Comedy

Subject

Comedy developed in direct opposition to tragedy in ancient Greek and Roman theatre. Generally comedy is intended to create laughter through the presentation of humorous dialogue or physical action, but more usually through a combination of both. Some forms of comedy work purely through language, often placing a character at odds with the society in which they are operating, in terms of their beliefs or their way of viewing the world. Comic characters are often used to explore the paradox or hypocrisy of a social system. Often, comedy is created through an exaggeration of character in performance – a character might be created as somehow out of synchronicity with others in the performance. Whilst there are some universal kinds of comedy – often physical – comedy and humour are context-specific; what is considered humorous in one social setting may not be in another. Comedy frequently operates through juxtaposition and the inventive manipulation of dramatic rhythm. Comedy can also work through parody, satire, farce or through an exploration of the grotesque. It can be seen as both coercive and counter-cultural, and as supporting the status quo or challenging it.

Image: Mr Puntila and his Man Matti by Bertolt Brecht, dir. Hamish Glen, Coventry Belgrade, 2007. Photograph: Robert Day

Circus

An emphasis on large-scale spectacle and virtuosic achievement has always been integral to circus, an influential and continually evolving popular theatre form, with its roots in early Roman times.

Circus list — Circus

An emphasis on large-scale spectacle and virtuosic achievement has always been integral to circus, an influential and continually evolving popular theatre form, with its roots in early Roman times.

Clowns & Clowning

With their historic connection to the court jester, clowns can share a similar performative function: to create an uncomfortable type of laughter in which we are implicated in social dysfunction.

Clowns & Clowning

With their historic connection to the court jester, clowns can share a similar performative function: to create an uncomfortable type of laughter in which we are implicated in social dysfunction.

Commedia dell’Arte

Commedia dell’arte is a performance form that originated in Italy during the 16th century. It is based on highly physical improvised performance around sketches or scenarios, with stock characters.

Commedia subject ii thumbnail — Commedia dell’Arte

Commedia dell’arte is a performance form that originated in Italy during the 16th century. It is based on highly physical improvised performance around sketches or scenarios, with stock characters.

Dada

Pioneered by a trans-European group of artists, Dada is an ‘anti-art’ form that came into being in 1916, partly as a deliberately illogical response to the perceived irrationality of World War One.

Dada list view — Dada

Pioneered by a trans-European group of artists, Dada is an ‘anti-art’ form that came into being in 1916, partly as a deliberately illogical response to the perceived irrationality of World War One.

Physical Comedy

Physical comedy prioritises the body as a signifier in performance, playing on comic dimensions and potential, and requiring a level of training that focuses on gymnastic as well as comic skills.

Impro comedy subject list view — Physical Comedy

Physical comedy prioritises the body as a signifier in performance, playing on comic dimensions and potential, and requiring a level of training that focuses on gymnastic as well as comic skills.

Street Theatre

Many performance traditions have involved parades and displays in streets, towns or village squares, and the majority of these performances have been constructed with this spatial context in mind.

Street Theatre subject list view — Street Theatre

Many performance traditions have involved parades and displays in streets, towns or village squares, and the majority of these performances have been constructed with this spatial context in mind.