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Glossary of Comedy Terms
Agon The term is used to refer to a formal debate in tragedy and especially Old Comedy. The verb agonize means compete, and the term agon is associated with competition and festival. Its format is a contest between 2 speakers with a symmetrical pattern present, with each speaker outlining his or her argument. The chorus aids and sets the terms by introducing each speaker and interjecting when called for.
Antagonist – in drama, the one who opposes the hero or protagonist. Protagonist – (“first combatant”) first actor in a play, the principle actor or Character.
In Greek tragedy, the play was limited to a protagonist (first actor), deuteragonist (second actor), and tritagonist (third actor). A few days before the Great Dionysia a contest took place that involved an exhibition of the plays that intended to compete in the theater. It was called proagon because the meaning of the word “pre-contest.” Actors entered without costumes and unmasked. An example from the play “Clouds” is the scene with the Superior and Inferior arguments. Csapo, Eric and Slater, William J. The Context of Ancient Drama. Ann Arber: The University Of Michigan Press, 1994. pg. 109,162. Cuddon, J.A. A Dictionary of Literary Terms and Literacy Theory. 3rd Edition. Cambridge, MA: Basil Blackwell Inc., 1991. pg. 17,751. Meineck, Peter. Aristophanes 1. Indianapolis/Cambridge: Hackett Publishing Company, Inc., 1998. xxviii. Submitted by Dan Buckingham
Choral song The chorus in old Greek comedy played a very important role, not only to the structure of the play, but to how the play interacted with the audience. The history of the chorus should be noted, in order to understand how they became incorporated in to comedy. The playwright would ask the local religious leader for permission to use the chorus. The 24 person chorus usually was made up of amateurs, which had to be trained for 11 months. ( Trumbull). The chorus sang at the festival of Dionysus, which is where the comedies were performed. It is speculated that comedy actually grew out of these festivals. (Turco). This is possibly why the chorus plays such a large role in old Greek comedy. The choral song, more specifically, is actually not music like we would think today. Choral song is more like a poem, written in a certain structure with a certain meter. The choral song is contained in a part of the play called the parabasis. The parabasis is an integral part of old Greek comedy and is split into 6 different parts. It usually starts when the chorus enters onto the stage and most, if not all, the other actors exit. The first part of the parabasis is called the valediction. The is simply the chorus acknowledging the departing of the other characters in the play. The second part is called the anapaests, which is in a specific meter. The chorus leader is the only one speaking during this part. The third part is called the ode. This is when the chorus addresses the gods. The forth part of the parabasis is called the epirrhena, which is recited by the chorus leader in trochaic tetrameters. This portion of the parabasis is directed towards the audience. The fifth portion is called the antode, which simply responds to the earlier ode. The final part of the parabasis is the antepirrhewn which resembles the epirrhena. ( Dover). Line 518 in Clouds, starts the parabasis, the parabasis in birds starts at line 679 and line 1058. Bird’s shows a good example of a full parabasis. It should be noted that the parabasis in Cloud’s is actually a revised version of the original. It should also be noted that Cloud’s was a failure because it only took third place. (Luce). The chorus and the choral song play an important role in old Greek comedy Cuddon, J.A. A dictionary of literary terms. Anonymous New York:Double Day (1991). Dover, K.J. Aristopanic Comedy. Anonymous Los Angeles: University of California press (1972). Luce, T.J. Aristophanes. Anonymous In "Ancient Writers". New York:Charles Scribners and sons (1995). Trumbull, E. Ancient Greek Theatre.(2001). Turco, L. The book of literary terms. Anonymous Boston:University press of New England (1999). Submitted by Jon Zajicek
