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16 Nov 2016
In an actor's training, the principles of comedy are seldom given their deserved attention. One good reason is always that comedy, unlike drama, demands a far more disciplined, stylized, precise performance, and also the resulting complexities help it become both challenging to fully comprehend, to do, basically, to teach. This chapter cannot cover each of the complex portions of comedy, but it'll attempt to simplify them to make them understandable. Come about here can be to supply you with a foothold about the basic comedy techniques, their terminology's, the instruments and skills you have, with the principles that govern comedy performances.

So how exactly does comedy work? Would you dissect humor and explain this phenomenon called laughter?

My approach, presented through these postings, would be to analyze what is happening in the mind of the audience. To take a look more on the changes occurring inside the audience and also the reasons for them. Via these studies, we realize that this audience, like a group, behaves you might say governed by certain physiological and psychological principles. Because as soon as the actors understand what is going on on the market from the audience, they are able to create, adjust, or change the presentation in order that the style, look, and perspective is in conjuction with the story elements and it is purpose. Through this, the acting ensemble can achieve the desired results whether it's drama or comedy.

Many look on comedy as soliciting laughter, but comedy will be the medium through which the type, the situations, as well as the story become more active inside a realm of humor. It's still storytelling and it still has a purpose, a premise, presenting arguments and revealing truth. However it is carried out a unique style, with lighter touches, broader strokes, nevertheless, like drama, somehow reflecting the periods and talking with our way of life.

One of many key considerations based on the audience is placed ahead of time the appearance of the performance. Some little business, behavior, or dialogue must reveal that here are some will probably be comedy. Something indicating we intend to have fun and that the amount of reality is destined to be distorted, unbalanced, and stretched somewhat (or a lot).

Even though doing a scene purchased from a comedy play or screenplay, it's best to establish the genre with the opening with the scene. By doing this, you set the target audience in the proper perspective and provide them permission to laugh. That is most effectively achieved with behavior, attitude, as well as other non-verbal communication, simply because this will convey the genre more convincingly and quickly than would dialogue. This initial bit is usually referred to as the grabber since it pulls the crowd in to the celebration and sets a bad for comedy. And because the story unfolds, these initial moments help establish the plausibility for the outlandish situation that follows.

In first reading and analyzing a comedy play or scene, the first is planning to focus mainly about the humorous payoffs, the punch lines, or jokes, and thereby base their interpretation solely on playing for that laughs. In doing so, the story elements suffer and weakens the idea or premise in the play. The performance gets to be a compilation of comedy sketches with little holding them together.

Comedy, at its best, happens from the dramatic truth in the situation. A character has an obstacle to conquer, an association to make, or even a must be satisfied. So when that's expressed, clearly, emphatically with conviction, the viewers laughter gets to be a kind of celebration.

It now grows more than jokes. There's a solid a feeling of reality, during one of the most outrageous situations. The viewers likes you the characters simply because they believe the character's needs and feelings are true. It may seem silly, nevertheless its serious silliness, for that audience has become involved in the story and also the dilemmas from the characters.

Might know about sometimes forget is that in every single humorous interaction, there are three essential components. First could be the humorous material itself, the storyplot and its characters, the funny ideas, the hilarious situations, or jokes. The second thing is the medium whereby it can be conveyed whether it's a book that is read, actors performing a play, or someone telling or retelling fiction. The next component is the audience, the folks which the humorous materials are conveyed via among the various mediums.

Each of these components is inter-related by basics that make comedy work. Humor depends upon some shared context, a shared knowledge of social rules, customs of society, nuances of its language and behavior.

Therefore, the comic material has to be relevant to the viewers or, somehow, the viewers should be familiar with the subject matter. In like manner, the comic material have to be conveyed clearly to the audience and understood as humor to get funny. The actor/character, who conveys this fabric, likewise, should be perceived with shared familiarity to make a common ground and also a a sense reality.

The success of humor depends on how well these three components connect.

When a few of those components are missing, comedy isn't likely. Consider what can happen if the joke fell in an empty theatre. Would there nevertheless be laughter? No. Comedy becomes possible when relevant comic materials are clearly conveyed with a receptive audience by familiar, identifiable characters.

Therefore, you will find a general understanding of the constituents that must maintain location to make comedy work. Next, let's look into the specifics as to how comedy is constructed. The key enjoyment in this genre, of course, will be the laughter which will come because of the situations, the punch lines or payoffs. However, to generate these surprises work, the audience needs to be led in the trap.

What this means is luring the audience right into a proper state of mind that sets up the joke. The amount of comic reality needs to be established and the event recognized as a thing that could actually happen. And from the context from the story, the characters and the situations must appear to be logical and acceptable.

