 Comedy: June 20, 2007 Issue [#1787] |
  Comedy
This week: Edited by: Texas Belle  
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Howdy, I’ll be your guest editor for this week’s newsletter. Actually, I guess that’s obvious since my name is right under the title. So, with no further ado let’s get to writing!
Comedy! A horse of a different color, which by any other name would still be called a rose. I know, I know that’s not a complete sentence, silly me. In this newsletter we are going to examine the four categories of comedy: Comedy of Manners, Romantic Comedy, Farce, and Burlesque. That is correct, all comedy either fits directly into one of four categories or is a combination of the four; however, before you start mixing and matching, arranging and rearranging let's look at each pure form's structure and characteristics.
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Comedy of Manners
Often called “high comedy,” it is the most complicated writing because the writer must avoid obvious comical behavior; being funny without looking like the writer is trying to be funny. It can also be the most poignant because it takes on the "manners" or social morays of a society. The humor here is dependant on stylized characterization and stereotypes. The writer is generally lampooing the arrogance and elitism of high society but in a subtle way. The language in C of M is always sophisticated and refined; the humor comes in the clever turning of a phrase and not on the situations though a character's reaction to a situation may add to the humor. While puns are used, the writer must stay away from the obvious, trite and cliché. In order for this form to work the characters must be oblivious of the humor, it is never a raucous humor and often, in true Greek form, the reader is aware the character's foibles. Oscar Wilde, Jane Austen, and Noel Coward are masters of this category. “Gosford Park” and “Postcards From the Edge” are modern examples of the comedy of manners.
Romantic Comedy
Romantic Comedy has enjoyed a resurgence over the past ten or so years. It is probably the most recognized comedic category by the modern audience. Julia Roberts, Hugh Grant, Rene Zellweger, Tom Hanks and Meg Ryan have made quite a nice living successfully starring in romantic comedies. Unlike the Comedy of Manners, Romantic Comedy depends heavily on the characters and situations. Even though they are light and always have a happy ending, don’t be fooled into thinking it’s easy to write. The difficulty lies in the fact that the characters and the situations must be believable. The reader must be able to identify with the characters, empathize with their plight, and plot must be feasible. The writer must suspend reality tin such a way that the happy ending occurs, as predicted, but the reader doesn’t feel that the ending was contrived.
Farce
Farce takes a bit from C of M and R/C and really stirs it up into a different comedic stew (sorry, I’m hungry right now). A well-written farce is dependent on characters, situations, broad humor, and the sight gag. Unlike the C of M, language is not sophisticated and serves as the vehicle leading up to the sight gag or punch line. Unlike the R/C, the situations are unbelievable but the reader doesn’t mind because the humorous outcomes far outweigh the unbelievability of the situation, think “Caddy Shack.” Obversely, though the humor is broad and the situations ridiculous, the humor is lost if the reader thinks that the writer is “trying too hard” to be funny. A paradox that only the most talented writer can negotiate. Remember though reality is suspended....ok, practically non-existent, the characters still have to come across as “real” people, in audience still must identify with the characters.
Burlesque
This is completely overtop, no holds barred, barely walking the line of form comedy. The humor is very broad and obvious, there is no reality based characters or situations. The category is so over the top that the writers will either write a short piece or combine it with one of the higher forms of comedy. Because of its dependence on broad, unsophisticated, and visual humor, burlesque is best served as a visual, or performance vehicle than written.
There you go, four categories for a genre that most people think is simply jokes and slap stick. Choose one of the forms and challenge yourself to write to the form, or combine them and add more depth to a comedic piece. Now, where's that stew I was thinking about earlier?
Much thanks to John Dietrich and his book Play Direction, for the intellectual cross pollenation..
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Only if the penguins don't mind, they are a crazy-funny lot.
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