Choregos - ‘Chorus Driver’ A wealthy citizen who either volunteered or was appointed by the city of Athens to form and train a Chorus for a play. Fined 1000 drachmas if they incorporated foreigners. Occasionally the Choregos had a role separate from the chorus as a whole. A good example of this is the Oedipus Cycle of Sophocles, especially Oedipus Rex. Csapo, Eric and Slater, William J. The Context of Ancient Drama. Michigan University Press. Ann Arbor, MI. Banham, Martin. Cambridge Guide to Theatre. New York, NY. 1995. Submitted by Evan Eakins
Didaskalia (or didasca’lia): originally meaning the instruction and training of the chorus, and then actors, in a comedy, a dithyramb, a satyr-play, or a tragedy, it became quickly co-opted to refer to the records kept of any dramatic competitions, specifically who did what, and who then won which prize. The Oxford Classical Dictionary, 3 rd Revised Edition; Hornblower, Simon and Spawforth, Antony; Oxford Universiy Press; 2003 The Oxford Companion to Classical Literature, 2 nd Edition; Howatson, M. C.; Oxford University Press; 1989 Submitted by Laina Mowry
Episode The term “episode” is often used in Greek theater to describe “one scene or action in a related series, for instance, one incident in a plot” (Turco 90). This definition implies that within one work, there can exist an infinite number of episodes, as many plays involve equally infinite plot twists and complications. Several sources also agree that the term “episode” refers to the spoken bits of dialogue that fall between two choric songs (Elkhadem 40; Howatson 218). According to The Oxford Companion to Classical Literature, in the Old Comedy of Greece, “episodes are the brief scenes following the parabasis, separated by choral songs and illustrating the consequences of the hero’s achievement of his aim” (218). It seems that an episode is a portion of a play that can be separated from the rest of the work in theme but in the end is just as integral to the overall plot as the part of the chorus or other possibly more obvious statements by the characters (Merriam Webster’s Encyclopedia of Literature 384). J.A. Cuddon’s Dictionary of Literary Terms and Literary Theory explains that an episode may simply be a digression from the central plot or “an event or incident within a longer narrative” (298). Sources: Cuddon, J.A. A Dictionary of Literary Terms and Literary Theory. Cambridge, MA: Blackwell Reference, 1991. Elkhadem, Saad. The York Dictionary of Literary Terms. Fredericton, N.B., Canada: York Press, 1976. Howatson, M.C. The Oxford Companion to Classical Literature. Oxford, England: Oxford University Press, 1989. Merriam Webster’s Encyclopedia of Literature. Springfield, MA: Merriam Webster, Incorporated, Publishers, 1995. Turco, Lewis. The Book of Literary Terms: The Genres of Fiction, Drama, Nonfiction, Literary Criticism, and Scholarship. Hanover, NH: University Press of New England, 1999. Submitted by Elise Hogue
Exodos The final scene in a Greek drama is the exodos. Any action that took place after the final episode of a comedy, or the final choral ode in a tragedy, is considered to be part of the exodus. The exodus can include choral songs and speaking parts by main actors if necessary to wrap up the play. The final number in a Broadway musical is a modern equivalent to the exodos. An exodos occurs at the end of both plays we read. The exodos of Clouds occurs when Strepsiades burns down the pondertorium. Makemedo’s chariot tide with the Divine Princess is the exodos of Birds. http://en.wikipedia.org/wiki/Slapstick_comedy Hornblower, Simon and Antony Spawforth. "The Oxford Classical Dictionary." New York, Oxford University Press, 2003 http://www.filmsite.org/filmterms17.html Submitted by Alex Brun
Koryphaios: The Koryphaios is the leader of the chorus in Greek theatre. This leader was positioned in the middle of the row that was closest to the audience. His job was to lead the other more inexperienced chorus members and to converse with the actors when the play called for it. In Aristophanes’ Birds, we see the Koryphaios interact with Makemedo and Goodhope many times, especially when the chorus first enters. The chorus leader speaks directly to the actors about the absurdity of Hoopoe admitting two leaders to talk to the birds. Dunkle, Roger. “Introduction to Greek and Roman Comedy.” The Chorus. 05 Sept. 2006 <http://depthome.brooklyn.cuny.edu/classics/dunkle/comedy/intro22.htm>. Howatson, M.C., ed . The Oxford Companion to Classical Literature. 2 nd ed. Oxford: Oxford UP, 1989. p. 126. Submitted by Brittany Morstatter
