A short introduction from the editor:
These tips were not written for the KVN for Everyone website, so the vocabulary is sometimes tougher than it is customary here. But this happens in KVN, it's just that they don't show it on TV. Please do not read for hypersensitive persons, for everyone we post it as it is without edits.

How to play warm-up? how do you play warm up?

To play the warm-up, it needs to be trained. But do not kill yourself and your friends brain, but play for an hour before a rehearsal or an assault, as often as possible. We play like this, everyone tells me something, I choose the version, or I come up with it myself. Mutual understanding of the one who forms the final version with the one who runs to the microphone is very important.

Each team has its own secrets and tricks. General advice is:
1. don't go after the bolt. Any of the teams had a bolt, wait, after the bolt you will not enter.
2. don't go to the last question of the warm-up with controversial shit.
3. Do not be rude to the members of the jury.
4. be silent in a circle not on business.
5. let's do one thing - two-syllable versions.
6. start playing the warm-up before the warm-up for 10 minutes.
7. don't piss, try to get high.
8. Listen to other people's answers so you don't screw up with the same hat again.
9. Do not keep written rubbers, which pop up in your head, use those.
10. Choose the leader, and scold him only after you lost.

Ease and relaxation in the warm-up give training. Before the start of the assault, 15-20 minutes (this is without writing questions, you need at least 50 questions). It is better to play a warm-up game on the topic of warm-up, knowing the members of the jury, etc.. During the training, jokes, answers, constructions, universal excuses, rubber good blanks, which can then be brought up in a couple of seconds to the answer. There will be confidence. It will be found out which of the participants clutters up the gum with their “oh, you can think of a four-thread about Pushkin” or brings rubbish into the circle. Such people should be taken out of the circle, 1-2 warnings should be given, if they don’t improve, they should be removed.

And there is one more rule I invented. Don't answer the truth. Lie in the warm-up, moreover, immediately in the version issued by each. Because one of the most common mistakes is to answer a question, not to joke, but to answer, hardly funny, but, Iol, they answered. This is longing and UG. In the warm-up, you must always take risks, only determine in advance for yourself the degree and risk zones.

I'm not asking for advice, I just wanted to ask for a long time: where do the ideas of numbers come from (how are they born). especially delusional ones. here the MSA had a video about a bee. HOW can you come to this? can be on any specific example))

I will explain the bee horse specifically. There was a TK (creative task) for a video contest from Amik - a musical video, any music, but redone, own words, video - self-removal. It was in my kitchen at Garibaldi in Moscow, two weeks before the quarterfinals of the 2010 premiere. Bush arrived, sat down to think. The working option was computer game Mario, by analogy with Mortal, make another toy. The gags have already been sketched. But this is not a musical one, we tried to write the Mario song into words - the feces of the world, we decided to leave it for now and come up with something simpler. Music does not allow you to listen to the text, so fuck the music. This is how the idea of ​​an acapella song was born. And there are not so many known variants of acapella - this is how the horse appeared. We decided that the video sequence would be about a horse, a bee, then sausages appeared, there in general, the original versions were funny, maybe I’ll find it and post it. And then, in order for this nonsense to be funny, it was necessary to place absurd heroes in real conditions. For example, the streets of Moscow. Then a bunch of edits, and the result. Moreover, it can be made in a bunch of versions, because gags are easy to come up with, the video is always funny, because. reality. Nature.

and another question… do you have some kind of censor (in addition to editors) to whom you read a joke or show a number, and he makes a verdict: funny-not funny. Or are you independent in this regard and do not need a look from the outside?)

we don’t always listen to editors, but we have our own feelings. Most often, humor is tested on friends and relatives. Moreover, their assessment is not important - you could convey the idea incorrectly, pick up the wrong words, a person could misunderstand, in the wrong mood, of a different age. Your own assessment is important, because when you voice written humor for the first time, you understand much more about what is missing than the person opposite. Well, if it broke, then ololo - go ahead!

