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Comedy Sportz, a group invited to Luther College by SAC Events, preforms improve comedy during First Year Orientation week. Photo by Brandon Whitish.
"Thursday Night Jive," The opening band for the UMass comedy group "Thursday Night Live," plays for a crowd of students prior to the beginning of the show. -Photo by Alex Lindsay-
Third Thursday: LOL MIA
We got silly with local comedians from the Theater of Public Policy.
We took part in live museum label Mad Libs.
We created our own museum comics.
We embarked on a spontaneous “tour” guided by unexpected characters.
We took in the sweet jams of Hot Freaks and Apollo Cobra.
We hung around for in-gallery comedic performances and elevator improv games.
We recorded reactions to goofy prompts in the Funny Face photobooth.
Official Beer: Summit
Music Partner: Local Current from 89.3 The Current
Event partner: Theater of Public Policy
Divine Comedy 2010
Persona. Simone’s Body
Director: Krystian Lupa
The scandal that accompanied the premiere production (One of the actresses, Joanna Szczepkowska, rebelled against the director, showed her naked buttocks to the spectators, made a Nazi greeting gesture, and later long explored the meanings of this performance in the media), somehow overshadowed somehow the intentions of Krystian Lupa. And yet Simone’s Body is the second part of the Persona diptych. The play opens in the same space as the previous part: this time the sound stage, where Marilyn Monroe took shelter from the world, plays the role of the rehearsal stage, where a young, eccentric director is getting ready to put on a production on Simone Weil. The philosopher is to be played by a Bergmanesque character, Elizabeth Vogler, an actress who returns to the profession after 30 years of “silence”. The heroine doubts whether it is fair to make a play on Simone against her, with contempt for her theses, and disbelieving her honesty. Nevertheless, the rehearsals start, and the director and his collaborators provoke a long improvisation – a psychodrama especially for Elizabeth. It is as if a trip into the interior of one of the dreams described by Weil is to be a trap for the actress. It is to coerce her into an uncontrolled reaction, to kindle her senses, and to compromise her own perception of Christianity and the person of Weil.
As is his style, Lupa enters deeply into the intimacy of his actors, talks them into emotional transgressions, and provokes extreme situa-tions.
Photography: Grzegorz Ziemiański
I like his his small world observational comedy - serving suggestions on Super Noodles, home-made jam, dropping a CD and water-filters.
Latitude Festival
17th 20th July 2014
Lyndy Phillips
Keynote speaker, entertainer and humorist
Backed by over 20 years of experience, Lyndy knows how to get your group laughing with humorous stories, comedy sleight-of-hand and tons of audience participation. After all the laughing and fun, Lyndy can deliver a motivational or inspirational message. He guarantees clean entertainment and an enjoyable program with lasting positive side effects! www.larryweaver.com/magicians/corporate-magician
Think you can make people laugh? Our latest article tells you how you can setup a funny website like ours and share memes with the world! Read it at www.chucklebuzz.com/how-to-setup-your-own-comedy-website/...
© 2012 Tony Worrall
The "Comedy Carpet" featuring the catchphrases, jokes and names of more than 1000 comedians at the foot of Blackpool Tower in Lancashire
Divine Comedy 2010
Persona. Simone’s Body
Director: Krystian Lupa
The scandal that accompanied the premiere production (One of the actresses, Joanna Szczepkowska, rebelled against the director, showed her naked buttocks to the spectators, made a Nazi greeting gesture, and later long explored the meanings of this performance in the media), somehow overshadowed somehow the intentions of Krystian Lupa. And yet Simone’s Body is the second part of the Persona diptych. The play opens in the same space as the previous part: this time the sound stage, where Marilyn Monroe took shelter from the world, plays the role of the rehearsal stage, where a young, eccentric director is getting ready to put on a production on Simone Weil. The philosopher is to be played by a Bergmanesque character, Elizabeth Vogler, an actress who returns to the profession after 30 years of “silence”. The heroine doubts whether it is fair to make a play on Simone against her, with contempt for her theses, and disbelieving her honesty. Nevertheless, the rehearsals start, and the director and his collaborators provoke a long improvisation – a psychodrama especially for Elizabeth. It is as if a trip into the interior of one of the dreams described by Weil is to be a trap for the actress. It is to coerce her into an uncontrolled reaction, to kindle her senses, and to compromise her own perception of Christianity and the person of Weil.
As is his style, Lupa enters deeply into the intimacy of his actors, talks them into emotional transgressions, and provokes extreme situa-tions.
Photography: Grzegorz Ziemiański