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comedy8v:   Followers: 0 ; Following: 0

Comedy Acting


In an actor's training, the principles of comedy are seldom given their deserved attention. One reason is comedy, unlike drama, demands a considerably more disciplined, stylized, precise performance, as well as the resulting complexities make it both difficult to fully comprehend, to do, basically, to train. This chapter cannot cover each of the complex portions of comedy, but it will attempt to simplify them to make them understandable. Transpire here can be to provide you with a foothold for the basic comedy techniques, their terminology's, the equipment and skills you require, along with the principles that govern comedy performances.


So how exactly does comedy work? You can view dissect humor and explain this phenomenon called laughter?

My approach, presented through out these content articles, would be to analyze precisely what is happening inside the mind from the audience. To appear more at the changes occurring in the audience and also the reasons behind them. And thru this research, we realize that this audience, as a group, behaves in a way governed by certain physiological and psychological principles. Because when the actors understand what is going on out there inside the audience, they are able to create, adjust, or alter the presentation so your style, look, and perspective is similar to the story elements and its particular purpose. And by doing so, the acting ensemble is capable of the specified results whether it is drama or comedy.

Many check out comedy as soliciting laughter, but comedy may be the medium in which the character, the situations, along with the story become more active within a realm of humor. It is storytelling and yes it is still equipped with a goal, a premise, presenting arguments and revealing truth. But it's done in a unique style, with lighter touches, broader strokes, and yet, like drama, somehow reflecting the days and talking to our everyday life.

One of many key considerations according to the audience is defined in the beginning design for the performance. Some bit of business, behavior, or dialogue must show that what will happen will likely be comedy. Something indicating we're going to have fun and that the degree of truth is going to be distorted, unbalanced, and stretched somewhat (or a lot).

Even when conducting a scene obtained from a comedy play or screenplay, you ought to establish the genre at the opening of the scene. By doing so, you set the viewers within the proper perspective and provide them permission to laugh. This can be done with behavior, attitude, or another 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 given it pulls the crowd in the celebration and sets a bad tone for comedy. And as the story unfolds, these initial moments help establish the plausibility to the outlandish situation that follows.

In first reading and analyzing a comedy play or scene, an example may be more likely to focus mainly for the humorous payoffs, the punch lines, or jokes, and thereby base their interpretation solely on playing for your laughs. By doing this, the storyplot elements suffer and weakens the reason or premise of the play. The performance becomes a series of comedy sketches with little holding them together.

Comedy, at its best, happens in the dramatic truth from the situation. A character comes with a obstacle to beat, a link to create, or perhaps a must be satisfied. Then when that's expressed, clearly, emphatically with conviction, the viewers laughter becomes a type of celebration.

It now becomes more than jokes. There's a solid a feeling of reality, during the most outrageous situations. The viewers cares about the characters simply because they believe the character's needs and feelings are true. It may look like silly, however its serious silliness, for the audience has become mixed up in story along with the dilemmas from the characters.

What we should sometimes forget is the fact that in each and every humorous interaction, you will find three essential components. First is the humorous material itself, the tale and it is characters, the funny ideas, the hilarious situations, or the jokes. The second is the medium by which it really is conveyed whether it's a book that's read, actors using a play, or someone telling or retelling a joke. The 3rd component may be the audience, individuals that the humorous materials are conveyed via one of the various mediums.

Each one of these components is inter-related by basic principles which make comedy work. Humor depends on some shared context, a shared familiarity with social rules, customs of society, nuances of its language and behavior.

Therefore, the comic material should be strongly related the viewers or, somehow, the audience must be familiar with the topic. In like manner, the comic material must be conveyed clearly towards the audience and understood as humor to be funny. The actor/character, who conveys this fabric, likewise, must be perceived with shared familiarity to produce a common ground along with a a feeling of reality.

The achievements humor is dependent upon just how these three components connect.

When a few of the components are missing, comedy is not possible. Consider what might happen in case a joke fell in an empty theatre. Would there always be laughter? No. Comedy becomes possible when relevant comic material is clearly conveyed into a receptive audience by familiar, identifiable characters.

So now, you will find a general idea about the parts that has to have destination to make comedy work. Next, let's research the specifics as to how comedy is made. The most important enjoyment within this genre, needless to say, will be the laughter that comes due to the situations, the punch lines or payoffs. However, to create these surprises work, the target audience should be led to the trap.

