#helitzer

[chicinsilk]

US Vogue May 15, 1956

Green silk chiffon blouse with a cowl neck: a Dior idea adapted by Helitzer. Tiffany diamond necklace—a total of 82 blazing carats. Hairstyle by Enrico Caruso.

Chemisier en mousseline de soie verte à col bénitier : une idée Dior adaptée par Helitzer. Collier de diamants Tiffany – un total de 82 carats flamboyants. Coiffure d'Enrico Caruso.

Photo Irving Penn

[chicinsilk]

US Vogue April 15, 1955

Catherine McManus wears a small cape in Canadian pale gold fox, shade "Sunbeam". By Ritter Bros. Nylon chiffon skirt, by Helitzer. DuPont, by Helitzer. Skirt, Coro rhinestones, Wear-Right kidskin gloves.

Catherine McManus porte une petite cape en renard doré pâle canadien, teinte "Sunbeam". Par Ritter Bros. Jupe en mousseline de nylon, par Helitzer. Du Pont, par Helitzer. Jupe, strass Coro, gants en peau de chevreau Wear-Right. Photo Leombruno-Bodi vogue archive

[chicinsilk]

US Vogue October 15, 1957 ❤️❤️❤️❤️❤️

Blouses and skirt, by Helitzer. Stern & Stern Chiffon Blouses, The Skirt, Crompton Black Rayon Velvet.

Models/Modèles: Mary McLaughlin & Anne St. Marie.

Les chemisiers et la jupe, par Helitzer. Chemisiers en mousseline de soie Stern & Stern, La jupe, Velours de rayonne noir Crompton.

Photo Leombruno-Bodi

vogue archive

[hauniversitytumbles]

How to Identify your...Identity

As a performer you must know the personal and original profile that you want to exhibit.  Remember how consistency is so important to maintaining a stage presence?  This is the first step to writing material you want to perform.

"Only after you know your audience and the characteristics of about the performer's persona that need to be consistent, are you ready to start writing material." - Helitzer and Shatz    

1. Wait for something to make you laugh in real life

2. Write down exactly what happened in your eyes 

3. Ask yourself, "Why did I laugh at that?"

4.????

5. Material...which should lead to Profit!

Step four is breaking down the elements that most likely have to do with surprise and/or incongruity.  Here are two main reasons why we laugh.

1. Because we were surprised

2. Because we feel superior

Let those factors be a stepping stone for breaking down the jokes and events you laugh the most at.  These jokes you enjoy will most resemble the identity you want to bring to the stage because it is directly related to what YOU think is funny.  From there you can build a character that represents the jokes you tell.  

[hauniversitytumbles]

The Map to Being a Successful Humorist - Mel Helitzer and Max Shatz

"The two qualities shared by all successful humorists are (a) consistency and (b) targeted material.  If you are consistent, you can make people laugh repeatedly-the ability to write funny isn't a one time thing."  (Helitzer and Shatz)

In Comedy Writing Secrets we look at the MAP acronym.  This stands for:

1. Material

2. Audience

3. Performer

 These three attributes must be balanced with each other in order to make a successful performance.  The material has to be geared towards the particular audience.  The audience must complement the material and performer.  "The performer has to present the right material to the right audience int he right way."  

The audience is the most important part of this acronym.  This is why most comedians have that humble feeling in the back of their minds at all times.  If it were not for the audience giving them legitimacy, they would be out of a career.  You must cater to this attribute before anything else.  

The second most important attribute is the performer itself.  Think about ghost writers.  They write material for comedians all the time because the performers can mold to fit that material.  He/she must adapt to material when they are performing onstage.  The other reason it's second is because the audience has to know who you and what you present "in the first thirty seconds" of your performance.  This 30 second period  lets the audience get comfortable with your comedic persona and eventually the rest of your act.  This is why consistency matters.    

The third attribute, material, comes last because while it is essential to the other two mentioned, it is dependent on your comedic persona and the audience you are delivering to.  "Only after you know your audience and the characteristics about the performer's persona that need to be consistent, are you ready to start writing material."

This is why so many people have troubling material when they start.  There is no focus!  That is the first step to writing material that can fit you and your audience is to channel the focus that you want to see onstage.  Think about all your favorite humorists.  Why are they appealing to you?  While you think about that, what is something you haven't seen on the stage before that you wish was there?  How can you provide it?  

[hauniversitytumbles]

A Note on Writing Comedy Professionally

“Opportunities are abound for humor writers, who can seek careers as syndicated columnists, speechwriters, greeting card writers, stand-up comedians, Internet and advertising copywriters, and screenwriters for TV sitcoms and film.”  - Helitzer and Shatz 

[eloquentandhonest]

Good humor is a paradox. The unexpected juxtaposition of the reasonable next to the unreasonable.

Helitzer