What is the right way or how would you advise to bring down the hello script?
Well, it is clear that each scenario is individual and depends a lot on the concept of the team, but still some general principles because there is. For example, the strongest at the beginning and at the end, etc.

I can advise the rule - the whole performance without sagging and 3-4 breaks per business card. The higher the level. the stronger the gaps. down to minute waves. First to the beginning, first-second joke. The second immediately after him, or through a joke to consolidate the effect. On them, slip the next average 2. Then the gap. Then the final number is a block monologue, then the last break. Then a smart thought, actually explaining who you are. But if you can put together such a performance and know how to determine whether it’s a bolt or a slack on a sheet or at a rehearsal, then you don’t need my advice.

There is another technique. It's not very funny to start, but it's interesting. For this, stupidity, pauses, paddocks are suitable. Thus, the bar for humor is lowered, but there is no disgust - because. interesting for a while (20 seconds), then steps, jokes, numbers start to rise and it gets funnier. This form of presentation can be broken later, unfolded, but it is always remembered. But this already requires more serious dramaturgy and is more risky. Vyatka business cards also belong to this part of the style. And the SLA was more constructive. That is, it is clear that the golden mean is in combinations. There is also the construction of a business card, based on the pace. First, a slow exit is set. Then the greeting-beginning - 1-2 jokes. Then very short miniatures with an ever-increasing tempo, with the same beat from the same melody, but from different parts, with development, as it were. By the word faster, I mean not the speed of speech, but the speed of the onset of the denouement. There should be three miniatures in such an "overclocking" block. The first one is short.

Oh, San, why do you have an mp3 player?

(PUSHES MANY TIMES ON THE IMAGINARY THING DANGING AROUND THE NECK) Is he catching blue tuff? DVD reads? is there wi-fi? Let me upload melodies to it?

- (GRUNCHING AND FALLING) It's a cardiac stimulant...
This one is short, the second one is even shorter. The third entry is longer, but the twist is the strongest of the three.
And after this booster block, you can at least have a short breeze, at least carapules, at least a number with a slow start ... Well, then, what was written ...

What is the principle of arranging jokes for biathlon?

Everything is easier in biathlon. It all depends. how many hundred-pound bolts do you think (better than tested ones), how many jokes are so-so (that is, it would be something to replace, would replace), and how many jokes a la nonsense (or stupid ones, they say about such nonsense). You have to set it like this. 1- Bolt. If the first two - bolt - bolt. And then the strongest in descending order. If in a biathlon circle they read 2 jokes, then it’s better to put a bolt - nonsense. If three, then the middle - bolt - nonsense. There is no such dope: Bolt - medium - Bolt. Take the bolts at the end is not necessary, better nonsense. Always have a couple of jokes more than required in order to divert the opponent to the penalty loop or just change the joke during the competition if the opponent had something similar, or realized that he wouldn’t come in today. But for this you need to have experience and iron balls. And it’s also very important everywhere, but especially in biathlon - not to stumble on a joke, even if the bolt still won’t go in.

And what assault methods can you advise or what do you use yourself?

Storms are of several types. At the very beginning of preparations and games or concerts, when they come up with the numbers themselves and the concept of competitions, a big assault with all their might is useful. It defines the lines that can be developed: a number about Lenin in confession, a sketch of the wedding of King Kong, etc.. There you can already storm in groups, working out the line, in twos, in threes. Do not rush - change. Then a report. Disperses, most effectively, for an hour. Then, when the number needs to be shot down, reduced to a ready-made version with a margin, this is done by one person - either the head author of the team, or the next in the author's adequacy-hierarchy after him. There's collective creativity nah. And if you have a team of three people, then everything is the same, but slower and in order. There are also classical assaults - for biathlon, jokes in blocks, when the serve is clear, etc. 4-7 people sit down. They take a sheet. Write at the top of the topic sheet. Each sheet has its own, if some topics need to be closed urgently or they are more important, there are two leaves for such a number or move. The first circle is given 15 minutes. Everyone is completely silent! They write jokes, preferably complete reprises, gags, turns, steps - everything that comes up in this number. Then they transmit. Then the same scheme of 5 more transmissions of 10 minutes each, so that in the end an hour of assault comes out, only a few can think effectively further. Then everyone smokes, the main author collects all the sheets, briefly runs through. Everyone gathers again, the head author reads out the sheets, in order, topic by topic. Achieve, discuss, mark funny. The main author picks up, drives in, collects the number. If somewhere there is not enough, and there are still rooms that need to be filled with "meat", the assault is repeated again. With reading and discussion, it takes 3 hours, more than 4 per day is unrealistic. The rest of the day is filled with rehearsals or oral assaults in groups. They diverge in 2-3 for one to two hours, each group must do a task on the ideas of new numbers.

