ممثل هزلي

ممثل هزلي
	تعديل مصدري - تعديل

الممثل الهزلي^[1] أو الفنان الكوميدي هو شخص يسعى لتسلية الجمهور عن طريق الضحك ويكون بالعادة من خلال إطلاق النكات أو سرد المواقف المسلية التي حدثت في حياتهم.

الصفات الشخصية

آدم ساندلر في 2011

في يناير عام 2014 أجريت دراسة لمجلة الطب النفسي البريطانية حيث وجد العلماء أن الكوميديين لديهم مستويات عالية من سمات الشخصية الذهانية. في هذه الدراسة قام الباحثون بتحليل 119 كوميدي من أستراليا وبريطانيا والولايات المتحدة.^[2]^[3]^[4]

تاريخ

اليونانيون القدماء

يعود تاريخ الكوميديين إلى عام 425 قبل الميلاد ، عندما كتب أريستوفانيس ، مؤلف هزلي وكاتب مسرحي ، مسرحيات كوميدية قديمة. كتب 40 فيلمًا كوميديًا ، اكتشف 11 منها وما زال مكان الباقي مجهول. اتخذ أسلوب أريستوفانيس الكوميدي شكل مسرحيات ساتير . ^[5]

كوميديا شكسبير

كتب الشاعر والكاتب المسرحي الإنجليزي ويليام شكسبير العديد من الأعمال الكوميدية. كوميديا شكسبير هي من النوع التي لها نهاية سعيدة ، وعادة ما تنطوي على المحادثات بين الشخصيات غير المتزوجة ، ونبرة وأسلوب أكثر رقة من مسرحيات شكسبير الأخرى.

العصر الحديث

تعود جذور الكوميديا الأدائية الأمريكية إلى أربعينيات القرن التاسع عشر من تنسيق العرض المتنوع ثلاثي الفعل لعروض المنشد (عبر عروض الوجه الأسود لشخصية جيم كرو ) ؛ انتقد فريدريك دوغلاس هذه العروض لاستفادتها من العنصرية وإدامتها. ^[6] ^[7] أجرى علماء مونستريلسي مونولوجات الفصل الثاني ، مناجاة كلامية من داخل عروض المنشد حتى عام 1896. ^[8] ^[9] ظهر الموقف الأمريكي أيضًا في مسرح الفودفيل من ثمانينيات القرن التاسع عشر إلى ثلاثينيات القرن العشرين ، مع رسوم هزلية مثل WC Fields وBuster Keaton وMarx Brothers .

تعود جذور الكوميديا الأدائية البريطانية إلى مسارح قاعة الموسيقى عام 1850 ، حيث قدم تشارلي شابلن ، وستان لوريل ، ودان لينو ، ^[10] بإرشاد الممثل الكوميدي والمسرحي فريد كارنو ، الذي طور شكلاً من أشكال الكوميديا بدون حوار في تسعينيات القرن التاسع عشر و كما كان رائدا في الكوميديا التهريجية . ^[10]

