set up of stand-up is that it allows virtually anyone to do it. You don't need 'gear:'...neither do you need 'proof': a license, a training certificate, an academic degree. This democratic character allows live regional stand-up to showcase homegrown and working-class talent." 
  43. ↑ Mintz, Lawrence E. (Spring 1985). "Special Issue: American Humor". American Quarterly (The Johns Hopkins University Press) 37 (1): 71–72. doi:10.2307/2712763. https://www.asu.edu/courses/fms490bh/total-readings/L-1%20Standup%20Comedy%20as%20Social%20and%20Cultural%20Mediation.pdf. Qaraldi: 2 August 2020. "A strict, limiting definition of standup comedy would describe an encounter between a single, standing performer behaving comically and/or saying funny things directly to an audience, unsupported by very much in the way of costume, prop, setting, or dramatic vehicle. Yet standup comedy's roots are...entwined with rites, rituals, and dramatic experiences that are richer, more complex than this simple definition can embrace. We must...include seated storytellers, comic characterizations that employ costume and prop, team acts[,]...manifestations of standup comedy routines...such as skits, improvisational situations, and films...and television sitcoms...however our definition should stress relative directness of artist/audience communication and the proportional importance of comic behavior and comic dialogue versus the development of plot and situation" Ochiq mikrofon]]
  44. ↑ Naessens, Edward David „Busting the Sad Clown Myth: From Cliché to Comic Stage Persona“,. The Dark Side of Stand-Up Comedy, Palgrave Studies in Comedy. United Kingdom: Springer Nature Switzerland AG: Palgrave Macmillan, 2020 — 229 bet. DOI:10.1007/978-3-030-37214-9_11. ISBN 978-3-030-37213-2. „Novice stand-up comedians must introduce themselves, break the ice, and quickly provide background to audiences of strangers.“ 
  45. ↑ Martin, Sarah „Comedy Open Mic Formats & Etiquette“. Vocal. Jerrick Ventures LLC. — „Show and Go/Show Up...[t]his is most common type of open mic...[a]ll you have to do is show up...[and p]ut your name on the list“. Qaraldi: 2020-yil 4-aprel.
  46. ↑ Bunce, Alan. „What's So Funny, America?“. The Christian Science Monitor (1989-yil 13-yanvar). Qaraldi: 2019-yil 10-sentyabr. „Today kids come on[stage at open mics] for five minutes each and curse because of a poverty of language or because they've seen too many R-rated movies.“.
  47. ↑ „PDX Comedy Blog“. PDX Comedy Blog. Qaraldi: 2019-yil 18-fevral.
  48. ↑ Durham, Rob. Don't Wear Shorts on Stage: the stand-up guide to comedy, Middletown, DE, 2011 — 21 bet. ISBN 9781468004847. „[Y]ou'll get four or five minutes to perform.“ 
  49. ↑ Ball, Joseph „I Did Stand-Up Comedy For The First Time And Didn't Become A Punchline“. Indianapolis Monthly (2018-yil 25-iyul). — „Those three minutes felt like 30, in a good way“. Qaraldi: 2019-yil 25-mart.
  50. ↑ Luschei, Abby „Advice from five Salem comedians on getting started doing stand-up“. statesman journal. Part of the USA Today Network (2018-yil 25-iyul). — „Each comic gets five minutes“. Qaraldi: 2019-yil 25-mart.
  51. ↑ Neill, Geoffrey. Hitting Your Funny Bone: Writing Stand-up Comedy, and Other Things That Make You Swear, San Bernardino, CA, 22 December 2015 — Chapter 6 bet. ISBN 9781515180661. „(It's usually three to four minutes).“ 
  52. ↑ Brodie, Ian „Stand-Up Comedy Broadcasts“,. A Vulgar Art: A New Approach to Stand-up Comedy. Jackson: University Press of Mississippi, 2014 — 168 bet. ISBN 978-1-62846-182-4. „Open-mike nights at comedy clubs typically limit performances to five minutes.“ 
  53. ↑ [46][47][48][49][50][51][52]
  54. ↑ Durham, Rob. Don't Wear Shorts on Stage: the stand-up guide to comedy, Middletown, DE, 2011 — 9–10 bet. ISBN 9781468004847. „You need just three minutes of material...enough time to perform several jokes, get a few laughs, and then get off [the] stage.“ 
  55. ↑ Bienenstock, David „Bob Saget Helped Me Prepare for My Stand-Up Debut“ (Interview). VICE. VICE MEDIA LLC (2017-yil 20-noyabr). — „It's really just three to five minutes that you need to write and then hone“. Qaraldi: 2019-yil 18-fevral.