Parabasis The parabasis (“coming forward”) is the classical Greek version of an aside. It was a common feature of Greek Old Comedy. It takes place after the agon, after the characters have left the stage. The leader of the Chorus steps forward and addresses the audience directly, without wearing a mask. He speaks on behalf of the play’s author about a topic largely unrelated to the play itself, such as religion or politics. For example, in Aristophanes’ play Clouds, the parabasis (lines 518-562) pauses the action of the play to express disappointment because the play did not win first place at the festival of Dionysus. The speech often ends with a long sentence that is to be said in one breath, called the pnigos, “the choke.” Cuddon, J.A. A Dictionary of Literary Terms and Literary Theory: Third Edition. Blackwell Reference, 1977. Page 676. The Oxford Companion to Classical Literature. 2nd Edition. Howatson, M.C. ed. Oxford University Press: New York, 1989. Page 148. “Parabasis.” Wikipedia, the free encyclopedia. 05 Sep 2006. http://en.wikipedia.org/wiki/Parabasis Turco, Lewis. The Book of Literary Terms. University Press of New England: Hanover, 1999. Page 100. Submitted by Kate Mendenhall
Parodos The parodos is the entry of the chorus in a Greek comedy. The Greek word odos means “way” or “path.” A typical Greek comedic chorus has 24 members. Often the prologue reveals the identity of the chorus before it enters. After the prologue, the chorus enters from the wings, sometimes rushing on as if going into battle, sometimes dancing its way into the orchestra. Upon entering, the chorus in most plays immediately energetically supports either the hero or his enemies. The parodos is sung in lyric meter rather than spoken in the iambic trimeters used elsewhere. This section can consist of a sequence of scenes, and ends with a short scene that serves as a transition to the next section. In Aristophanes’ Birds, the chorus portrays the birds, each member dressed in a unique costume representing a different kind of bird. Having been called by the Nightingale, the birds enter, immediately rally against Makemedo and Goodhope, and prepare to start a battle with them. The parodos in Birds begins at line 295. Sources: Howatson, M.C., ed. The Oxford Companion to Classical Literature. 2 nd ed. New York: Oxford University Press, Inc., 1989. Page 148. Storey, Ian C. Introduction. Clouds, Wasps, Birds. By Aristophanes. Trans. Peter Meineck. Indianapolis: Hackett Publishing Company, Inc., 1998. Pages xxvii-xxviii. Submitted by Becca Goldknopf
Prologue When I first hear the word prologue, I think of a speech that comes before the actual speaking of a play or book. It comes before the speaking part of the main actors, usually addressed to audience. When I read The York Dictionary of Literary Terms, the definition of prologue is opening speech, the introductory part of a book or play. With this I thought I was on the right track. I also compared it to the definition I found in The Book of Literary Terms. This book stated that prologue is the starting or opening of a play, mainly tragedy, 'The prologue is all the first portion of a tragedy that precedes the entrance of the chorus.' The prologue is sometimes also called the prologue paradigm or syllabus/outline. This depended on how long or short the play or book was, and usually discussed biography and intentions of the poet or authors , the bibliography, chronology and quality of the work. Looking through the Dictionary of Literary Terms, I found another, slightly different definition, 'the opening section of a longer work. In ancient Greek tragedies, a prologue was the part of a play that sets forth the subject of the drama before the chorus entered. The term is now used to refer to the preface or introductory part of a novel, long poem or play. With the two plays that we have read so far, there is an example of a prologue in both. Elkhadem, S. The York Dictionary of Literary Terms. York Press,1976, Fredericton. Page 82 Turco, Lewis. The Book of Literary Terms. University Press of New England, 1999, Hanover. Pages 94,177. “Prologue.” Merriam-Webster Collegiate Dictionary. 11 th ed. 2003. Submitted by Keziah Low