انظر أيضاً

مراجع

^ Q112315598، ص. 245، QID:Q112315598
^ Kelland، Kate (16 يناير 2014). "Comedians have psychotic personality traits, study finds". Reuters. مؤرشف من الأصل في 2015-11-15. اطلع عليه بتاريخ 2014-01-31.
^ Suebsaeng، Asawin (18 يناير 2014). "Study Says Comedians Have Psychotic Personality Traits—Here's What Some Comedians Have To Say About That". Mother Jones. مؤرشف من الأصل في 2017-02-14. اطلع عليه بتاريخ 2014-01-31.
^ Cooper-White، Macrina (17 يناير 2014). "Comedians Have 'High Levels' Of Psychotic Personality Traits, New Study Shows". Huffington Post. مؤرشف من الأصل في 2017-08-15. اطلع عليه بتاريخ 2014-01-31.
^ Aristophanes (1996). Lysistrata. ص. ix. ISBN:9781854593252. مؤرشف من الأصل في 2022-11-16.
^ Kippola، Karl M. (أغسطس 2012). "Conclusion: Affirming White Masculinity by Deriding the Other". Acts of Manhood: The Performance of Masculinity on the American Stage, 1828–1865. Palgrave Studies in Theatre and Performance History. New York, NY: Palgrave Macmillan. ص. 176–77. DOI:10.1057/9781137068774. ISBN:978-1-349-34304-1. Thomas D. Rice (1808–1860) originated the Jim Crow character, inspiring the minstrel show, which evolved into one of the most popular forms of variety entertainment through the end of the century and into the first distinctly American form of theatrical entertainment ... In the 1840s and 50s, the Virginia and Christy Minstrels built upon Rice's success, formalizing a three-act structure of music and humor, variety entertainment, and scenes from plantation life (or burlesques of popular plays). Appealing across class lines, the minstrel show employed archetypal characters, created derogatory and fictitious pictures of African American males, and provided a lens through which whites viewed blacks ... Frederick Douglass described the purveyors of minstrel entertainment as 'filthy scum of white society, who have stolen from us a complexion denied to them by nature, in which to make money, and pander to the corrupt taste of their white fellow citizens.' Minstrelsy relied on the promise of presenting 'real' Southern life.Kippola, Karl M. (August 2012). "Conclusion: Affirming White Masculinity by Deriding the Other". Acts of Manhood: The Performance of Masculinity on the American Stage, 1828–1865. Palgrave Studies in Theatre and Performance History. New York, NY: Palgrave Macmillan. pp. 176–77. doi:10.1057/9781137068774. ISBN 978-1-349-34304-1. Thomas D. Rice (1808–1860) originated the Jim Crow character, inspiring the minstrel show, which evolved into one of the most popular forms of variety entertainment through the end of the century and into the first distinctly American form of theatrical entertainment ... In the 1840s and 50s, the Virginia and Christy Minstrels built upon Rice's success, formalizing a three-act structure of music and humor, variety entertainment, and scenes from plantation life (or burlesques of popular plays). Appealing across class lines, the minstrel show employed archetypal characters, created derogatory and fictitious pictures of African American males, and provided a lens through which whites viewed blacks ... Frederick Douglass described the purveyors of minstrel entertainment as 'filthy scum of white society, who have stolen from us a complexion denied to them by nature, in which to make money, and pander to the corrupt taste of their white fellow citizens.' Minstrelsy relied on the promise of presenting 'real' Southern life.
^ Parker، Bethany (12 سبتمبر 2008). "Probing Question: What are the roots of stand-up comedy?". PennState News. University Park, Pennsylvania: The Pennsylvania State University. مؤرشف من الأصل في 2022-12-24. اطلع عليه بتاريخ 2019-02-24. American stand-up comedy has its beginnings in the minstrel shows of the early 1800sParker, Bethany (12 September 2008). "Probing Question: What are the roots of stand-up comedy?". Research. PennState News. University Park, Pennsylvania: The Pennsylvania State University. Retrieved 24 February 2019. American stand-up comedy has its beginnings in the minstrel shows of the early 1800s
^ "Forms of Variety Theater". Library of Congress (exhibit). مؤرشف من الأصل في 2023-05-21. اطلع عليه بتاريخ 2021-01-24. [T]he minstrel show was the most popular form of public amusement in the United States from the 1840s through the 1870s. It virtually ended, in its original form, by 1896, although vestiges lasted well into the twentieth century. Much humor in later comedy forms originated in minstrelsy and adapted itself to new topics and circumstances. The minstrel show also provided American burlesque and other variety forms with a prototypical three-part format. The minstrel show began with a 'walk around' with a verbal exchange between the 'end' men and the interlocutor. An 'olio,' or variety section, followed. Finally, a one-act skit completed the show."Forms of Variety Theater". American Variety Stage: Vaudeville and Popular Entertainment: 1870–1920. Library of Congress (exhibit). Retrieved 24 January 2021. [T]he minstrel show was the most popular form of public amusement in the United States from the 1840s through the 1870s. It virtually ended, in its original form, by 1896, although vestiges lasted well into the twentieth century. Much humor in later comedy forms originated in minstrelsy and adapted itself to new topics and circumstances. The minstrel show also provided American burlesque and other variety forms with a prototypical three-part format. The minstrel show began with a 'walk around' with a verbal exchange between the 'end' men and the interlocutor. An 'olio,' or variety section, followed. Finally, a one-act skit completed the show.
^ Oliar، Dotan؛ Sprigman، Christopher (2008). "There's No Free Laugh (Anymore): The Emergence of Intellectual Property Norms and the Transformation of Stand-Up Comedy". Virginia Law Review. ج. 94 ع. 8: 1843. JSTOR:25470605. مؤرشف من الأصل في 2022-10-26. اطلع عليه بتاريخ 2020-09-16. Stand-up's early roots can also be traced back to minstrel, a variety show format based in racial stereotypes which was widely performed in America between the 1840s and the 1940s. Minstrel acts would script dedicated ad-lib moments for direct actor-audience communication: these spots often were used for telling quick jokes.Oliar, Dotan; Sprigman, Christopher (2008). "There's No Free Laugh (Anymore): The Emergence of Intellectual Property Norms and the Transformation of Stand-Up Comedy". Virginia Law Review. 94 (8): 1843. JSTOR 25470605. Retrieved 16 September 2020. Stand-up's early roots can also be traced back to minstrel, a variety show format based in racial stereotypes which was widely performed in America between the 1840s and the 1940s. Minstrel acts would script dedicated ad-lib moments for direct actor-audience communication: these spots often were used for telling quick jokes.
^ ^أ ^ب McCabe, John. "Comedy World of Stan Laurel". p. 143. London: Robson Books, 2005, First edition 1975

في كومنز صور وملفات عن: ممثل هزلي

بوابة كوميديا

هذه بذرة مقالة عن الفنون بحاجة للتوسيع. فضلًا شارك في تحريرها.

[1] Q112315598، ص. 245، QID:Q112315598

[Kelland-Psychotic-2] Kelland، Kate (16 يناير 2014). "Comedians have psychotic personality traits, study finds". Reuters. مؤرشف من الأصل في 2015-11-15. اطلع عليه بتاريخ 2014-01-31.

