Chapter 7 of 25 from Steve Martin

Delivery

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The difference is in the delivery. Steve offers techniques for pacing, physicality, and timing to help you hone those jokes you've written for the stage.

Topics include: Timing Your…Timing • Speak With Your Body • Stay Ahead of the Audience • Make It Look Spontaneous

The difference is in the delivery. Steve offers techniques for pacing, physicality, and timing to help you hone those jokes you've written for the stage.

Topics include: Timing Your…Timing • Speak With Your Body • Stay Ahead of the Audience • Make It Look Spontaneous

Steve Martin

Steve Martin Teaches Comedy

In 25 video lessons, Steve Martin teaches you everything from finding your comedic voice to nailing your act.

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A comedian walks into a classroom...

One of Steve’s first gigs was at the drive-in movies. When the audience liked a joke, they honked. In this class, Steve shares insights from performing for cars and humans over a 50-year career spanning sold-out arenas and blockbuster films. Learn how to find your voice, gather material, develop an act, and take your comedy to the next level.

Watch, listen, and learn as Steve Martin shares wisdom from his five decades in comedy.

A downloadable workbook accompanies the class with lesson recaps and supplemental materials.

Upload videos to get feedback from the class. Steve will also critique select student work.

Reviews

4.7
Students give MasterClass an average rating of 4.7 out of 5 stars.

So far so good! When and how does my banjo arrive? USPS or FedEx?

Thank you so much, for offering your time and wisdom. This is going to be amazing.

I am trained as a clinical psychologist and use storytelling as a therapeutic tool. I have enjoyed this MasterClass as I learned to think about the elements of comedy and succinctly expressing ideas.

So great! What I loved about it was that because Steve's such a good storyteller he makes each lesson an adventure.

Comments

ALICIA S.

I took a tv comedy class, timing and delivery are too important, but you’re in a group. So active listening is the assistant to timing. A comedian in front of an audience living fully in the moment would probably be much more difficult... And you write your own material. That seems gruesome. I applaud your career and accomplishments, Mr Steve Martin.

Nadine J.

I love how Steve Martin is just casually hanging out with us! He's so real. The part that struck me the most was this (hereby transcribed for y'all, you're welcome! ;)): 07:32 "Make it Look Spontaneous" "One of the things you have to learn in the theatre is called 'the illusion of the first time.' [As in] 'this is the first time I've said that.' "Make it look like the first time [you]'ve said that. And by the way, it's not that hard, because we see comedians all the time, we know they've said it a million times. But somehow if you can give it a little 'zing,' — you know, make it look like you're making it up, at that moment — people really respond to a feeling of spontaneity. You know, if they say, 'How much did you ad lib?' And you say [honestly, with point-blank stare], 'None,' they're a little disappointed. They're very excited about the idea of ad-lib. And if you look like you're riffing, that's a little bit of a plus. "When I watch Jerry Seinfeld, I know he's not riffing, because I know he's very precise. But it feels like it. It feels like he's just talking. Just talking and letting these thoughts come out. So I really admire that. And there's of course gradations of it. It can be just the tiniest little moment where you pretend, in a way, [it just] occurs to you. 'Specially, you know, in the middle of a jo—[interrupts himself]—you make it look easy. That's what you're supposed to do. You don't want 'em to say, 'Look how hard he's working.' [laughs] I am a writer not a comedian but I've noticed something similar in my short time writing for an audience, and also observing others do the same. People want a big of magic, they want to jump right into the action and not know too much about how it is done. Margaret Atwood said something like that in her writing Masterclass, i.e. we shouldn't be just "expressing ourselves," we should be "invoking." This seems to indicate use of a similar type of magic as the kind Steve Martin talks about, above. Holding the attention. All the masters seem to know how to do it. And I guess that comes with a lot of hard work and practice.

The Fool

Notice he was teaching stage performance as part of his stage performance, also how to create confidence in public: give your hands something to do. A flag, A flyer, A coupon. A cup. A glass. A gun. Now juggle!

KONRAD R.

