| Ref No | BSUCA/OD/1/45 |
| Collection | Oliver Double Collection |
| Title | Tiernan Douieb interviewed by Oliver Double |
| Name of creator | Double, Oliver, 1965- |
| Date | 17/03/2012 |
| Duration | 47 min. 15 sec. |
| Extent | 1 sound disc (MiniDisc) (80min) |
| 1 audio file Broadcast WAVE Format (BWF) |
| Description | Tiernan Douieb interviewed by Oliver Double at the Gulbenkian Theatre, Canterbury, 17th March 2012. This interview was conducted by Double for his book 'Getting the Joke: The Inner Workings of Stand-Up Comedy', 2nd Edition (2014) .
[Interview summary]
[00.51] Tiernan talking about his Phone as a recording device. [2.23] Stand-up Comedy for children and the differences between kids comedy and adult comedy. [9.05] Looking like a children's entertainer. [11.04] Tiernan's background and running a comedy club. [13.43] Gigging in Scandinavia and frames of reference. [14.35] Transitioning from open slots to paid slots. [16.30] Being a comedy student at the University of Kent. [19.25] The split in comedy between being a DIY/Fringe comedian and Club comedian. [24.04] Concept shows. [25.12] Working with a comedy director. [28.01] Stand-up in relation with Theatre. [28.45] Moments of sadness and quietness in Stand-Up. [33.11] Twitter and Twitter comedy club. [40.35] The role of Politics in Comedy. [45.38] Josie Long's Alternative Reality Tour in Bedford and the necessity of paid gigs. [47.12] Recording ends.
[Analysis by Matthew Hoss]
- Using an IPhone or a Smartphone is handy to record a gig or an interview.
- The children in a comedy show are different to a normal gig- mainly with their enthusiasm. There is no aggression and they just want to take part. Even with their "heckles" are just trying to be included with the performance.
- You can't be strict with children but you must find the balance and you must appeal to them. That is the role of a child-friendly comedian.
- The response from children is less unified but there is a general hub-bub and splintering laugh.
- A kid comedian must be non-threatening to look at - or the kids won't trust them initially - (like Rich Hall).
- Being a Monkeyshine student lets you perform at students, but you must open up there range for the real-world. There are so many other demographics to play for - it is a frame of reference.
- The more the gig the more people will see you. It is a gradual build-up of becoming a full-time comic.
- Move the mic stand and open yourself up to the audience.
- Remember to be yourself - don't do material that which you DON'T believe in. Be yourself. The comedy course helps with this.
- The audience may not be "your crowd" but you have to make them your crowd. Any good comedian can play to any crowd. It makes you a better comic by doing as many gigs as possible.
- The Edinburgh hour is taking the audience with a joke.
- Paul Byrne as a comedy director. It helps with pace with shows and helps the outside eye to build the show.
- The 40 minute lull in an Edinburgh show. You can do your best material here or you can 'lull' yourself and lower your pace. Don't let them know it is.
- If your show is ALL Laughs, you will tire an audience out. You can hold an audience for much longer with moments of sadness.
- Twitter is a good medium to test material out - 140 characters allow you to edit the joke as much as possible.
- Politics affects audience.
- You have to do more than just preaching to the converted- try and change people's views. Let them come into
- Don't tell people what to do- but you have to raise questions. This way you will not seem preachy. |
| Notes | 1 MiniDisc, digitised to LPCM wave 24 bit 44.1kHz. Digitised using Sony Minidisc Deck MDS-JE53; Roland Edirol UA-25; Audacity 2.1.0. 2015-05-20. |
| Category | Audio recordings |
| Access conditions | Available for consultation at the University of Kent's Special Collections & Archives reading room, Templeman Library, University of Kent, Canterbury, CT2 7NU. Access is available via digital listening copies. The University of Kent acknowledges the intellectual property rights of those named as contributors in this recording and the rights of those not identified. |
| Copyright | Oliver Double; Tiernan Douieb |
| Level | Item |