Humor (Humor in Kabarett and Comedy
Translated title
Humor (Humor in Kabarett und Comedy): Humor in Kabarett und Comedy
Author
Frank, Ole Vedel
Term
4. term
Education
Publication year
2018
Submitted on
2018-06-14
Pages
75
Abstract
Projektet undersøger, hvad humor er, og hvordan den skabes, med tv-kabaret og comedy som udgangspunkt. Metodisk bygger det på kvalitative analyser af udvalgte udsendelser, suppleret af en historisk gennemgang af genrerne fra kabarettens franske ophav og tidlige tysksprogede former over censurens betydning før 1. verdenskrig til comedys rødder i varieté, vaudeville og 1970ernes fjernsyn samt begrebets etablering i 1990ernes privattv. Den teoretiske ramme er inkongruensteorien med fokus på overraskelseseffekten og virkemidler som parodi, karikatur, overdrivelse og travesti, suppleret af kognitive og kommunikative perspektiver. Hertil inddrages Benedikt Vogels begreber om fiktionskulisse, semantiske og genrebundne teksttilgange samt figurerne rammefigur og fremstillende figur; desuden arbejdes der med koder, mediale elementer og kontekst. Den empiriske analyse omfatter blandt andet, hvordan Jamaikaforhandlingerne i 2017 blev behandlet i Extra 3 og Die Anstalt, herunder Extra 3s mediale greb og Die Anstalts udvikling fra en fragmenteret, monologdomineret form i 2007 til et mere teaterpræget, dialogisk forløb i 2017. Comedydelen analyserer formater som Herbert Knebel med fokus på programforløb, tilbagevendende rubrikker, monologens sprog og komiske højdepunkter samt nødvendig forhåndsviden. Projektet kortlægger ligheder og forskelle mellem kabaret og comedy og diskuterer, i tråd med tidligere beskrivelser, hvordan tv-kabaret ofte blander de to; analyserne fremhæver betydningen af historisk kontekst, sceniske og mediale virkemidler og publikums forhåndsviden for humorens effekt.
This project investigates what humor is and how it is created, taking television cabaret and comedy as its point of departure. Methodologically, it relies on qualitative analyses of selected broadcasts, complemented by a historical overview of the genres from cabaret’s French origins and early German-language forms, through the role of censorship before World War I, to comedy’s roots in variety and vaudeville and 1970s television and the term’s adoption in 1990s private TV. The theoretical framework centers on incongruity theory and its surprise effect, together with devices such as parody, caricature, exaggeration and travesty, and is supplemented by cognitive and communicative perspectives. It also draws on Benedikt Vogel’s concepts of the fiction frame, semantic and genre-based approaches, and the figures of the frame persona and the performing persona, alongside attention to codes, media elements and context. Empirically, the analysis includes how the 2017 Jamaica coalition talks were treated in Extra 3 and Die Anstalt, highlighting Extra 3’s media techniques and Die Anstalt’s shift from a fragmented, monologue-led format in 2007 to a more theatrical, dialogic structure in 2017. The comedy section examines formats such as Herbert Knebel, focusing on program flow, recurring rubrics, monologue style and comedic peaks, and the prior knowledge required. The project maps similarities and differences between cabaret and comedy and, in line with prior accounts, discusses how television cabaret often blends the two; across the material it underscores the importance of historical context, staging and media devices, and audience background knowledge for producing humor.
[This summary has been generated with the help of AI directly from the project (PDF)]
Documents