And something about music. Can you tell me the number, if it's not difficult? What is the main thing there, what is the musical idea, how to find it?

Music number. There are several important points. 1. Who can sing? Not like in the courtyard or in karaoke, but in such a way that both the text is understandable and funny. 2. Who can write songs? The same principle. 3. Who knows how to play something?
And if no one answers all these questions, then the well-known problems of the kvnshchik come up - how to come up with a number, and then make it musical. This is how interviews with the band, carapules, etc. appear.
In fact, as elsewhere, one must do not what is required, but what is obtained. Musicality is everywhere - you can't sing - there are ditties, blues, rap formats where you can go on the text and comedy.
In any number, you should know what is the strong side of the team and show this side. Vyatka has text, and we are trying to do all the numbers, homework, stems so that the text is obeyed.
And further. Half of the effect of a number is often made by the music. The more hit and cult it is, the more likely it is to make a bang.

We need to collect all your messages here and publish the book "Guide to playing KVN from Raven")

weak for leadership. I describe only what worked before my eyes, or did not work. experienced mercenaries know more technologies, but young teams are always creative, so let it be ZhS - live tips)

The second part of the correspondence between me and the readers of the site, which I post. It is unrealistic to post all the questions and answers at once, there are about 50 pages. Why am I doing this? And where to put it?

In addition, there is no normal textbook on KVN, I don’t take into account the book of Marfin and Chivurin, there is a lot of useful stuff there, you need to read it, but it is about the theory of KVN, and most often practical solutions to problems are needed. I know about some of these solutions, and I share them with those who do not know yet. So to speak, a simulation experience. Vocabulary and everything else in questions, if possible, is preserved.

Kostya, do you write better in a team or alone?

I prefer to always write alone. And I think that any person works best alone. But there are moments, lines, dead ends, when one cannot break through, then a general assault. Or when we come up with a speech - intonations - for the heroes, if not a parody, you also need to hear and see. But in general, in most cases, screenwriting is a lone profession, because one story, one package of characters and the development of this plot lives only in the head that came up with it. In another head, it will already be different, so if you want the product to be yours, at least in the text and idea, then write it alone. KVN also gives rise to such a disease as the fear of writing alone. Be sure to lock yourself in the crowd, laugh, instead of taking on the topic, write off the network every two hours and come up with ideas from home. The crowd is less responsible, always 1-2 people pull everyone. Who are active and interested. But fun for everyone. I've become more efficient over the years than fun. Therefore, I participate in assaults only when, in some project, I need to break through to where I alone could not, or when I storm with the team, so that it also learns techniques.

What is the best game to play in Regional?

What the team is strong, so we must take. Write a lot of text - think about how to serve. You don't need a dumbass for this. Regional is no different from another league, if it's funny, people will laugh. Just try to be original. Will explain. If there are 6 teams playing, and one in red capes, then it will be remembered 5 times more than the rest initially. If it’s bad, nothing will save, but if it’s good, she will immediately be remembered and everyone will say that she has her own style. Instead of a red cape, there can be sitting on chairs, a semi-disabled character at the exit, threesome dancing on the beats, the presence of only two blondes on stage, etc. There has already been a lot, so you need to surprise. But the main thing is to mix. Therefore, originality should be strengthened by your team strengths, and don’t take the hell out of where, just to be original.

