Edward Aczel (pictured) assesses the mechanics behind live performance spaces...

In the age of the Social Network, 3D cinema and the virtual Avatar it's odd to think that the one thing that people seem to want more than ever is live performance. Where performers, of whatever description, entertain or impress crowds, of various sizes, with their own personal brand of talent. As the rest of society develops, it seems we just aren't going to move on from that basic human need. So I suppose it seems appropriate to try and summarise the best environment to experience the different arts and in particular, for me, comedy.

If you were going to see a virtuoso performance given by a great ballerina the best place to enjoy the spectacle will include a large stage, an ornate eighteenth century auditorium, and plenty of space for a large, but hidden, orchestra. Equally a Puccini Opera, or a Shakespearian play or a Beethoven Symphony, all as a prerequisite, need to be staged in the right environment. It is often forgotten the room matters. The quality and size of these theatres, opera houses and concert halls are often considered the mark of sophistication for any civilized city.

With the advent of the 20th Century, and the mass market - it seems the fame of any the artist requires them to perform in front of football stadium crowds. Both Music and Comedy have always had the advantage that they work well in "micro" as well as "macro". A singer with a guitar, or a comedian with a script can stand up in front of 25 people in a small room above a pub and still achieve the desired effect. It would be difficult to have a bash at a Bach cello concerto or a quick Swan Lake under similar circumstances.

So for any given comedian what is the perfect shape and size of room to play? or, perhaps, how long is a piece of string (?)... i.e. it varies from comedian to comedian. The more successful comedians amongst us would probably struggle with audiences below 1000 - where us "regular" comedians tend to get used to audiences of up to 120 and tend to be the most relaxed in these surroundings. Largely we are happy to perform anywhere. So I suppose it's worth working out which rooms have a near fatal defect from a comedy perspective. As I cannot, as yet, comment on the niceties of the Hammersmith Apollo or the MEN Arena, I have based my conclusions on the micro side of comedy:

- Rooms with no stage or microphone
- Stages which are too small and/or rickety (it can be distracting)
- Rooms which have pillars - visibly separating the audience
- Rooms where the audience are required to stand
- Large rooms with very high ceilings (or the aircraft hangar effect)
- Rooms where the audience sit on 3, 4 and 5(?) sides
- Rooms with limited lighting
- An open bar in the room or a similar distraction - such as a fruit machine
- A room which bar staff need to cross in order get to the kitchen (routinely)
- Rooms which aren't, in traditional terms, rooms. i.e. shops, parks or swimming pools.

In my time I have played all these types of rooms - the pleasure of my act has not always been well received in these rooms - I like to think based on the setting alone (and not me).

It's also worth noting there are certain types of audiences to avoid:

- Audience sizes of less than 9 people (dependent on circumstances) - or alternatively any audience size which could in the same way be defined as a routine business meeting.
- Audiences who are extremely drunk - and possibly collectively celebrating a future event for, i.e. a wedding.
- The wrong audience (difficult to know in advance - I see my act as strictly a niche market).
- Audiences which hate you (again... very difficult to know in advance).

Historically "Variety" was seen as the industry standard approach, where different types of act were mixed in together, from dancing cats to comedians to singers. Current convention states that combining a musical act with a comedy act is probably not a great idea. This is because each type of act is trying to achieve a slightly different kind of atmosphere from their audience. Comedy demands tension, interaction and complete concentration. Music often attempts remove inhibitions and ask the audience to get lost in the performance.

A good way of explaining this difference maybe to think about how a late night jazz band tries to change each individual audience member's mood. The melancholy music in a performance is meant to change the way you feel inside i.e. the response required is introverted as opposed comedies distinctly extrovert audience response.

When you see a film you see the finished article. Everything up to that point has been done for you. What you see is the combination of a script, casting, acting, and editing. Months of work is consolidated into the finished article. There is no requirement to analyse what problems, debates and compromises have been made to deliver to you the finished article, all you are asked to do is watch and be entertained (or not). Comedy trades off the same principle, you turn up, take your seat, watch the show - and then you laugh. A comedian works on his act for years, and understands how and when the performance needs to hit the mark.

Often we forget the room, often we feel responsible when things go badly, often all we want to do is please our crowds at any cost. There are some great rooms which have a life and energy of their own, many a great comedy club depends on its environment first and foremost.

In some ways there are no rules to making people laugh, however I do think dynamics of a good room can make a very big difference to what is possible or probable. We, comedians, are by no means virtuoso musicians or Shakespearian actors, our art is, however, a delicate one and a performance without laughter misses the point entirely - in these circumstances I blame the room (or myself... or the audience... or the weather... or another comedian... or the recession... etc).

Edward Aczel presents new show, "Edward Aczel Doesn't Exist", from 5th August to the 28th at 7.20pm at the Underbelly, Cowgate (Listing). Then touring nationally, 15th September to 21st October.

This article is courtesy of The View newspaper. Its free first edition wil be distributed across Edinburgh on Sunday 7th August.