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¶ … Prowriter))
Comedy in Television and Theater
There are many forms of comedy, but two of the largest distinctions are high comedy and low comedy. "High comedy[…]evokes "intellectual laughter" -- thoughtful laughter from spectators who remain emotionally detached from the action" (Abrams, Harpham 51). A television show which incorporates high comedy is Monty Python's Flying Circus. "The Dead Parrot Sketch" is one such example of satire and witty banter which requires the audience, or spectators, to not only have a sizeable vocabulary (as John Cleese and Michael Palin exchange a myriad of terms for describing the parrot's state) but must be aware of the satirical value of some of Cleese's lines. "If you want to get anything done in this country, you've got to complain until you're blue in the mouth," Cleese says after being exasperated in his efforts to prove that the parrot he purchased is, in fact, dead. Later in the sketch he comments, "That's intercity rail for you," implying in that scene that the underground train system is deficient (even though he has, in fact, arrived...
Along with most sitcoms, Seinfeld makes use of low comedy. Consider the character Kramer, whose own brand of physical comedy, while not requiring much thought, was a constant source for laughter on the show. Other plot devices, such as mistaken identity (common in low comedy), can be seen in episodes like "The Opera" wherein Jerry and Elaine's miscommunication about the identification of "Joey" leaves them both frightened of "Crazy Joe Divola."
In Jane Martin's play Tattoo, there are five very distinctive characters, each granted their own dialogue style that helps to set them apart. Link speaks with a sense of humor regarding her…
Works Cited
Abrams, M.H., and Geoffrey Galt Harpham. A Glossary of Literary Terms. 9th ed. Boston:
Wadsworth Cengage Learning, 2009.
Tattoo. By Jane Martin. 2000.
Audiences can ponder the issue of fate when presented with Oedipus, afterlife when thinking of Antigone, and motherhood and marriage when confronted with Medea. Further, modern plays often offer this type of ending as well. For instance, Tennessee Williams' The Glass Menagerie allows audience members to consider the theme of love and romance, superimposed with family. At the end of the story, audience members must contemplate whether Tom should
This echoes life. To others we present as a simple person, perhaps even shallow and one-dimensional. Yet inside we are a mass of interminable twists and turns of plots and subplots. The story must reflect positive morality or, as Aristotle warned, when storytelling goes bad, the result is decadence. As stories become more extravagant and violent, and all the areas of storytelling - acting, stage settings or environments, music,
REFERENCES Brown, G. Movie Time: A Chronology of Hollywod. New York: McMillan, 1995. Byrge, D. The Screwball Comedy Films. New York: McFarland, 1991. "Censored Films and Television." January 2000. University of Virginia. September 2010 . Dale, A. Comedy is a Man in Trouble. Minneapolis: University of Minnesota Press, 2001. Ebert, R. "Some Like It Hot." 9 January 2000. Roger Ebert.com. 12 September 2010 . Engleking, A. "A Barbed But Generous Comedy of Manners." 17 June 2010.
comedy films "His Girl Friday," directed by Howard Hawks, and "Bedazzled," directed by Harold Ramis. Specifically, it will discuss these two comedies made at least 45 years apart, and comment on their similarities, their differences, and the societal changes that make films obsolete, or keep them classic. COMEDIES IN TIME Comedies are some of the most popular film genres of all times. They entertain, they make the audience laugh, and they
On the contrary, "You Have Got Mail" is a new style of comedy movie that involves romance in a much open manner that it could not attract all age groups. Key Features of New Comedy Few traits of new comedy are as follows: It revolves more around a boy and a girl and their love story It involves a lot of physical relationship between male and female ( Richmond ) Related with love, desire
Socrates Both comedy and tragedy are "related to emotional needs and religious longings that became crystallized and structured in ritualistic celebrations and festivals," (34). Both can be framed as "catalysts" that force "some sort of conversion" in the individual (34). Moreover, both comedy and tragedy reflect the "eternal spectacle of human nature and its weaknesses," (35). Both art forms use imitation or mimicry of a political figure or idea. However, there are