This means luring the crowd right into a proper frame of mind that sets up the joke. The amount of comic reality must be established and also the event defined as something which could happen. And inside context with the story, the characters and also the situations must appear to be logical and acceptable.

Most comic situations revolve around solving an issue, answering an issue. For example, how does the get rid of a particular dilemma? Because the audience is fed the main information; i.e., yourwants, wants, emotions, obstacles, along with other relevant data, the groundwork is laid which later supports the joke and the punch line. The setup may also misdirect the audience, create uncertainties, or encourage belief in the seemingly inevitable conclusion for the dilemma.

Recognizing the sun and rain from the setup that will make the joke effort is part of interpreting a scene. Without this information, the actor may be unable to shape and emphasize the right elements to optimize the humor.

The classic joke involving Jack Benny's character is a great example. When the robber points the gun at Benny and demands, "Your money maybe life?" the element that makes the punch line effort is the truth that Benny's character is an obsessed penny-pinching miser. Without the fact ingrained inside the mind with the audience, Benny's long-delayed response and punch line, "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 much of Henny's comic anger is the confinement of marriage, this joke could have little impact. However when this truth is setup earlier in their routine, using this resentment showing, the joke works beautifully.

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

Let's examine the construction of comic gags or jokes and also the terminology used to describe their individual sections. Observe that jokes aren't just situations. It is the character in the situation. Many jokes certainly are a relationship between two opposing ideas or points of view which can be expressed in ways that saves the surprise for last.

It's hard to state where each joke begins because a lot of the qualities which make the joke work begin because curtain increases 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 comic tone or freedom and atmosphere to comprehend the humor.

Next could be the setup, the particular start of the gag or joke. This is actually the happy idea or happy notion along with the vital information directly supporting the joke. It creates the specific situation, the argument, the challenge, and/or the idea and clarifies the objective/emotion/obstacle polarizations from the character(s). It also defines the main topic of attack and also the plan of assault. I prefer the terms attack and assault here because most of comedy is blasphemous, insulting, or anti-something. Anyone or anything may be attacked.

Sometimes there is a specific fact or vital bit of information that heightens the target audience expectations along with the impact from the punch line. This information we call the plant. Guarana is the cause while the gag becomes the effect or effect. It is usually the item that sets the gag rolling toward the surprise ending. The plant ought to be spaced a maximum of 100 seconds ahead of the payoff. Otherwise, anymore time and the bond to the plant is unlikely.

Following a setup, may be the build. On this section, the joke is further developed with complications, embellishments, or variations. Tension increases; expectations heighten because audience senses a strategy to the pending question.

All that has gone before now climaxes with a surprise ending. This is actually the derailment of thought, the payoff, the explosion from the punch line. Oahu is the resolution or fulfillment which goes beyond the expectations of the audience.

This can be followed by the audience's response, the after-effect.

The laughter, the warm glow, or savoring the enjoyment in knowing they've been surprised or had. Laughter is most often manufactured by a fall from dignity -- by other individuals. And that fall or drop may lead to an audience reaction starting from a silent warm glow with a buffo where the audience lets loose with contagious laughter, feeding on itself. In between, you can have the chuckle, the audience seeing the irony, the titters, the belly laughs via insidewithin all, or howling guffaw.

Each of these after-affects have their own put in place the world of comedy. However, a big laugh or the wrong kind of laugh can hurt a scene by looking into making it peak before the ultimate "big joke". It's possible to control the laugh response with tempo, timing, emphasis, and/or reaction and so 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 so the audience can roll with a higher level of laughter. The saver is a line or behavior utilized to boost a weak after-affect, or a joke that's bombed. Savers are located most in stand-up comedy as ad-libs, but you are also good at stage and audience attended TV productions to keep the laughter on the roll.

So a joke or gag, with all the sections set up, might look something like this:

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

The guarana plant could seem in both the setup or perhaps in the build, but because mentioned before, it should be positioned only 100 seconds prior to point. You may observe that in comedy, you will find there's stylized order to the presentation. Comic information builds upon itself. What goes before relates to what follows. And if one item is left out or placed in the incorrect position, the humor weakens.

Post by comedy8v (2016-11-16 09:01)

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