Scholion: An explanatory note in the margin of an ancient Greek or Latin text. Originally ancient scholars would write separate books offering notes about plays. Towards the end of the Roman Empire these commentaries were moved to the actual margin of the text, hence scholia were born. Scholia offer clarification or slight alterations to the text, clearing up potential confusions. Scholia were the written form of the ancients interpretations to the texts and often times were wrought with several differing opinions from different commentators. Aristophanes works benefited greatly from the many scholia that explained all of the topical literary and political references. Our copy of Birds doesn’t have any scholia per say, because it is a term reserved for the ancient’s margin notes, but it is possible that the translator used amendments or interpretations of the text from the original scholia. Dover, K.J.. Aristophanic Comedy. Berkeley and Los Angeles: University of California Press, 1972. Hornblower, Simon and Anthony Spawforth, ed. The Oxford Classical Dictionary. Oxford: Oxford University Press, 2003. Submitted by Yossarian Cardin-Ritter
Atellan farce fabula was a short improvised comedy that often times exaggerated family situations or contained mythological or historical satire. Atellan farce, otherwise known as fabulae Atellanae, was named after the Oscan town of Atella. The Oscans were an early Italic people who lived mainly in Campania. The Atellan farce was a dramatic performance in the form of coarse comedies about low lifes. Each farce had certain stock characters including Maccus the fool, Dossennus the hunchback, Manducus the glutton, Pappus the grandfather, and Bucco the clown. These plays were popular in Rome starting around the third century BC, and were acted out by amateurs. In the early first century BC, Pomponius of Bononia and Novius added written plot in verse to the Atellan farce, thus reviving the comedies into a more literary form. The revivals were performed by professional actors and were staged at the end of tragedies. The Atellan farces were popular until the end of the first century AD. Unfortunately, only fragments of the Atellan farces remain today. Cuddon, J.A. Dictionary of Literary Terms and Literary Theory. Cambridge: Blackwell Refercne, 1991. Howaston, M.C. Oxford Companion to Classical Literature. New York: Oxford University Press, 1997. Submitted by Sarah Schirmer
Canticum (or ca’ntica): the sections of a Roman drama where there is musical accompaniment to an easily distinguished lyrical vocal part; this is opposed to the normal spoken dialogue seen elsewhere in Latin plays. The Oxford Classical Dictionary, 3 rd Revised Edition; Hornblower, Simon and Spawforth, Antony; Oxford Universiy Press; 2003 The Oxford Companion to Classical Literature, 2 nd Edition; Howatson, M. C.; Oxford University Press; 1989 A Dictionary of Literary Terms and Literary Theory, 3 rd Edition; Cuddon, J. A.; Blackwell Ltd.;1991 Submitted by Laina Mowry
Ludus:
Both plays we have read are stage-plays and both include quite a lot of spectacle and exhibition. I think the third definition, however, may be the most appropriate in a comedic context and that it refers to the straight jokes in the plays, as opposed to humorous situations or actions, i.e. puns, one-liners, etc. as opposed to slapstick or an ironic situation. Baldick, Chris. "The Concise Oxford Dictionary of Literary Terms." New York, Oxford University Press, 1990 Hornblower, Simon and Antony Spawforth. "The Oxford Classical Dictionary." New York, Oxford University Press, 2003 Langenscheidt. "Latin-English Dictionary." Berlin, Germany; Barnes & Noble, 2003 Shaw, Harry. "Dictionary of Literary Terms." New York, McGRAW-Hill Book Company, 1972 Submitted by Tom Schmolke
Pantomime In ancient Rome, pantomime was a theatrical form in which a single actor performed all the parts in a silent show. Most of the stories were mythological, and they could be either comic or tragic. Pantomime was introduced to Rome in 22 BC choruses of singers and small orchestras were added to dumb shows to support the actor (pantomimus). This innovation was the work of the famous pantomime actor Pylades of Cilicia. Another actor of the time, Bathyllus of Alexandria was so popular that his name was used for all pantomime actors. Performances took place publicly and privately. The pantomimus wore a silk costume and a mask with closed lips. The rising popularity of pantomime, in conjunction with that of mime, contributed to the decline of serious drama in Rome. Sources: Howatson, M.C., ed. The Oxford Companion to Classical Literature. 2 nd ed. New York: Oxford University Press, Inc., 1989. Page 407. Kennedy, Dennis, ed. The Oxford Encyclopedia of Theatre & Performance. Vol. 2. New York: Oxford University Press, Inc., 2003. Page 994. Submitted by Becca Goldknopf