  56. ↑ 56,0 56,1 Goffman, Erving. The Presentation of Self in Everyday Life. New York: Anchor Books: A Division of Random House, Inc., 1980 — 16 bet. ISBN 978-0-385-094023. „The pre-established pattern of action which is unfolded during a performance and which may be presented or played through on other occasions may be called a 'part' or 'routine.'“ 
  57. ↑ Oliar, Dotan; Sprigman, Christopher (2008). "There's No Free Laugh (Anymore): The Emergence of Intellectual Property Norms and the Transformation of Stand-Up Comedy". Virginia Law Review 94 (8): 1830. https://www.jstor.org/stable/25470605. Qaraldi: 16 September 2020. "[T]he spirit of modern stand-up comedy...is focused on originality." Ochiq mikrofon]]
  58. ↑ Brodie, Ian. A Vulgar Art: A New Approach to Stand-up Comedy. Jackson: University Press of Mississippi, 2014 — 21 bet. ISBN 978-1-62846-182-4. „Stand-up comedy, being a contemporary, popular genre, is a genre of novelty, so one does not learn the canon so much as learn from it, locating oneself within a tradition not simply to continue it but to develop and add to it.“ 
  59. ↑ Keisalo, Marianna (2018). "The invention of gender in stand-up comedy: transgression and digression". Social Anthropology 26 (4): 555–556. doi:10.1111/1469-8676.12515. https://onlinelibrary.wiley.com/doi/pdf/10.1111/1469-8676.12515. Qaraldi: 1 February 2021. "[They] act as Masters of Ceremony, the club hosts who warm up the audience and introduce each comedian. This is a challenging job; the MC is responsible for maintaining the mood of the audience and adjusting it if necessary after each performance." Ochiq mikrofon]]
  60. ↑ Quirk, Sophie. Why Stand-up Matters: How Comedians Manipulate and Influence. New York: Bloomsbury Methuen Drama, 2015 — 108 bet. ISBN 978-1-4725-7893-8. „Here Mintz is deconstructing the complex process of 'warming up' the audience. This is not only a matter of relaxing the audience and ensuring that they are capable of producing laughter easily; the warm-up also allows the comedian to establish that comic license is in operation, and that all following statements are to be read within the safe bracket of the joke. Furthermore, the comedian asserts that the disparate collection of individuals in attendance is in fact a unified group with a shared consensus, thus allowing the group to feel secure in the knowledge that their laughter is acceptable to their peers, and any potentially risky value-judgments involved in the joking are shared with others.“ 
  61. ↑ Thomas, James M. (2015). "Laugh through it: Assembling difference in an American stand-up comedy club". Ethnography (Sage Publications, Ltd.) 16 (2): 174. doi:10.1177/1466138114534336. "Tightly arranged seating within the comedy room created physical discomfort for audience members...Yet audience members often talked about how much they enjoyed 'the feeling of a full house'...Conversely, when shows were not sold out and audience members had more room to spread out among empty tables and chairs, audience members were less likely to relate their experiences as one of entertainment or enjoyment." 
