Humor is the soul of life; It is often one of the most important instruments we have to deal with difficulties, communicate with others or even express ourselves ... That instrument is also the trigger of one of the most important cognitive processes we experience: laugh! In ancient Greece, "humor", which means a kind of fluid, provides the physical and emotional harmony of the body; It was thought to be a fluid that softened the difficulties of life and facilitated its digestion. According to psychologists, humor is a psychological reaction that includes a positive sensation of emotion (sensation), a sense of being funny (cognition) and a tendency to laugh (behavior). (Gervais & Wilson, 2005) Humor and laughter remain relatively undiscovered
one enjoys to see the other person suffering or in adversity. The conception of humor as an expression of superiority is further developed by Thomas Hobbes (1651). Hobbes identifies humor with sudden glory and stated that “The passion of laughter is nothing else but sudden glory arising from sudden conception of some eminency in ourselves by comparison with the infirmity of others, or with our own formerly” (Feinberg, 1978; Berger, 1993). This statement on humor formed the benchmark of Superiority theory of humor. Hobbes’s idea of humor built on the ideas of Ludovici (1933) and Rapp (1951).
On why diversion is about force, control and the parity of mind and feelings In old times, cleverness or comic was entirely controlled. In spots like Greece and Egypt, jokes were even taboo in social circumstances. Considering the verging on forbidden nature of cleverness, it's not really astonishing that silliness never gotten specific consideration from antiquated researchers. Plato was loath to silliness as jokes and mockery were not energized and men and ladies were relied upon to be not kidding as opposed to pointless about all issues. Some old researchers went to the degree to contend that funniness could prompt mockery, affront, indecent or unpredictable talk lastly outrage, hatred and significantly kill.
The play turned into a comedy when we opened up to the possibility that death might not be what we expect it to be. Death could be friendly and nice. Thus, because of the incongruity that death is actually a buffon instead of a serious person, death is turned into a figure of
He claims that all of comedy is unequivocally human, and that the purpose of laughter is to correct those who are imperfect in a society that strives to be perfect, which can be agreed upon through the film. However, Bergson also makes sweeping claims that even contradict himself in his essay that humor is entirely intellectual and absent of any emotional connection, and goes on to argue that humor is social. It might also be crucial to add that both the essay and the film were produced a century ago, and the nature of comedy has possibly been adapted and modified in this time. Much of Chaplin’s slapstick comedy feels dated, but we still understand what is and is not humorous in his films. It can be implied that it is nearly impossible to specifically pinpoint the origins and practices of humor in an ever-changing and incredibly diverse society, but Bergson makes a decent attempt in his essay, and Modern Times can be used as only one example of thousands of comedic films through which the essay can be
Clown characters were based upon the real-life career of court jesters, who were employed by nobles and royalty to entertain them by use of physical and verbal comedy (“Shakespeare’s Clowns and Fools”). Because of their roles as entertainers, jesters were often given more freedom to be blunt than other courtiers and say whatever foolish or even offensive things they desired, because masters and audiences could be amused by the stupidity of their words (Rasmussen and DeJong). Nick Bottom, from A Midsummer Night’s Dream, is one of the best examples of Shakespeare’s use of these genuinely foolish clowns. Throughout the play, Bottom makes thoughtless and incorrect comments on characters and events to provide viewers with comic relief (“A Midsummer Night’s Dream”). To add physical comedy, “Bottom 's head is transformed into that of a donkey, making him the butt of the play 's biggest joke” (Shmoop Editorial Team, “Bottom”).
Every time the comic begins his/her joke the person listening thinks, “Oh yeah, that happens all the time”. Another reason the audience finds observational comedy funny is because the audience is always left with the thought: “Why didn’t I think of that?” Both these factors combine to form an immediate bond between the performer and the audience. When listening to the performer, because of observational comedy, the audience realises that the performer is just like any other person. The performer goes through life much like the majority of the audience. This is the reason this genre of stand-up comedy is extremely popular.
It was first mentioned by Plato and Aristotle in their definitions of laughter that some people are superior and take pleasure in laughing at others’ misfortunes. (Morreal, 1983). Hobbes developed the theory in which he posits that the superiority is a stimulus to laugh at the less prominent object, target, which is known as the butt of the joke (Attardo,1994,p.49). Generally speaking, this theory is usually perceived as the tool for mocking others, laughing at the inferior and in this way releasing laughter (Ross,…?) Falling down the stairs may cause one untold anguish but when it happens to somebody else, it can be a funny situation for the person who merely sees
His on-stage energy and improvisational skill became a model for a new generation of stand-up comedians. Many comedians valued the way he worked highly personal issues into his comedy routines, especially his honesty about drug and alcohol addiction, along with
The Madman 's fun loving representation of his identity foresees the insights and wit with which he would have the capacity to declare his perspective, which is the typical point of view on the condition of things. The reference to the end of theatres insights at the risk that famous theater exemplifies for a rightist state or any abusive framework. Comic drama, and comic figures are more viable in bringing out giggling which holds a hatred toward the end of chuckling dissimilar to the impact of purge which permits disdain to be cleansed. In Accidental Death of an Anarchist, the Madman a comedian like figure with which the neighborhood individuals of the proletariat and working population can undoubtedly distinguish and acknowledge his viewpoint. The Madman has changed over his 'guaranteed franticness " into a position of focal point for standing up to the group of onlookers what the crowd maybe knows however needs to learn it all things considered to create affirmed disappointment and offense concerning the State