Phlyax: A farce performed in southern Italy and Alexandria in the 4 th and 3 rd centuries B.C.E.. A phlyax was a mostly improvised farce that used as source material earlier plays, scenes from daily life and from mythology. It would be a burlesque of one of the three that was done in a most ludicrous manner. Men wore huge phalluses as in Greek comedy. It is speculated that the phlyax evolved into the Atellan farce. Vase paintings from the time depict phlyaxes being acted on a stage consisting of roughly hewn posts supporting a wooden platform, perhaps also with a background with doors and windows. It is speculated that this set up may have developed into the later prominent form of the Roman theatre, which differs greatly from the Greek arrangement. Hartnoll, Phyllis and Peter Found, ed. The Oxford Companion to the Theatre. Oxford and New York: Oxford University Press, 1992. Hornblower, Simon and Anthony Spawforth, ed. The Oxford Classical Dictionary. Oxford: Oxford University Press, 2003. Submitted by Yossarian Cardin-Ritter
Burlesque: An imitation intended to ridicule by means of exaggeration, specifically, elevating a trivial subject with mock dignity or by treating a solemn subject in an undignified fashion. Essentially, burlesque is the occurrence of a discrepancy between the subject matter and the style in which it is portrayed. In both “Clouds” and “Birds” by Aristophanes, human characters are given ‘mock dignity’ while the divinities are usually trivialized, i.e. Makemedo and Socrates as human examples and Heracles as a divine example. Baldick, Chris. "The Concise Oxford Dictionary of Literary Terms." New York, Oxford University Press, 1990 Hornblower, Simon and Antony Spawforth. "The Oxford Classical Dictionary." New York, Oxford University Press, 2003 Langenscheidt. "Latin-English Dictionary." Berlin, Germany; Barnes & Noble, 2003 Shaw, Harry. "Dictionary of Literary Terms." New York, McGRAW-Hill Book Company, 1972 Submitted by Tom Schmolke
Farce This type of comedy originated in France in the 15 th century out of the plays of the time; the Old French word farce literally means “stuffing.” This connotation grew out of farce’s tendency towards “improbable situations, stereotyped characters, extravagant exaggeration, and violent horseplay,” an effective combination that would certainly stuff a play full of comedic situations (Merriam Webster’s Encyclopedia of Literature 403). The “light dramatic composition” that is farce is “generally regarded as intellectually and aesthetically inferior to comedy in its crude characterizations and implausible plots, but it has been sustained by its popularity in performance” (Merriam Webster’s Encyclopedia of Literature 403). Farce usually incorporates the theme of “the inherent stupidity of man at odds with his environment” and in modern times refers to a “full-length play dealing with some absurd extra-marital situation” (Hartnoll 272). Farce “depends on a fast-paced and intricate plot” (Turco 40), which in turn provokes “roars of laughter” from the audience (Cuddon 330); “it is a matter, therefore, of humour rather than wit” (Cuddon 330). The precursors to modern day farce can be found in “ancient Greek and Roman theater, both in the comedies of Aristophanes and Plautus” (Merriam Webster’s Encyclopedia of Literature 403). Sources: Cuddon, J.A. A Dictionary of Literary Terms and Literary Theory. Cambridge, MA: Blackwell Reference, 1991. Hartnoll, Phyllis. The Oxford Companion to the Theatre. Oxford, England: Oxford University Press, 1983. Merriam Webster’s Encyclopedia of Literature. Springfield, MA: Merriam Webster, Incorporated, Publishers, 1995. Turco, Lewis. The Book of Literary Terms: The Genres of Fiction, Drama, Nonfiction, Literary Criticism, and Scholarship. Hanover, NH: University Press of New England, 1999. Submitted by Elise Hogue
