Representations of Postfeminist Success and American Culture in Women's Comedic Memoirs
Author: Amy Kathleen Sininger
"The comedic memoir, a culmination of personal experience through a humorous and ironical lens, provides a unique and entertaining perspective into human experience. Comedy is often treated as if it were inconsequential, yet many comedy scholars contend nothing reveals more about a culture's values, attitudes and concerns. As both the memoir and comedy are representations and interpretations of human experience, the combination of the two fused together through the comedic memoir produce a provocative and increasingly popular genre of literature. This thesis offers an in-depth analysis of how the increasing prominence of the comedic memoir is indicative of American cultural changes, particularly in relation to women and feminism, as women prove to dominate the genre. Through Tina Fey's Bossypants, Mindy Kaling's Is Everyone Hanging Out Without Me? (and Other Concerns) and Amy Poehler's Yes Please, I examine the comedic discourse and strikingly prominent themes of body image, romance, career family and the elusive concept of balance within. Fey, Kaling and Poehler's discussions of these themes provide a cultural perspective that attempts to point out many of the absurdities of current expectations of women, particularly those in relation to the postfeminist movement, which ultimately contends that traditional feminism is inherently flawed. Through humor, these comedians present many of the absurdities present within postfeminst expectations, yet simultaneously and covertly support these themes to be prominent and defining aspects of women's lives today. The female comedic memoir therefore suggests complicated aspects of identity, feminism and place within society, as these women present their life stories, struggles, triumphs, experiences, and the endeavors they have had to overcome within the male dominated career of comedy, as well as debunk the myth and common cultural assumption that "women aren't funny.""
Long form scenic improv began with the Harold. The comic philosophy of this form started an era of comedy marked by support, trust, and collaboration. This book tells of the Harold, beginning with the development of improv theatre, through the tensions and evolutions that led to its creation at iO, and to its use in contemporary filmmaking.
The Truth About Comedy, From A Perspective Of A Christian Comedian - by Comedian Joshua from South Africa: I have written this book after I have been denied a platform to perform my Comedy at various churches. Their reason was that "Comedy is vulgar and Blasphemous", well that threw me off because my Comedy is clean and educational. It was about ten percent of churches which were open-minded about Comedy, the rest misjudged me on the mention of the word "Comedy". When I did a survey of what people thought about Comedy, I noticed that indeed many people have the wrong idea about Comedy. In this book I break it down what Comedy is all about. Comedy is a very influential art of Teaching. I know you may have thought that Comedy is all about healing; but tell me, have you not heard the following phrase before: "Music heals"?Well if music heals and Comedy heals, are we saying that music and Comedy are the same? It doesn''t make sense! The reason why Comedy seem to be healing and also music, is because they may have something in common, which is: "Words of Hope", that is what heals, it is the Word that heals.So I reveal what exactly Comedy is, it is as simple as this: ''A Comedian is A Teacher'', the same way you have to work the soil in at the garden with a fork-spade before you can plant some seed, Comedy works as the fork-spade to the heart of man, Comedy prepares the heart to receive a message and lock it in forever. I mean something like: ''the best time for a man to propose to a lady would be after he made her laugh'', now if the man failed on such an occasion, well, there is no hope :) Notice how powerful Comedy is, laughter is like evidence that what the Comedian/Teacher said is really true, therefore, you cannot choose what to believe from what the Comedian will have said, but ''your heart'' ''will believe'' because you ''laughed''. I am seeing that the enemy has begun indoctrinating humans through his servants, the vulgar Comedians of the world, the false-teachers. I held my first time on stage in 2014, and I was doing Comedy at the night clubs and at some point I felt strongly in my spirit that somethings were not what they seemed, and when i had experienced the industry at its roots level, that is when God showed me signs that i should leave and bring Comedy to church. So therefore i decided to expose the dark side of Comedy when i realized that people were duped through Comedy.The first chapter of the book is ''The Code of Humor'', yes Comedy has a formula, and every joke fits in the formula, I therefore break down some jokes of the most well-known and respected Comedians in the world in a chapter I named: ''Hammering Jokes'', just to show-off that I am not speculating Comedy, but I know it. I have made people laugh on stage and I understand my craft.I also talk about the relation between the art of RAP and Comedy. You would say, "RAP is a light version of Comedy", There is a chapter named: ''The Message From God'', here i share an experience where we involved God in this matter, I was confused at some point and I wanted to hear God''s opinion on the industry of Comedy pertaining to what i was discovering, and God really did respond and spoke to a close brother in the Lord, God spoke about a mission or mandate that I will accomplish in this industry, and He also spoke about the future of the industry. I also have a Chapter where I explain why as a Comedian, I need to do my performance at church and not at the clubs as opposed to what many Christians were suggesting. I also have a chapter on ''Improv-Comedy'' which i believe might be the future of Comedy as we know it today. Improv-Comedy is when a Comedian gets to the stage and speaks jokes from the top of his head without having prepared prior to the show. It is really amazing when successful. I just feel like one will really breath long and change his or her mind about Comedy after having read the book, I think it will change the perception of many people towards Comedy, forever!
