The Elements Of Situation Comedy

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Excerpt from The Elements of Situation: Comedy Triad in some degree. Perhaps the characters were dressed in misfit clothing such as no one ever wore. There may have been strange and wonderful mustaches and beards of fantastic shape and unheard-of growth. The facial makeup may have been grotesque, but invariably there was a basis of conflict. Two of the comedians were struggling against each other for the hand or attentions of a young lady; per adventure one in attempting to perform a polite service for the wife of the other blunderingly brought himself under suspicion, and the resultant enmity between the two men. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

This is the first anthology that examines the TV sitcom in terms of its treatment of gender, family, class, race, and ethnic issues. The selections range from early shows such as I Remember Mama (George Lipsitz’s “Why Remember Mama? The Changing Face of a Woman’s Narrative”) to the more recent Roseanne (Kathleen Rowe Karlyn’s “Roseanne: Unruly Woman as a Domestic Goddess”). The volume also looks unflinchingly at major controversies; for example, the NAACP boycott of the stereotypical yet wildly popular Amos ‘n’ Andy and the queer reading of Laverne and Shirley. These diverse essays constitute a veritable history of postwar American mores. Some are classic, some forgotten, but all indicate the importance of considering text and subtext (social, historic, industrial) in the critical study of television. A final chapter by Joanne Morreale bids sitcoms adieu with the “cultural spectacle of Seinfeld’s last episode.”

"Situation Comedy, Character, and Psychoanalysis puts the sitcom character on the analyst's couch and closely examines the characters of Basil Fawlty, Lucy Ricardo and Kim from Australia's Kath & Kim, in order to reveal the essential elements that must exist in a sitcom before even the first joke is written. Original in its approach, D.T. Klika uncovers major findings about the sitcom as well as human behavior and relationships that we find 'arresting' and even "familial". By offering a new way of reading the sitcom using psychoanalytic theory, this book can be used as a basis for engaging in critical discourses as well as textual analysis of programs. Psychoanalytic theory enables a reading of character motivations and relationships, in turn elucidating the power struggle that exists between characters in this form of comedy. Situation Comedy, Character, and Psychoanalysis shines a light on what is at play in the sitcom that makes us laugh, and why we love the characters we do, only to discover that this form of comedy is more complex than we first thought."--Bloomsbury Publishing.

Who's funny? -- Sitcom history -- Half hour technique: rhythm, words, punctuation, timing, and pace, the turnaround, triplets -- Acting technique -- The four C's of comedy -- The characters: the logical smart one, the lovable loser, the neurotic, the dumb one, the bitch/bastard, the womanizer/manizer, the materialistic one, in their own universe -- Finding your comedic note -- Appendix 1: Ten rules of comedy -- Appendix 2: Who said that? -- Appendix 3: Glossary (finding the funny).

If you want to build a stand-up comedy career, this book is a must read. If you want to write comedy, this book is a must-read. If you simply enjoy comedy ... this book is a must read. Part One offers essential advice about understanding the fundamentals of stand-up, studying other comedians, finding your own style, writing your material, working the live performance, and appearing on television. Fascinating, candid, insightful interviews with today's top comedians, who discuss at length why and how they do what they do, comprise Part Two, the bulk of the book. The third and last part of the book addresses your stand-up career through interviews with noted comedy club owners, an agent, a personal manager, and a television talent co-ordinator. Literally crammed with the wisdom of today's finest stand-up comics, in terms of quality, quantity, and timeliness information, this book is without peer.

Seminar paper from the year 2006 in the subject American Studies - Linguistics, grade: 1,3, University of Stuttgart (Institut für Literaturwissenschaft: Anglistik/Amerikanistik), course: Literary Studies: Seminar: “Essay Writing and Interpretation of Literary Texts”, language: English, abstract: “The emphasis [of Luis Valdez’s Teatro Campesino lies on] (...) communication to the oppressed, not about them” (Bagby, Valdez 70). This statement of Bagby’s underpins the necessity for literary scholars to pay special analytical attention to the comedic elements in Valdez’s dramas. Indeed, it is the relationship between the playwright and his audience of Chicano workers that especially takes its effectiveness from the techniques and elements of comedy, especially satire. Many critics underline Valdez’s importance both because he denounces the discrimination and exploitation of Chicanos in the United States and his direct address to oppressed Mexican-Americans, e.g., striking campesinos. The communication to his fellow-countrymen has always been essential for Valdez as a political writer. It has been this successful and mass-mobilising (for example in the 1965 Delano Grape Strike) as his actos (short plays dramatizing the oppression of the fieldworkers) are based on comedic and satiric elements. These techniques have been used since archaic or Plato’s times by critical authors to mobilise the hearts and minds of human beings against a political system or to remedy an abuse. The thesis that Valdez’s play Los Vendidos consists of various comedic patterns to enable a thrilling, entertaining and effective communication between the author and his Chicano audience to sustainably deliver Valdez’s political messages can be seen when analyzing his probably most famous acto and the types of comedy he uses. Los Vendidos can be assigned to classifications like low, realistic or satiric comedy. This, indeed, shows how strongly Valdez relies on comedic-satiric techniques to politically communicate with and mobilise his Chicano fellow countrymen.

The Eight Characters of Comedy is the “How-To” guide for actors & writers who want to break into the world of sitcoms. It has become a staple in acting classes, writers’ rooms, casting offices and production sets around the world. Now, in it’s exciting SECOND EDITION, renowned acting coach and bestselling author, Scott Sedita, gives you even MORE advice and exercises for breaking down comedy scripts, writing jokes and delivering them with comedic precision. Plus, you’ll find in-depth REVISED sections on Sitcom History, The Three Pillars of Comedy, Auditioning for Sitcoms, and his acclaimed comedic technique “The Sedita Method!” Most importantly, you will be introduced to his famous sitcom character archetypes, which will help you build your niche in half-hour comedy... The Eight Characters of Comedy! Who is normally cast as The Logical Smart One? Why do we love The Lovable Loser? Why is The Neurotic a favorite for actors and writers? How do you play The Dumb One smart? Who are the biggest Bitch/Bastards? What drives The Materialistic Ones? Why is The Womanizer/Manizer so popular? How can you realistically write and play someone In Their Own Universe? The Eight Characters of Comedy answers all these questions and more, with UPDATED EXAMPLES from current & classic sitcoms, and from many of the greatest sitcom characters & actors of all time! After reading this book, you WILL be ready to work in the exciting world of situation comedy!