Gag Originally, words added by the actor into their part. The term derived from gag, meaning something forced into the mouth. It was used as slang in the 1840’s. It came to mean a comic improvisation and in silent films, a surprising twist in the plot, like an exaggerated segment of physical humor. Gag-based comedies are those that are non-sensical and literally filled with jokes, one liners, etc. They are designed to produce laughter in any way possible, often with comic references to other sources (films, people, literature, plays, etc.) Sight Gag – a form of visual humor where different interpretations can be arrived at from the same set of images or series of actions. Play of interpretations are usually visible to the audience. A good example would be a scene from “Robin Hood: Men in Tights,” where Robin Hood and Maid Marian are behind a sheet so you can only see their silhouettes’. They proceed to perform actions that suspiciously look like Robin is getting ready to have his way with her, as his phallus appears to grow when it is really just his sword. An example of a gag from Aristophones play Birds would be when the exaggerated actions of Makemedo and Goodhope when they soil themselves. Banham, Martin. The Cambridge Guide to Theater. New York: Cambridge University Press, 1995. pg. 407. Horton, Andrew S. Comedy/Cinema/Theory. Berkeley and Los Angeles, CA: University of California Press, 1991. pg. 26-27. Cinematic Terms: A Film-Making Glossary. URL: http://www.filmsite.org/filmtermsID.html. Submitted by Dan Buckingham
Joke I also chose the word joke to study. My own definition of joking humor is a phrase or comment that makes you laugh. When I looked it up in The Book of Literary Terms, a joke is 'a line of humorous dialog in a theatrical performance. Humorous anecdotes, ribaldries and so forth.' Unfortunately this was the only definition I found in the suggested resources. So I went to the trusty Merriam-Webster's Collegiate Dictionary. In this book, it says a joke is ' something said or done to provoke laughter especially in a brief oral narrative with a climactic humorous twist.' In the play, Birds, there are a few examples of jokes, some are puns, satire and such like that. The form of comedy called joke is a broad umbrella of concepts. Shaw, Harry. Dictionary of Literary Terms. McGraw-Hill,Inc, 1972, St. Louis. Pages 302-3 “Joke.” Merriam-Webster Collegiate Dictionary. 11 th ed. 2003. Submitted by Keziah Low
Obscenity Obscenity is defined as verbal references or representations of sexual and other taboo matters for nonsexual purposes. These other purposes can include using obscenity for good luck, apotropaic magic, insults, religion, amusement, enragement, and to emphasize a point. Obscenity often refers to body parts or human activities that are considered taboo by prevailing social customs. Examples of this include referencing one’s genitals or matters concerning bodily elimination. Obscenity is social and extraverted and is used to break through social taboos rather than lead the audience into a fantasy as pornography does. Pornography is material designed to cause sexual arousal and pleasure. While the terms obscenity and pornography are often used interchangeably, pornography is intended for private use and sexual pleasure whereas obscenity is used on stage to break through taboos. Obscenity in ancient plays is often crude and at times can seem like pornography but its main intent is to make the play stronger and the audience laugh. Examples of obscenity can be found in Aristophanes “The Birds” at line 61 where Makemedo and Goodhope lose control of their bladder and bowls, and again at line1209 where Makemedo references the goddess’ vagina. There are also multiple references to the penis that can also be found throughout the play. Henderson, Jeffrey. The Maculate Muse. New York: Oxford University Press, 1991. Richlin, Amy, ed. Pornography and Representation in Greece and Rome. New York: Oxford University Press, 1992. Submitted by Sarah Schirmer
Parody - Imitates the serious manner and characteristic features of a style of author. It is a form of mimicry, often mocking. It can range from burlesque caricature to the social commentary of satire. An example on the caricature side could be the portrayal of Socrates in Clouds. Banham, Martin. Cambridge Guide to Theatre. New York, NY. 1995. Abrams, M.H. A Glossary of Literary Terms. 6 th Ed. Harcourt Brace Javanovich. Fort Worth, Texas. 1993. Submitted by Evan Eakins