Hm. How can young KVN players develop a sense of humor to a level higher than “tits-pussies”?) Otherwise, in my opinion, this is exactly what they have problems with.

You need to write a lot, driving yourself into the KVN format for blackness and junk. Now KVN is the freshest humor, thanks to editing and the number of teams. You can also joke about boobs-pussies, but in youth there is no understanding of the facets, therefore better first 2 years do not go there at all. And watch other formats of humor - the Fry and Laurie show, Eddie Izzard, Monty Python, The Big Bang Theory, well, many projects. Watch a lot of KVN so that the structures of jokes are postponed. Try to move your vocabulary but write in a language that can be spoken. The number of words in a joke should be kept to a minimum for sufficient paradox transmission. No…I told myself. In short - whoever wants to, he will learn, here even talent can be compensated by perseverance to a certain level. Write a lot, write in different ways: general assaults, homework, livejournal jokes, alteration of songs, a story, a parody, a play, etc. Knowledge will not be superfluous, experience will still come in handy, and maybe, where it will bring, that your main purpose will be found, and with it the future profession.

How to work with editors and how, in principle, should a team behave in editing? Dump all the material at once or carry it gradually, starting from medium to strong?

Editors are people who want to help anyway. the injustice of their attitude is always subjective and is connected both with tastes for humor, and with the fact that in addition to helping you, they make a common product that your team fits into. So if you want to have best places in order of performance - push the editors - make the finale powerful and pretentious. And so for every moment, they are people everywhere. The main thing is to show them immediately the finished product or something as similar as possible to it, on the legs, of course. Moreover, cut into a normal size, because due to the effect of prolongation or congestion, you will lose some of the possibly funny jokes that came at the end, and attention has already dissipated. Don't be afraid, if you have a superbolt in the archives, they won't pass by it. By the way, also prepare a stock for sections, a stock for codes, for beginnings, for interruptions, for mass numbers, etc.. The demonstration on legs in the first stages of editing can be replaced by a demonstration of two authors who will convey the tempo and intonation.

Here, for example, since what year have you been playing, write?

I started playing at the end of 98 and writing from 99.

How to place gags in a video clip? What to pay attention to and what is the main? And in general, any advice on this competition, if not difficult ...

In the video contest different rules for different topics. An example is a music video contest. The main thing there is the choice of music and the development of the video sequence. An example is a horse and a bee of the SLA, where the music is removed so as not to interfere with the text and the video sequence, this case was described in this thread already. If a video contest is a story about a city, then you need text, you need to remove the music, and make the video to match the text. Gags are best placed on musical strong beats, the strongest at the ends of dramatic parts. Any work consists of 3 parts - plot, development, denouement, one way or another, they are in any business card, video or stem. It is in the most climactic places, most often at the end, of these parts that the strongest gags should be put. In addition to the code, there should be the main idea of ​​the video at the end. Gags should not describe what is said in a parallel-sounding joke, but simply be on the same topic. Except for the music, where the words describe the gag, it's funny if possible.

Breeze. how best to write. what topics to choose?