Comedy, Seriously provides a philosophical interpretation of comedy and argues that comedy displays a particular kind of rationality that reflects philosophical thinking. In particular, that comedy is defined not so much by laughter or jokes, but rather the structure of its plot, which is isomorphic with that of the philosophical argument. Comedy allows for the resolution of a conflict and the achievement of well-being and equality through action that follows the comic plot. Moreover, such action is propelled by the 'thinker on stage,' who, as socially and politically oppressed, contributes to the liberation of all and the achievement of the good life. Comedy, therefore, establishes the universal pattern for justice and well-being and allows us to rethink the notion of subjectivity not as the modern isolated subject, but rather as integrated with others through shared action and dialogical involvement.
Ian Wilkie contends that comic acting is a distinct art form, and as such demands a unique skillset. By exploring the ways in which performance choices and improvised moments can work in conjunction with texts themselves, Performing in Comedy offers an indispensable practical tool for enhancing comic performance. This volume is a must-read for any actors, directors or students who work with comic texts. Wilkie synthesises theories and principles of comedy with practical tips, and re-evaluates the ways in which these ideas can be used by the performer. Most importantly, these skills – timing, focus, awareness – are teachable rather than being innate talents. Exercises, interviews and guides to further resources enhance this comprehensive exploration of comic acting.
This new guidebook for the best in improvisation performance si a sequel to the best-selling book, "Truth in Comedy." It tells how to empower improvisation using the "yes" concept with improv performers.
A Masterclass in Comedy, Tragedy, Farce, Shakespeare, New Plays, Opera and Musicals
Author: Braham Murray
Publisher: Oberon Books
Category: Performing Arts
This practical handbook takes us on a step by step journey from pre-production through the rehearsal process, followed by focused advice on each genre from comedy to tragedy, Shakespeare to new plays and musicals. Special chapters offer strategies for dealing with difficult actors, working with producers and taking on the job of an Artistic Director. An indispensible guide to a director’s craft, packed full of advice and peppered with priceless anecdotes about the highs and the lows of a lifetime’s work in the theatre. ”Witty, anecdotal, informed, informative, intimate and frank... one of the best practical discussions of how to approach a play both as text and performance that one could find today... a passionate, dedicated, lived and lively statement of what can happen when theatre is performing powerfully” – Manchester Salon “An easy and entertaining read that gives an overview of the job of director from the point of view of someone who has been directing for nearly half a century and points out quite a number of traps and pitfalls for an inexperienced director to avoid.” – British Theatre Guide “Conversational in style, sometime stream of consciousness, the reader is carried along by Murray’s enthusiasm, passion and knowledge of his craft... Murray writes for the professional director but the amateur and student can pick up loads of tips... a rattling good read” – Ink Pellet
"Madness, Masks, and Laughter: An Essay on Comedy is an exploration of narrative and dramatic comedy as a laughter-inducing phenomenon. The theatrical metaphors of mask, appearance, and illusion are used as structural linchpins in an attempt to categorize the many and extremely varied manifestations of comedy and to find out what they may have in common with one another. As this reliance on metaphor suggests, the purpose is less to produce The Truth about comedy than to look at how it is related to our understanding of the world and to ways of understanding our understanding. Previous theories of comedy or laughter (such as those advanced by Hobbes, Kant, Hegel, Schopenhauer, Bergson, Freud, and Bakhtin) as well as more general philosophical considerations are discussed insofar as they shed light on this approach. The limitations of the metaphors themselves mean that sight is never lost of the deep-seated ambiguity that has made laughter so notoriously difficult to pin down in the past." "The first half of the volume focuses in particular on traditional comic masks and the pleasures of repetition and recognition, on the comedy of imposture, disguise, and deception, on dramatic and verbal irony, on social and theatrical role-playing and the comic possibilities of plays-within-plays and "metatheatre," as well as on the cliches, puns, witticisms, and torrents of gibberish which betray that language itself may be understood as a sort of mask. The second half of the book moves to the other side of the footlights to show how the spectators themselves, identifying with the comic spectacle, may be induced to "drop" their own roles and postures, laughter here operating as something akin to a ventilatory release from the pressures of social or cognitive performance. Here the essay examines the subversive madness inherent in comedy, its displaced anti-authoritarianism, as well as the violence, sexuality, and bodily grotesqueness it may bring to light. The structural tensions in this broadly Hobbesian or Freudian model of a social mask concealing an anti-social self are reflected in comedy's own ambivalences, and emerge especially in the ambiguous concepts of madness and folly, which may be either celebrated as festive fun or derided as sinfulness. The study concludes by considering the ways in which nonsense and the grotesque may infringe our cognitive limitations, here extending the distinction between appearance and reality to a metaphysical level which is nonetheless prey to unresolvable ambiguities." "The scope of the comic material ranges over time from Aristophanes to Martin Amis, from Boccaccio, Chaucer, Rabelais, and Shakespeare to Oscar Wilde, Joe Orton, John Barth, and Philip Roth. Alongside mainly Old Greek, Italian, French, Irish, English, and American examples, a number of relatively little-known German plays (by Grabbe, Tieck, Buchner, and others) are also taken into consideration."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved
By systematically analyzing Dante's attitudes toward the poets who appear throughout his texts, Teodolinda Barolini examines his beliefs about the limits and purposes of textuality and, most crucially, the relationship of textuality to truth. Originally published in 1984. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.