Romantic Comedy: The term Romantic Comedy is the description of a piece of dramatic/theatric literature in which an imaginative love story is told by means of comedic entertainment. Usually this involves young lovers who experience mishaps on their adventure of trying to join together. There was not an example of this type of style of comedy in Aristophanes’ Birds. Singleton, Ralph S. and James A. Conrad. Filmmaker’s Dictionary. 2 nd ed. Ed. Janna Wong Healy. California: Lone Eagle Publishing, 2000. p. 259. Turco, Lewis. The Book of Literary Terms. Hanover: University Press, 1999. p. 103 Submitted by Brittany Morstatter
Screwball Comedy Screwball comedies were popular in the 1930s and early 1940s. The general storylines of screwball comedies tended to be very similar to each other. They tended to show how a couple with vast ideological differences came to get married, or remarried, if the couple had been previously divorced. Each member of the couple would have a different background or outlook on life. Often these differences revolved around social class (with the wealthy person proving by the end that they can act as sensibly as the middle- or working-class person), but they could also focus on the woman's "work or home" lifestyle (as in His Girl Friday), city or country, and other topics. Their courtship involves smooth, rapid verbal sparring. The playfulness that rises from this makes physical comedic elements also possible. Screwball comedies did not make social commentary. They were most popular during the Depression era because of this; the films took on an escapist quality. Also, there was nothing overtly sexual within the films. The playful banter between the romantic leads substituted for sexuality. The women were strong, independent characters who treated the men as equals and "pals." The films' comedy revolved not just around one or two main actors, but everyone within the films took part in the humor "Cinematic Terms: A FilmMaking Glossary." 05 Sep 2006. http://www.filmsite.org/filmterms16.html Karnick, Kristine Brunovska and Henry Jenkins, eds. Classical Hollywood Comedy. New York: Routledge, 1995. "Screwball comedy film." Wikipedia, the free encyclopedia. 05 Sep 2006. http://en.wikipedia.org/wiki/Screwball_comedy Submitted by Kate Mendenhall
Slapstick Comedy The slapstick is a device made of two wooden boards that made a loud noise when struck against someone. This allowed it to be used in fights for great audio effect without actually hurting the person it struck. It is this device that slapstick comedy is named after. Slapstick comedy usually creates humor using violence. Slapstick also involves things that are just plain absurd, such as slipping on a banana peel, or being hit in the face with a pie. A good example of slapstick comedy in Aristophanes works is when Makemedo is trying to found Cloudcuckooland. The visitors that appear between lines 903-1057 are all beaten away by Makemedo. http://en.wikipedia.org/wiki/Slapstick_comedy Hornblower, Simon and Antony Spawforth. "The Oxford Classical Dictionary." New York, Oxford University Press, 2003 http://www.filmsite.org/filmterms17.html Submitted by Alex Brun
Wit Wit is a form of comedy. Wit’s definition is that of the ability to imagine or perceive incongruous connections between disparate things… but essentially superficial.( Turco). The most notable form of wit is a pun. There are really two very different opinions on wit and it’s use. The common thing that is said about wit, specifically the pun, is that it’s the lowest form of comedy. (Turco). The other thing said about wit is that it suggests intellectual brilliance and ingenuity. (Cuddon). He uses Shakespere to disprove that wit isn’t a low form of comedy, but a truly intellectual form. Wit has been used in Cloud’s and in Bird’s. It is still in widespread use today, reinforcing it as a major form of comedy. Cuddon, J.A. A dictionary of literary terms. Anonymous New York:Double Day (1991). Dover, K.J. Aristopanic Comedy. Anonymous Los Angeles: University of California press (1972). Luce, T.J. Aristophanes. Anonymous In "Ancient Writers". New York:Charles Scribners and sons (1995). Trumbull, E. Ancient Greek Theatre.(2001). Turco, L. The book of literary terms. Anonymous Boston:University press of New England (1999).
Submitted by Jon Zajicek |
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