Breeze is a Kvnian invention and not very useful for personal development. It killed such a genre in kvna as a monologue. Meaningful, ideological, dramatic, therefore funny, requiring strong actors - text writers, and, as a result, developing. The breeze is a set of stone-faced jokes on one topic. Recently, the so-called "situational breezes" have proven their effectiveness. That is, one idea is given and steps are thrown at it. The idea could be "phrases you never want to hear in your life" or "yellow headlines". The trick is that due to the high density, the quality of each step is not necessarily a hundred pounds, there is a need for delirium in order to shock a person’s hearing and return attention to the breeze. And most importantly, even if every third one comes in, it will still be a bolt breeze. And to be able to make humor for different audiences, since two out of three are acceptable as risky, makes such a breeze universal for any hall. It unfolds like this. First come the steps that most accurately describe the situation, but not very short or two bolts. An example of “phrases” - Will you pay the bill for me? … Dear, I have some delay, along the way… An example of “yellow press” is just two short bolts, the most stereotyped on the subject of scandalous headlines. The standard requirements for the first steps are cleanliness and clarity. Then, increasing the pace, you can throw funny steps in different sequences, placing two hundred pounds in the text, so that if you read and don’t go, quickly slide onto such a bolt and continue to throw steps on the rise, then they will start to enter. And two steps to the end of the last bolt. In phrases like "Good!". In yellow - the most bomb, or two or three in a row are very funny, but not mega. Koda - a conclusion or a step that allows you to break the applause. In the case of phrases - "We'll be back" ... for the yellow one - a code-thought. Why did I analyze two examples, because in the first one a purely idea works, and in the second one still needs to write bolts. But all these are not monologues, since it is not an acting game that is required, but the most correct intonations when transmitting a text. There are other breezes, old-fashioned, where a man tells a story. A thread can be - one day in the life .... and by the hour. 8:00 am, 9:20 am… Could be a problem breeze — I don't understand, or I want to be mayor. You can figurative, Robin Hood today, Columbus - forgive me. These are already monologues, because there is empathy. A monologue will always fuck a breeze at the same lyric level but good acting.

Evil night. My question is: how did the Dark Army appear? How hard/easy was it to decide on a similar style? Something was already traced in the SLA, but still)

We came to Sochi, I took a break and showed my wife KVN, and Bush tried to find a team called SUO, and performed in the first round as SUO. That is, there was only the script, the concept and the Commander in my jacket. So to speak, they used the SLA rating. But in Sochi, it was no longer the SLA that was taken to the Premier, but Bush personally with his submission, and the idea of ​​a new team - the Army of Darkness. The name could be anything, it so happened that we were promised a warm homeland, and we became Vyatka again. And if you dig the idea further, then at first the phantomas was invented in 2005 - a cosmic image that is rude to those who have always wanted to. The idea was mine, the first fantomas was written together with Vovka Volkovysky. It immediately became clear that Bush would do it. He slightly tightened it, and made it more boorish, which is why he only won. At the same time, there was a project of the Fantomas team, only the generals should be in gray suits and black turtlenecks, all in black gloves, a couple of people had old-fashioned remote controls with an antenna, frizzy hair, combed back. Everything is like in the movie. But the idea is the same - to take over the world. There was nowhere to apply the idea. Fantômas was already spinning in clubs, and in Borscht. Then SO. Then Bush in Voronezh. And that's where it all came together. Army of Evil is a trend right now. look at all the big movie posters - take over the world, save the world, superheroes and comics.

Somehow it turns out that I am more rushing for some kind of space acceleration, which is at odds with the way of thinking of other team members. What would you recommend in this case?

As for your space going against the team's opinion, that's fine. Everyone wants to play in space, but everyone wants results and TV, where it is more difficult to break through with space.
I must say that I do not consider Vyatka's style to be cosmic. Now there is a trend not of space, but of conceptual projects - Voices, Vyatka, SOK, Gotha. The humor there is not cosmic, but ordinary or literary, but the concept is already deeper than just a KVN team. Playing conceptual KVN is more difficult, because. it requires a certain class in writing and acting experience.
And everything that is different from the cases is usually called space. In your case, sorry for the pun, inside the team you can come up with a cosmic image for the exit, a la Falcon or Demis, it may not become a central, but a memorable figure. think up for yourself, write down a walker (3 exits, where the last scrap or the funniest one). If it's funny, everyone will laugh; if it's not funny, it's your own fault. If you use this example to show your people that you understand what you are doing, then you will move them a little in your direction.

Good. (no matter how stupid it may sound.) We were looking for a concept as a team. And finally found. We call ourselves the most arrogant team. BUT. Very often we compare ourselves with the SLA and Vyatka. Something similar happens. So. Can you tell me what thread moves on the style of an impudent team? And how do you write a fully lined speech? Do you have any secrets?