  62. ↑ Lindfors, Antti (6 May 2019). "Cultivating Participation and the Varieties of Reflexivity in Stand-Up Comedy". Journal of Linguistic Anthropology 29 (3): 277. doi:10.1111/jola.12223. https://anthrosource.onlinelibrary.wiley.com/doi/pdf/10.1111/jola.12223. Qaraldi: 26 December 2020. "Corroborating the communal reputation of the genre, stand-up trades on interpersonal resonance or what is called 'involvement' in sociolinguistics (Tannen 2007), where audience will (ideally) 'coauthor' the speech act by ritualized collective laughter (Duranti 1986)." Ochiq mikrofon]]
  63. ↑ Quirk, Sophie (November 2011). "Containing the Audience: The 'Room' in Stand-Up Comedy". Participations: Journal of Audience & Reception Studies (University of Kent, UK) 8 (2): 228. https://www.participations.org/Volume%208/Issue%202/2e%20Quirk.pdf. Qaraldi: 27 December 2020. "To produce laughter, an audience needs not only energy but also confidence. To laugh is pleasant, but can also be risky; to be caught laughing heartily when other audience members are silent could be embarrassing. Bergson describes the importance of camaraderie in laughter...It is therefore important that, as Brook intimates, the energy that causes laughter flows freely and easily between people." Ochiq mikrofon]]
  64. ↑ Lockyer, Sharon; Myers, Lynn (November 2011). "'It's About Expecting the Unexpected': Live Stand-up Comedy from the Audiences' Perspective". Participations: Journal of Audience & Reception Studies (Brunel University) 8 (2): 177. https://bura.brunel.ac.uk/bitstream/2438/8584/2/Fulltext.pdf. Qaraldi: 29 December 2020. "Respondents expressed that they enjoy the limited [spatial] distance between the audience and the stand-up comedian...Such explanations support Bennett's observation that the 'lessening of distance leads to fuller engagement with the spectator' (1997: 15). Although this reduced distance is important in all live performances, closeness and intimacy is especially important in standup comedy." Ochiq mikrofon]]
  65. ↑ Greene, Grace F. (2012). "Rhetoric in Comedy: How Comedians Use Persuasion and How Society Uses Comedians". The Corinthian: The Journal of Student Research at Georgia College 13 (11): 138. https://kb.gcsu.edu/cgi/viewcontent.cgi?article=1040&context=thecorinthian. Qaraldi: 26 January 2021. "[E]xpectancy violations theory is not particular to humor; it is a contemporary communication theory that can be applied to rhetorical situations. Expectancy violations theory is heavily based on the studies of personal space and proxemics, or the study of people’s use of space (Griffin, 2009). The key to the expectancy violations theory is the argument that when our expectations are violated, we have the choice of responding negatively or positively. A comic’s goal is to persuade his or her audience to respond positively to a violation of personal space or any other previously set expectation" Ochiq mikrofon]]
  66. ↑ [61][62][24][63][64][65]
  67. ↑ Rutter, Jason „Stand-up as interaction: Performance and Audience in Comedy Venues“. CORE. University of Salford: Institute for Social Research (1997). — „The presence of audience greeting, like audience applause, is a remarkably stable feature of opening sequences. Almost invariably the first thing a performer does is greet the audience. Although this greeting may take a variety of forms, it is an introduction. Usually the performer's entrance has been preceded by a short sequence from a compere who will have introduced the comedian and instigated a round of applause. [An] informal, at times quasi-conversational approach is used in which the performer gives the impression that they are opening up a dialogue with the audience.“. Qaraldi: 2020-yil 13-noyabr.