Most comic situations revolve around solving a problem, answering something. For example, what makes the type escape a certain dilemma? Because the audience is fed the primary information; i.e., the needs, wants, emotions, obstacles, as well as other relevant data, the groundwork is laid which later sports ths joke along with the point. The setup can also misdirect the target audience, create uncertainties, or encourage belief in the seemingly inevitable conclusion to the dilemma.

Recognizing the weather from the setup which make the joke tasks are a vital part of interpreting a scene. Without this information, the actor could possibly be struggling to shape and emphasize the proper elements to maximise the humor.

The classic joke involving Jack Benny's character is a perfect example. If the robber points the gun at Benny and demands, "Your money maybe life?" the element that makes the punch line tasks are the truth that Benny's character can be an obsessed penny-pinching miser. Without this fact ingrained inside the mind of the audience, Benny's long-delayed response and point, "I'm thinking it over!" doesn't make sense.

Another example is Henny Youngman's four-word classic: "Take my wife, please!" Had you been unaware a whole lot of of Henny's comic anger is the confinement of marriage, this joke could have little impact. However when this truth is create earlier in the routine, using this type of resentment showing, the joke works beautifully.

These two examples talk about a good point. Humorous bits, specifically in television situation comedies, take time and effort to copy fully because they are so indigenous to the character along with the pair of circumstances. They would do not have the same impact when reproduced partly by others. Therefore, it is critical to analyze exactly what leads up to each humorous incident. That might include character development and relationships from earlier scenes and even earlier episodes.

Let's check out the construction of comic gags or jokes as well as the terminology used to describe their individual sections. Remember that jokes aren't only situations. It is the character in the situation. Many jokes really are a relationship between two opposing ideas or perspectives that are expressed in a manner that saves the surprise for last.

It's difficult to express where each joke begins because a lot of the qualities that produce the joke work begin since the curtain rises or because story fades in. This preparatory section we call the pre-setup and the qualities mainly informational. They incorporate character's characteristics, attitudes, relationships, setting, combined with the comic tone or the freedom and atmosphere to comprehend the humor.

Next is the setup, your start of the gag or joke. This can be the happy idea or happy notion combined with vital information directly supporting the joke. It arranges the situation, the argument, the issue, and/or the premise and clarifies the objective/emotion/obstacle polarizations in the character(s). In addition, it defines the topic of attack and the plan of assault. I use the terms attack and assault here because most of comedy is blasphemous, insulting, or anti-something. Anyone or anything might be attacked.

Sometimes there is a specific fact or vital little bit of information that heightens the audience expectations as well as the impact in the point. This info we call guarana. The guarana plant is the cause whilst the gag becomes the result or effect. It's often the item that sets the gag rolling toward the surprise ending. The flower needs to be spaced at most 100 seconds before the payoff. Otherwise, any further some time to the bond for the plant is not likely.

Pursuing the setup, is the build. With this section, the joke is further developed with complications, embellishments, or variations. Tension increases; expectations heighten because the audience senses a solution to the pending question.

All that went previously climaxes having a surprise ending. This is actually the derailment of thought, the payoff, the explosion of the point. It is the resolution or fulfillment that goes past the expectations with the audience.

This really is as well as the audience's response, the after-effect.

The laughter, the nice and cozy glow, or savoring the enjoyment in knowing they have been surprised or had. Laughter is often times produced by an accident from dignity -- by other individuals. Which fall or drop can result in viewers reaction ranging from a silent warm glow to a buffo where the audience lets loose with contagious laughter, feeding on itself. Between, you'll have the chuckle, the target audience seeing the irony, the titters, the belly laughs originating from inside, or the howling guffaw.

All these after-affects have their put in place the realm of comedy. However, sometimes a big laugh or even the wrong sort of laugh can hurt a scene by looking into making it peak prior to the ultimate "big joke". One can control the laugh response with tempo, timing, emphasis, and/or reaction therefore the scene is properly shaped and also the humor properly projected.

A topper can be a short joke/punch line amongst the previous joke, but tops it in humor and response. The actor's timing, emphasis, and/or reactions set this up hence the audience can roll to a higher level of laughter. The saver is often a line or behavior used to raise an inadequate after-affect, or possibly a joke that's bombed. Savers are found most in stand-up comedy as ad-libs, however they are also great at stage and audience attended TV productions to help keep the laughter on a roll.

So bull crap or gag, with all the sections in position, might look similar to this:

- Pre-setup
- Setup
- Build
- Payoff or Point
- After-effect
- Topper or Saver

The flower could appear in both the setup or even in the build, but as mentioned earlier on, it ought to be positioned no more than 100 seconds prior to the point. You will remember that in comedy, there's a stylized to the presentation. Comic information builds upon itself. What goes before concerns what follows. Of course, if one item remains out or used in a bad position, the humor is diminished.


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