I don’t quite understand what impudent is, and how it creates style. If impudence - to do everything wrong, but across - without sound, with your back to the audience, microphones reverse side hold, start with snot or from the middle. But there is a risk of being more original than laughing. In addition, the extreme degree of arrogance is rudeness, so there is a risk of going too far. A concept is good when it allows you to make ordinary things extraordinary. If you give an example of impudence here, it will be easier to make out.

2Well, we only played one game. The business card only stated that the most impudent. They said that the host did not announce us correctly ... In the stem, one said: "I'll announce it for now, but you take out the chairs. - I won't carry it, carry it yourself. -And I won't carry it." . "Come on, announce it! Did you take out the chairs? sit here and announce "well, like this, the whole stem, they say we don't have a stem and they showed it.
We are thinking of going out (by agreement with the leader) out of turn or something like that.
I would also like to say that they say we are gods, and behind the scenes are miserable little people, but immediately associations with the SLA ....
Here's what else we can say...

What you described is not arrogance, but conflict and stubbornness. A proud team, for that matter, touchy, but not insolent. And for sure, this is not the style of the team and not the concept, it's just a move on the game. There are millions of such moves:
1. let's choose who is the captain - why are you? I will not be under you, etc.
2. Why we are judged by the jury, and not we them ...
3. Why such a long business card, what to talk about so much, nothing happens ...
This style is called - we climb into any hole that we can reach.
The disadvantage of such moves is that it is a little unfunny, and immediately offensive and unjustified, immediately points down.
I already wrote that style should facilitate, insure, help, and not just be risky, original and cool.

As before, I respond online, usually within 2-3 days,

In September 2015, the author and founder of the Krasnodar KVN team "Vyatka" Konstantin Voronchikhin spoke unflatteringly about the team of the Kazakh team on his own website Voronlinch.ru.

Hello Konstantin! HSE Final 2010... don't you think that the Kazakhs deserve the championship? Business card, of course, with a couple of sags compared to Buck, but other contests (and especially stem) are much better than the rest (IMHO). So why do you think it's Buck and not them?

- Listen, how interesting is it for you to climb into some wilds of the Kvnovsky past, and even argue about it? Revisit the first seasons of the "Battle of Psychics" if you lack such intrigue in life. There's probably a lot of controversy there as well. And now briefly, with regards to the Kazakhs and LHC. All amik and editors were happy when the Kazakhs left, because it was the laziest of the teams. And Krasnodar by that time was already a machine of humor. Where are those Kazakhs now? To whom do they write? What shows are they on? And rednecks are everywhere. Those Kazakhs would never have won the final, because they had nothing to do with it, they are just a great background for any champions.

This statement caused a storm of discussions in the spaces of Kaznet, and such as Yaroslav Melekhin (source - Qostanay.tv) and Olzhas Rymbaev (in an interview for the newspaper) even commented on Voronchikhin's "accusations of laziness".

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Installation of KVN games. An invincible weapon of critics in the comments, a parable in tongues, a sword of Damocles hanging over an amik in frail teenage hands. So, the installation of the finale of the premiere pleased. Perhaps in certain scenes there were the usual jambs, but the overall feeling of the air for once is better than the game itself. Especially when we are talking about homework. There was no such reaction of the audience as in the fira, the sound was added. Vice versa. There was a slight feeling of awkwardness at the game, almost everything sagged for everyone, it didn’t go in - it was painful and labored. But on the air, something was cut, cleaned up, it became smoother, I even liked the place. In the business card, perhaps, only actors and loud cats were cut out by number - spitting and chicken cartilage did not enter the air. In general, hygienic censorship coincided with the reaction of the audience.

As a result, the opinion about a weak ending in the KVN environment is dominant today, although, I repeat, the broadcast does not prove this. Yes, don't tear, don't talk, don't burst the belly-heads of the audience, but finals are rare. The stakes are different, the hall is different, and the jury is different in the premiere. Well, just imagine that the entire number of topics, chips, nonsense and the depth of paradoxes are limited to what Navka will understand. In principle, this is a test for the layman. Nagiyev, of course, also did not measure comedy, but at least he has been brewing in KVN for a long time, he understands some things, and he loves things more insolently. And despite the fact that the final of the premiere is a test for compliance with the tower, it is also a monitoring of the knowledge gained in the premiere. And here is what this monitoring showed.