The one thing I've noticed, over and over again with Mr.Martin is that his body is like a boat on unsteady waters as he speaks. It's somewhat clown like, somewhat drunk and or demented, but it sets the stage for the message he is delivering. I find this in Jim Carry two, the demented cable guy. You can laugh now. Imagine coming on stage with your own electric exit sign saying laugh and speaker with your own piped in laughs. It could be your security blanket hen it's dead silent, you can point at it and or ignore the audience for it being your narcissistic mirror and or child ( flash, insight ) It could be your little me puppet, whom the audience can attack while you are making your escape. "If you look like you are riffing it is a plus" Have you noticed that dogs and cats take surprises differently? Cats are so serious and on their prowl they loose track of reality, where as , Dog are in their own worlds and do things multiple times before they are clued in.. Both are riffs in a way, one is about getting so stretched out you are crazy, and the other is about being bewildered and stumbling back towards reality. My dog is like this, he is like an ADD squirrel whom forget where he buries his nuts. His bones are in more places than mob victims, and it's priceless when you see the glow of realization in his eyes when he's liking his nuts, "I forgot where I buried my bone, oh shit"!

Kevin K.

Steve Martin is my favorite standup comedian of all time. I had his albums, listened to them over and over and over (and over) watched him on SNL and in his movies and anything else he'd do... I can guess which bits he's going to use as illustrations in each lesson because I know his stuff so well. This is such a fun class because, as others have said, Mr. Martin is humble and interesting and low-key, and taking the class is like having coffee with him and learning comedy from the very best there is. Love it! The class sessions go by so quickly, it seems like they're over as soon as they begin 'cause I'm having so much fun.

Michael A. G.

I love this class you feel so comfortable. It's like having coffee with a friend and getting so much help at the same time.

Natalie F.

What a sweetheart I just love this guy! Having a personality this pure and kind is so helpful because it just makes people want to laugh before they even know the punch line. He's truly an amazing artist and person.

A fellow student

This man is so humble and easy to watch. I love the way he points to his own insecurities and explains the nuances of comedy. he's a Master !!

Seth B.

In professional speaking and training, I've used the principles of tempo and rhythm to keep the class engaged. Intentionally disrupting the flow of the content with: 1. Slowing the pace of speech 2. Changing tone of voice 3. Using occasional colorful language (this is risky in the setting but can be very effective) 4. Varying the emotional tone... bring in dark, carefree, somber, enthusiastic and stern moments I got a lot out of this lesson: - Using the body to make the point - Pass the audience intentionally - "The Illusion of the First Time"

Margaret M.

Steve makes these lectures feel spontaneous. Love the old performance clips!

Transcript

The difference between a good joke and a great joke is really nothing. It varies from night to night. Your good joke can become a great joke one night. And a great joke, you know, kind of-- kind of does stand on its own, but, you know, I was thinking of the line, it's credited to Groucho Marx, who said, I would never be a member of a club who would have me as a member. Something like that. I'm paraphrasing. And if you look at it written it's sort of an epigram, and it's amusing. But I started thinking, like, if you put that line in the mouth of another comedian it utterly changes. If you gave it to Chris Rock he'd go, I joined a club, and they let me in. And I-- stop-- I don't know how to be in that club. No way! You know, it would just change everything. And you just think about that. I'm not an impressionist, so, you know, I started to go through how different people would say it, and how that line would be fantastic, or epigrammatic, or just dry. And it's so much-- so much is wrapped up in delivery. [MUSIC PLAYING] I used to do a joke in my act, which was a little inside early on. I would say-- arrogantly I would say, I-- you know, I said, you're probably thinking, how can you be so funny? And I said, well I have the gift that many comedians have and that is called timing. Timing. Timing. Sorry. Timing. And then Carol Carol Burnett had one that she did where-- it takes two people to do it, and she would say-- he would say-- she would say, ask me what the secret of comedy is? And the person would go, what's the secret-- she'd go, timing. So it' probably through a negative example that's more clearly understand what a positive example is. You know, timing in comedy is a word that's thrown around a lot. And when I was younger it was a very big word because Jack Benny was considered, you know, the expert on timing. And all it meant is he knew when to pause, and he knew when to talk, and he knew that he could do nothing and increase a laugh. I mean, he had a great gesture. If he was talking to his character and they'd say something, and he would just turn to camera, or turn to the audience and look, and turn back, and it could extend that laugh. And The most obvious kind of timing is waiting for the laugh to be over, and knowing when to start it up again. But you don't say your next line while they're still laughing, because they can't hear it. But you don't want the laugh to be-- to completely die out before you start talking again. So there's just a moment that's instinctive, I think, for performers when-- you know, when to start again. And there's also timing-- inherent timing within a sentence. I mean, it's also your pattern of speech, like if-- I used to do a joke on our show. I travelled around with a Bluegrass band. I would say, I was backstage. I went into the restroom and there was a sign t...