  68. ↑ Filani, Ibukun (2015). "Discourse types in stand-up comedy performances: an example of Nigerian stand-up comedy". European Journal of Humour Research 3 (1): 43–44. doi:10.7592/EJHR2015.3.1.filani. https://europeanjournalofhumour.org/index.php/ejhr/article/viewFile/74/pdf. Qaraldi: 4 January 2021. "Rutter (1997; 2000) cited in Scarpetta & Spagnolli (2009: 6) identify the following successive bits in British stand-up comedy: i. Introduction, in which the compere announces the comedian, evaluates him/her, and warms up the audience, whose responses to the compere accompany the entrance of the comedian on stage; ii. The comedian entrance, which overlaps with the audience applause. S/he starts with an opening in which s/he greets, comments, and trains the audience in the way to respond. These exchanges are used to orient the audience towards the nature of the routine and also to divert the audience attention from drinks and chats iii. The body of the show, which is made up of several joke-telling sequences iv. The closure, which is made up of a series of not necessarily funny utterances like the evaluation of the audience, a reintroduction of the comedian, and thanks that accompany her/his departure from the stage." Ochiq mikrofon]]
  69. ↑ Brodie, Ian „The Social Identity“,. A Vulgar Art: A New Approach to Stand-up Comedy. Jackson: University Press of Mississippi, 2014 — 85–86 bet. ISBN 978-1-62846-182-4. „[The] emcee asks that the extant personal goodwill between him- or herself and the audience be extended to these more or less unknown comedians...Rutter identifies six 'turns' evident in the compere's talk: contextualization (giving background details), framing of response (directing the audience to greet the comedian with a certain attitude), evaluation of comedian (commenting on performance skills), request for action (typically applause), introduction (naming), and audience applause (466).“ 
  70. ↑ Antoine, Katja (2016). "'Pushing the Edge' of Race and Gender Hegemonies through Stand-up Comedy: Performing Slavery as Anti-racist Critique". Etnofoor (Stichting Etnofoor) 28 (1): 41. https://www.jstor.org/stable/43823941. Qaraldi: 14 September 2020. "The first comic on stage carries the burden of 'building the energy in the room'. The comedians who follow in the line-up have to sustain it. Should someone fail at doing this and leave the audience 'cold', the next comic has to 'bring the energy back up'...Ideally [the comedians] arrive at a venue when the show starts in order to 'read' the audience. Reading the audience is a visual practice (What are the demographics?[)]...and an affective practice (How are they responding to the comic on stage?[)]...At the very least, comics will show up a few acts ahead of their own for that purpose. They have to know the energy of the room in order to work the crowd right." Ochiq mikrofon]]
  71. ↑ Gulman, Gary „Gary Gulman's Comedy Tips: The Complete Collection 366 bits of wisdom, advice, and encouragement from the stand-up veteran“. Vulture: Devouring Culture. NEW YORK MEDIA LLC. (2020-yil 26-mart). — „Tip No. 17: You’ve been killing every night. You’re not sure this is still a challenge. For the next few months, ask to go on first. It’s a great test of your act. The booker and host will love you for it.“. Qaraldi: 2020-yil 14-sentyabr.
  72. ↑ Tsang, Wai King; Wong, Matilda (2004). "Constructing a shared 'Hong Kong identity' in comic discourses". Discourse & Society (Sage Publications, Ltd.) 15 (6): 777. doi:10.1177/0957926504046504. https://www.jstor.org/stable/42888651. Qaraldi: 16 September 2020. "'I,' 'my,' 'me' as the comedian versus 'you' as the audience directly engages the audience in a dialogue." Ochiq mikrofon]]
  73. ↑ Durham, Rob. Don't Wear Shorts on Stage: the stand-up guide to comedy, Middletown, DE, 2011 — 20 bet. ISBN 9781468004847. „Open mic night really shouldn't have more than fifteen acts...[or] ninety minutes.“ 
  74. ↑ Hannibal Buress. Hannibal Buress: Advice for Comedians. The Atlantic. 3:12–3:22. „[M]ax, 30 people, 'cause that's the max people that should be at an open mic“
  75. ↑ Gulman, Gary „Gary Gulman's Comedy Tips: The Complete Collection 366 bits of wisdom, advice, and encouragement from the stand-up veteran“. Vulture: Devouring Culture. NEW YORK MEDIA LLC. (2020-yil 26-mart). — „Tip No. 1: Record Every Set...Record every set. The hard part: Listen to it, and transcribe everything you want to say again...This is especially helpful early on in your career, when you’re trying to build time.“. Qaraldi: 2020-yil 14-sentyabr.
  76. ↑ Naessens, Edward David „Busting the Sad Clown Myth: From Cliché to Comic Stage Persona“,. The Dark Side of Stand-Up Comedy, Palgrave Studies in Comedy. United Kingdom: Springer Nature Switzerland AG: Palgrave Macmillan, 2020 — 244 bet. DOI:10.1007/978-3-030-37214-9_11. ISBN 978-3-030-37213-2. „He explained to me the importance of recording every gig.“ 
  77. ↑ Kornelis, Chris. „Stand-Up Comics Find It Isn't Funny Writing Without an Audience“. The Wall Street Journal (2020-yil 25-avgust). Qaraldi: 2020-yil 25-dekabr. „How does a comedian know if something is funny? The audience tells [the stand-up comedian through a call and response with laughter].“.