No one but the Actors and Shurochka moved anywhere. Not in the direction of the tower, not at all. Shurochka has shifted from purely everyday observers and strange old women to actual and formatted humor. The business card of the final is a confirmation of this. Yes, everything is not new, yes, there were no super-breaks, yes, in the final number, again, not themselves, but the guest stars were joking, but when compared with the eighth, they became more mature. The entertainer even said a joke, perhaps soon they will give him a funny one. Perhaps this is the ceiling for this cast or this concept without a concept. Perhaps an author's mistake, or editorial excesses, making videos at home is more than a strange idea for the final contest of the final game of the season. This is immediately permission for the jury members to put in as many as they want in order to bring out someone else as the winner.

Actors also show development, however, it is more false in them. It's in the archive. Even in the final they had numbers from the archive, just bad. Toward the beginning of the season, they did simpler things, but, having reached the final, they made a nest of absurdity there. I love this, but I want others to be happy next to you. In the business card in the hall, they began to enter only on the code. Even at the laugh marathon, the reaction was very uneven with a littered ending. They win on TV, half of their mini-humor, scattered throughout the action, simply does not have time to be read in the audience. Indeed, in the final, for the first time, more than one Navka came to see the premiere. The premier's hall is more provincial due to the massive number of team fans. Not trusting the Moscow audience, and doing the right thing, KVN distributes large portions of tickets among the teams. It must be said that the fans correct operation teams, come, however, a lot. Plus KVN workers, that is, there are almost no ordinary Moscow viewers. A little more at the end. But do not compare with the tower. And the provincial spectators, especially those rooting for their team, will not strain to understand what the Actors or Electroshock are carrying.

Actors, in general, do not play an actor's concept. More precisely, everything they do in support of their concept does not work. Revisit the cheetah. And they come in and it’s great to get long crazy pens tied to the concept by the source material. We take some kind of crack in the film, and piss in it until we get a river that brings jokes. A very comfortable and fresh format, accompanied by a light St. Petersburg flair. The front is a clear leader who drags, but the rest do not sag, having their own mules. That's why Electroshock is not in the tower. Without emphasizing the St. Petersburg background in any way, without giving birth to anything for the "other" members of the team, Vanya and Anya (forgive me if I confuse) did not turn into a battering ram, sweeping away everything in its path. In the business card, Electricshock makes a drum out of miniatures without playing on that field in any way. At least some scrap. Like, and now the miniature "a man announces a miniature" and further - in general, the miniatures lose to the actors' overclocking in terms of freshness and angle of fire. Miniature fire for all the years of the existence of KVN and Comedy destroyed 99% of comical situations, or even more. Electroshock is good at overclocking miniatures (such as a chair moved far away), but, apparently, they are hard to write, unlike the "teacher in a taxi", which their business card fills up with, and which even the Volzhans can show. Therefore, out of two St. Petersburg, the fresh one wins, and this is a shame, because the Vanya-Bogdan dul (and I hope Plyushki won’t win this season) would clearly decorate HSE-2019.

A strong duo does not make a strong team - this rule is confirmed by the Dudikovs. Yes, the couple continues to give out funny joke for the competition, but the rest of the team does not work. There is a simple tip. Let not father and son be substituted, but a team. Now the couple should come out in funny images and fight back with jokes from presenting the team. And you can do that the team takes a fresh actual number in the substituted props, makeup, extras, music, and the outgoing father and son panchami banter this phenomenon. For example, a team in black sings "the mood color is black", the Dudikovs come out and joke about Russian rap, Kikorov, Timati, Khabib and more. And the last number of the business card, on the contrary. This is simple advice. And a difficult piece of advice - look for more concepts, images - after all, you can change clothes for the rest of the team. And the line that the son is the boyfriend of the girl from the team can not be thrown as soon as she appeared. Miniatures are not as interesting to watch as a series about a shell-shocked family. Find their mother or sister. In your format, you understand how to write, now you need to think more formats. Including, in order to make good plot homework in home competitions, and not KOPs, modified for the conditions of the game.

