Humour Ethnographic Observational Pilot Preparation Code: 3.00/12=9 Where: Club Environment (L1)/ External location (LxA).
Open space, few pillars blocking stage and overall quite impressive. First time in attendance. Professional comic  remarked many pub stages in Australia are set up with a bar of similar size, which remains open during performance, and where food service continues; only as one moves to theaters is a more formal environment introduced.
The open bar was successful and not distracting from the show.
Agencies pushing all talent, even when specific artist is asked for by name, was reported. This is in line with anecdotal stories at large, Sarah Silverman comes to mind as an example. The artist remained with this agent at this time.
Comedy club houses talent nearby and arranges transport to and from airport. Staff appear to be connected with the club directly, as an impending public holiday threatened to impede this service.
 made reference to the presence of security and handlers on larger/longer tours who ensure arrangements and deal with other practicalities (eg assemble of stage backing). These personnel travel with the tour. As expected, anecdotal evidence of many comics’ personalities being a mismatch to public persona were recounted.
It was pointed out that the bar is where most club finance comes from in these venues. One retelling painted a venue with a bar right next to the stage which was identified as a lesser design.
Show begins with an up beat music stab and strobes of coloured light on the stage, to draw attention of the audience. Audience are seated around and above at dining tables. The format begins with junior performers showcasing material guided by an MC.
Class H and Class K members identified. MC displayed impressive crowd control fluency. An inclusion technique disarmed audience members who where a heckler risk. This appeared to be instinct and is perhaps the consistent job of the MC.
MODEL FIT AND NOVEL OBSERVATIONS
HOPSMI appeared to predict methods most akin to mirth induction (as measured by laughter expression). Headliner performers used more of the RM’s predicted to be stronger, apparently on instinct. All closing lines employed a strong technique. This is perhaps explained by the techniques being observed from comic masters in both instances, if intrinsically.
It is apparent that later acts hold an advantage with regard to a better lubricated crowd, in addition to more developed material. It is predicted that at later night venues, this plying effect of the social lubricant would plateau and perhaps even reverse its beneficial effects. This may be especially so in cases where artists employ more cerebral and/or subtle styling alone.
Indeed; the low energy subtleties, but solid material, of the final act appeared to meet resistance at points very possibly due to this effect. By contrast, the exuberance and energetic nature of the headliner traversed both the apparently more sober and later more inebriated crowd with ease. By a similar token: the opening performances with weaker material (or perhaps less structured to be fluent) have a particularly difficult task.
Field notes would benefit from 1) A more structured pre journal format for an average number of (or room for all perhaps) RM’s and forms tally. 2) A highlighted rule for forms and methods when they are apparent wo tally (3) Power crosses for method demonstration which require attention beyond that of the TC. Since tally is semi arbitrary in count as a rough descriptor of current focus and by show; the cross may ultimately be a very important predictor of the development streams that a comic who continues to be successful may build upon.
Complete heckler handle map.
Inclusion of comic industry staff beyond performer alone may be of benefit for further direction. Robustness from an ‘in’ out group.
Also, tyring effects of researcher can not be ignored as potential confound. Grounded theory categories require no further sorting at this stage.
The most interesting comment was an observation  has had regarding the taming of the comic scene with “tea drinkers”. An observation supported anecdotally by veteran comedian peers. One tour  was the only traveler who partook in alcohol. However, upon further investigation, the presence of other substances was confirmed in all cases leading to an inadvertent support of H2 where as it opened as a potential block. It is further posited that future “tea drinkers” may be divided into ‘reformed’ and ‘medicated’. This is, of course, only a theory and has limitations in that such broad categories could indeed include all society. As such more development is needed. This may benefit from further targeted investigation in semi structured interview.
C-3pi not formally applied. Unstructured interview conducted in part at venue and continued at  apartment. As a case study, Hx performance, family performance Hx, safe affluent home with assistance given and ability to return at will, Kathy Griffin listed as a first response inspiration. Also Fiona O’lachlan. Cursory informal does not support H1 but does support H3.
This is not a review with hierarchy but rather an analysis of content. Though personal bias must be acknowledged on some call lines; the ultimate categories are not higher or lower than one another. Instead, they merely categorise for reference purposes in this research and the rest is up to personal taste. Even the bias calls are within limits that, it is the aim, will not be ultimately evident in a way that will effect test ret test reliability between investigators. This will be born out in the data.
 Form: SubC(G) Lead: PR/ST/Pols/SubC(G/P)/Wit Flank OG-Rel/Sport; ShkMnr SNS*PLANE
[A1] Form: S/U (C) Lead: Wit-r Flank: PolsMnr (Male Yth/Short Set)
[B1] Form: S/U (C) Lead: Pols-r/SelfDep Flank: Sk-r/ Wit-r/123/Obs/GP+PH/ST(poor response to some good concepts: no obvious cause)
[B2-SH] Form: S/U (C) Lead: Wit/Shk 123 Flank: 123(457)/Sk-r/
[LH] Form: DP/Ch/RF Lead: Wit/ QP/123 Flank: Silence/lm-Strngh (new use)/PH-Walk Thru/Obs (some undeveloped with intent for neural build unappreciated. Word play not for the late slot perhaps. )
H(x) – Hypothesised research questions being examined for further investigation.
Audience subclasses identify potential problems to the fluency of an act.
Class K – Celebration of birth or work function that is not a signature event (ie not 21st/30th ect).
Class H – Hens night.
 Is an A(2)-(1) with years of industry experience playing venues country wide.