  78. ↑ Wuster, Tracy (2006). "Comedy Jokes: Steve Martin and the Limits of Stand-Up Comedy". Studies in American Humor (American Humor Studies Association) (14): 25. "Stand-up comedy is a unique form of performance in that the reaction of the audience is an integral part of the success or failure of each individual performance." 
  79. ↑ Roberts, Rebecca Emlinger (2000). Tim Allen. "Standup Comedy and the Prerogative of Art". The Massachusetts Review (The Massachusetts Review, Inc.) 41 (2): 158, 159. https://archive.org/details/sim_massachusetts-review_summer-2000_41_2/page/158. "No laughter? Out then. Tim [Allen]'s willingness to change his act to suit his audience...The difference between Tim's censoring of material and a poet's censoring is elusive. Tim's goal is to make money, that's one of his desires, but not his primary motivating desire. His drive as a comedian is to make people laugh." 
  80. ↑ [77][18][78][79][56]
  81. ↑ Durham, Rob. Don't Wear Shorts on Stage: the stand-up guide to comedy, Middletown, DE, 2011 — 21 bet. ISBN 9781468004847. „The light will normally be flashed when you have one minute left in your set.“ 
  82. ↑ 82,0 82,1 Ewing, Creig „The secret to comedy? Time... hard work“. LEO Weekly (2018-yil 25-iyul). — „Usually the host will shine a light to let the comedian know a minute is left. If you keep going, it's called blowing the light, and it is a sin.“. Qaraldi: 2019-yil 25-mart.
  83. ↑ Lagatta, Eric „Budding, established comedians hone craft at open-mic nights“. The Columbus Dispatch. GateHouse Media, LLC. (2019-yil 21-mart). — „Any comic nearing the time limit would face a warning: Moore waving his cell-phone flashlight.“. 2021-yil 16-sentyabrda asl nusxadan arxivlangan. Qaraldi: 2019-yil 25-mart.
  84. ↑ Borns, Betsy. Comic Lives: Inside the World of American Stand-up comedy. Simon & Schuster, Inc., 1987 — 179 bet. ISBN 0-671-62620-5. „Staying onstage longer than their allotted time is, along with joke stealing, one of the most grievous offense a stand-up can commit.“ 
  85. ↑ Neill, Geoffrey. Hitting Your Funny Bone: Writing Stand-up Comedy, and Other Things That Make You Swear, San Bernardino, CA, 22 December 2015 — Chapter 6 bet. ISBN 9781515180661. 
  86. ↑ Kelly-Clyne, Luke „I Want Out: How to Leave the Boring Job You Don't Like and Start Your Comedy Career“. Vulture: Devouring Culture. NEW YORK MEDIA LLC. (2018-yil 20-sentyabr). — „In order to get stage time at [bringer shows]...you [have to] bring...5 to 15 friends, each of whom must show up and agree to buy at least two drinks...Some people think bringers are a scam, and they kind of are. They're a cash grab for club owners“. Qaraldi: 2020-yil 4-aprel.
  87. ↑ 87,0 87,1 Poets, Academy of American „Read a poem at an open mic | Academy of American Poets“. poets.org. Qaraldi: 2020-yil 28-iyun.
  88. ↑ „"Ochiq mikrofon" she'riyat va nasr tadbiri“. Afisha.uz. Qaraldi: 16-mart 2024-yil.
  89. ↑ „Tor doiradan keng adabiyotga. Erkin davra, yoqimli muhit va tabiiylik taassurotlari“. Oyina.uz. Qaraldi: 16-mart 2024-yil.
  90. ↑ „Yertoʻlada oʻqilayotgan adabiyot. Oʻzbekistonda yangi adabiy loyiha boshlandi“. Oyina.uz. Qaraldi: 16-mart 2024-yil.

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