A similar situation with the Thundercats. Yes, they learned how to write business cards from scratch, draining the entire archive in eighth. But they have learned to write not what the tower needs. They will laugh at them in the tower, Nikita will push through, they will make the greeting cheerful. But not winning. Because they have never pulled out a star, they have not speculated on patriotism or women, they have not gone beyond the images, they have tried nothing but humor, which means that they basically do not want to use cheating moves. However, the same Romeo and Juliet, for all its unfunnyness, is just pure cheating when you merge a world-famous cultural phenomenon with your goat seed. And due to this you get whists from the audience and the jury. They won the season, it seems to me, deservedly, I congratulate them, well done. But we will continue to spread them.

The fact that the homework turned out to be unfunny, and the business card is funny, suggests that you just need to play the homework differently. This problem, by the way, for all teams. I had a chance to work a little on the final, and here's what I noticed. Teams want homework to be played according to the business card rules. Consisted of only jokes, miniatures with minimal transitions. Therefore, the plots of all look crumpled and strange. The main thing in dramatic work, that is, in everything that is longer than one and a half minutes, this is history. Whatever shell you take, you need a story. The Actors team would be nice to team up with the Dramatists team. You even need to joke about the story, telling your story, and not just switch scenes with a remote control that has only two buttons: puns and nonsense.

The Dudikovs took a theme suitable for the images, and broke it in the very first sentence. Where are the Fathers and Children? Where is Kirsanov, where is Bazarov, why did you say that you are smart? That's what the audience and the jury think at this moment. Where is the clash of two positions expressed in the plot? What is the purpose of the heroes? And in the end, instead of dramaturgy, scenography. Instead of turning, people come out and go to the other side of the stage. Fighting static stupidity. Electric shock right there. What freshness in Friends? Not a single joke from that context, at least laughter behind the scenes, would have been beaten. Why Falcon? You are from St. Petersburg, he is from the Urals, as a result, the aroma of stylish St. Petersburg depression, which always emanated from Electroshock, turned into amber from a mixture of absinthe and cheburek.

Well, in the end, about unfulfilled favorites. Elista never got out of the mayor's shell, which obviously will not pull on four competitions in the tower. They were supposed to win, but leaked the business card, trying to pass off the enthusiasm for the text. Plus, Shurochka landed, who squeezed out all the applause that the audience had set aside in support of the teams, and not their humor. Automatically protecting the final teams from the new adult, unfamiliar and terrible jury with Vasilich at the head, the audience slapped Shurochka all the business card, regardless of the quality of the numbers. And when Elista came out, the hall was like “well, now, finally, we will not clap, but laugh,” and did not clap. And the Kalmyks decided to traditionally jump at the beginning, and then they put in a "teacher from vocational school", which is fi, then a long unfunny China, and now the business card almost passed without a bolt, and the hall became sad. The last number slightly raised, but the overall feeling is not corrected. The Electric Shock that followed only reinforced the feeling of the pit.

Summing up the season, we can say that once again, many smart teams, original formats fell into the clutches of the premiere, but in the end, no one is ready for the finals for the tower. So, maybe they shouldn't be trained for the tower in the season? Maybe make a superbowl where the top three teams in the tower play with three the best teams premieres at the Special Project. One competition for 10 minutes each, plus a warm-up, but this is already an adult hall, a tower hall, so to speak, acquaintance with the teams, strong rivals, dense editing. And finish the season with the jury, which sat the whole season, let the teams fool around in what they want and what they have material for. Make long business cards in the final, which should include a block of 10 biathlon jokes, evaluated separately. After the rope, KVN can withstand any perversion. The main thing is to move, develop, try. What I wish to all the finalists of the premiere. No fluff in Sochi. Break us!