(also known as absurdist humour
or surreal comedy
) is a form of humour
predicated on deliberate violations of causal
reasoning, producing events and behaviours that are obviously illogical
. Constructions of surreal humour tend to involve bizarre juxtapositions, incongruity, non-sequiturs
, irrational or absurd situations and expressions of nonsense
The humour arises from a subversion of audience expectations, so that amusement is founded on unpredictability
, separate from a logical analysis of the situation. The humour derived gets its appeal from the ridiculousness and unlikeliness of the situation. The genre has roots in Surrealism
in the arts.
Surrealism in television follows the theme that "everything seems bizarre, possibly nightmarish, and certainly dream-like."[better source needed]
Absurd and surreal humour is concerned with building expectations and proceeding to knock them down. In these acts, even seemingly masterful characters with the highest standards and expectations are subverted by the unexpected or by plans in collision, which the scene emphasizes for our amusement. Similarly, the goofball or stoic character reacts with dull surprise, dignified disdain, boredom and detached interest, thus heightening comic tension. Characters' intentions are set up in a series of scenes significantly different from what the audience might ordinarily encounter in daily life. The unique social situations, expressed thoughts, actions and comic lines are used to spark excessive emotion, laughter or surprise as to how the events occurred or worked out, in ways sometimes favorable to other unexpectedly introduced characters.[better source needed]
Theatre absurd humour is usually about the insensitivity, paradox, absurdity, and cruelty of the modern world. Absurd and surreal cinema often deals with elements of black humour; that is, disturbing or sinister subjects like death, disease, or warfare are treated with amusement and bitterness, creating the appearance of an intention to shock and offend.
Edward Lear, Aged 73 and a Half, and His Cat Foss, Aged 16
, an 1885 lithograph by Edward Lear
Surreal humour is the effect of illogic
being used for humorous effect. Under such premises, people can identify precursors and early examples of surreal humour at least since the 19th century, such as in Lewis Carroll
's Alice's Adventures in Wonderland
and Through the Looking-Glass
, both of which use the illogical and absurd (hookah
matches using live flamingos
as mallets, etc.) for humorous effect. Many of Edward Lear
's children’s stories and poems contain nonsense
and are basically surreal in approach. For example, The Story of the Four Little Children Who Went Round the World
(1871) is filled with contradictory statements and odd images intended to provoke amusement, such as the following:
After a time they saw some land at a distance; and when they came to it, they found it was an island made of water quite surrounded by earth. Besides that, it was bordered by evanescent isthmuses with a great Gulf-stream running about all over it, so that it was perfectly beautiful, and contained only a single tree, 503 feet high.
Relationship with dadaism and futurism
In the early 20th century, several avant-garde
movements, including the dadaists
, and futurists
began to argue for an art that was random, jarring and illogical.
The goals of these movements were in some sense serious, and they were committed to undermining the solemnity and self-satisfaction of the contemporary artistic establishment
. As a result, much of their art was intentionally amusing.
One example is Marcel Duchamp
(1917), an inverted urinal signed "R. Mutt". This became one of the most famous and influential pieces of art in history, and one of the earliest examples of the found object
movement. It is also a joke, relying on the inversion of the item's function as expressed by its title as well as its incongruous presence in an art exhibition.
Etymology and development
The word surreal first began to be used to describe a type of aesthetic of the early 1920s.
Drs. Mary K. Rodgers and Diana Pien analysed the subject in an essay titled "Elephants and Marshmallows" (subtitled "A Theoretical Synthesis of Incongruity-Resolution and Arousal Theories of humour"), and wrote that "jokes are nonsensical when they fail to completely resolve incongruities," and cited one of the many permutations of the elephant joke
: "Why did the elephant sit on the marshmallow?" "Because he didn't want to fall into the cup of hot chocolate."
"The joke is incompletely resolved in their opinion," noted Dr. Elliott Oring
, "because the situation is incompatible with the world as we know it. Certainly, elephants do not
sit in cups of hot chocolate."
Oring defined humour as not the resolution of incongruity, but "the perception of appropriate incongruity,"
that all jokes contain a certain amount of incongruity, and that absurd jokes require the additional component of an "absurd image," with an incongruity of the mental image.
- ^ a b Stockwell, Peter (November 2016). The Language of Surrealism. p. 177. ISBN 9781137392190.
- ^ "Surrealism".
- ^ "Didn't See That Coming".
- ^ "TheStoic".
- ^ "Theatre Of The Absurd Humour Often Relies On A Sense Of Hopelessness And Violence". 123HelpMe.com. Retrieved 1 May 2019.
- ^ Lear, Edward. Nonsense Songs, Stories, Botany, and Alphabets.
- ^ Buelens, Geert; Hendrix, Harald; Jansen, Monica, eds. (2012). The History of Futurism: The Precursors, Protagonists, and Legacies. Lexington Books. ISBN 978-0-7391-7387-9.
- ^ Gayford, Martin (16 February 2008). "Duchamp's Fountain: The practical joke that launched an artistic revolution". The Telegraph. Retrieved 5 February 2017.
- ^ McCaffery, Larry (1982). "An interview with Donald Barthelme". Partisan Review. 49: 185. People like SJ Perelman and EB White—people who could do certain amazing things in prose. Perelman was the first true American surrealist—ranking with the best in the world surrealist movement.
- ^ McCann, Graham (2006). Spike & Co. London: Hodder & Stoughton. ISBN 0-340-89809-7. (a) pp.4, 5, 61; (b)p.183, (d) pp.180, 181, (e)p.203
- ^ Wilmut, Roger; Jimmy Grafton (1976). "The Birth of the Goons". The Goon Show Companion - A History and Goonography. London: Robson Books. ISBN 0-903895-64-1. ...one puzzled planner was heard to ask, 'What is this "Go On Show" people are talking about?
- ^ "FIREZINE #4: Under the Influence of the Goons". Firezine.net. Winter 1997–1998. Archived from the original on June 27, 2006. Retrieved October 28, 2012.
- ^ Ventham, Maxine (2002). Spike Milligan: His Part In Our Lives. London: Robson. ISBN 1-86105-530-7.
- ^ Vogel, Amos (2005). Film as a Subversive Art. New York: Random House. ISBN 0-394-49078-9.
- ^ Williams, Linda (1992). Figures of Desire: An Analysis of Surrealist Film. University of California Press. ISBN 0-520-07896-9.
- ^ Hoins, Megan (2016). ""Neo-Dadaism": Absurdist Humor and the Millennial Generation". Medium.
- ^ Chapman, Antony J.; Foot, Hugh C., eds. (1977). It's A Funny Thing, Humor. Pergamon Press. pp. 37–40.
- ^ Oring 2003, pp. 20–21
- ^ Oring 2003, p. 14
- ^ Oring, Elliott (1992). Jokes and Their Relations. University Press of Kentucky. pp. 21–22.
Oring, Elliott (2003). Engaging Humor. University of Illinois Press.
Last edited on 26 April 2021, at 18:08
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