[Seubsaeng-Study-3] Suebsaeng، Asawin (18 يناير 2014). "Study Says Comedians Have Psychotic Personality Traits—Here's What Some Comedians Have To Say About That". Mother Jones. مؤرشف من الأصل في 2017-02-14. اطلع عليه بتاريخ 2014-01-31.

[Cooper-White-4] Cooper-White، Macrina (17 يناير 2014). "Comedians Have 'High Levels' Of Psychotic Personality Traits, New Study Shows". Huffington Post. مؤرشف من الأصل في 2017-08-15. اطلع عليه بتاريخ 2014-01-31.

[5] Aristophanes (1996). Lysistrata. ص. ix. ISBN:9781854593252. مؤرشف من الأصل في 2022-11-16.

[:0-6] Kippola، Karl M. (أغسطس 2012). "Conclusion: Affirming White Masculinity by Deriding the Other". Acts of Manhood: The Performance of Masculinity on the American Stage, 1828–1865. Palgrave Studies in Theatre and Performance History. New York, NY: Palgrave Macmillan. ص. 176–77. DOI:10.1057/9781137068774. ISBN:978-1-349-34304-1. Thomas D. Rice (1808–1860) originated the Jim Crow character, inspiring the minstrel show, which evolved into one of the most popular forms of variety entertainment through the end of the century and into the first distinctly American form of theatrical entertainment ... In the 1840s and 50s, the Virginia and Christy Minstrels built upon Rice's success, formalizing a three-act structure of music and humor, variety entertainment, and scenes from plantation life (or burlesques of popular plays). Appealing across class lines, the minstrel show employed archetypal characters, created derogatory and fictitious pictures of African American males, and provided a lens through which whites viewed blacks ... Frederick Douglass described the purveyors of minstrel entertainment as 'filthy scum of white society, who have stolen from us a complexion denied to them by nature, in which to make money, and pander to the corrupt taste of their white fellow citizens.' Minstrelsy relied on the promise of presenting 'real' Southern life.Kippola, Karl M. (August 2012). "Conclusion: Affirming White Masculinity by Deriding the Other". Acts of Manhood: The Performance of Masculinity on the American Stage, 1828–1865. Palgrave Studies in Theatre and Performance History. New York, NY: Palgrave Macmillan. pp. 176–77. doi:10.1057/9781137068774. ISBN 978-1-349-34304-1. Thomas D. Rice (1808–1860) originated the Jim Crow character, inspiring the minstrel show, which evolved into one of the most popular forms of variety entertainment through the end of the century and into the first distinctly American form of theatrical entertainment ... In the 1840s and 50s, the Virginia and Christy Minstrels built upon Rice's success, formalizing a three-act structure of music and humor, variety entertainment, and scenes from plantation life (or burlesques of popular plays). Appealing across class lines, the minstrel show employed archetypal characters, created derogatory and fictitious pictures of African American males, and provided a lens through which whites viewed blacks ... Frederick Douglass described the purveyors of minstrel entertainment as 'filthy scum of white society, who have stolen from us a complexion denied to them by nature, in which to make money, and pander to the corrupt taste of their white fellow citizens.' Minstrelsy relied on the promise of presenting 'real' Southern life.

[:1-7] Parker، Bethany (12 سبتمبر 2008). "Probing Question: What are the roots of stand-up comedy?". PennState News. University Park, Pennsylvania: The Pennsylvania State University. مؤرشف من الأصل في 2022-12-24. اطلع عليه بتاريخ 2019-02-24. American stand-up comedy has its beginnings in the minstrel shows of the early 1800sParker, Bethany (12 September 2008). "Probing Question: What are the roots of stand-up comedy?". Research. PennState News. University Park, Pennsylvania: The Pennsylvania State University. Retrieved 24 February 2019. American stand-up comedy has its beginnings in the minstrel shows of the early 1800s

[8] "Forms of Variety Theater". Library of Congress (exhibit). مؤرشف من الأصل في 2023-05-21. اطلع عليه بتاريخ 2021-01-24. [T]he minstrel show was the most popular form of public amusement in the United States from the 1840s through the 1870s. It virtually ended, in its original form, by 1896, although vestiges lasted well into the twentieth century. Much humor in later comedy forms originated in minstrelsy and adapted itself to new topics and circumstances. The minstrel show also provided American burlesque and other variety forms with a prototypical three-part format. The minstrel show began with a 'walk around' with a verbal exchange between the 'end' men and the interlocutor. An 'olio,' or variety section, followed. Finally, a one-act skit completed the show."Forms of Variety Theater". American Variety Stage: Vaudeville and Popular Entertainment: 1870–1920. Library of Congress (exhibit). Retrieved 24 January 2021. [T]he minstrel show was the most popular form of public amusement in the United States from the 1840s through the 1870s. It virtually ended, in its original form, by 1896, although vestiges lasted well into the twentieth century. Much humor in later comedy forms originated in minstrelsy and adapted itself to new topics and circumstances. The minstrel show also provided American burlesque and other variety forms with a prototypical three-part format. The minstrel show began with a 'walk around' with a verbal exchange between the 'end' men and the interlocutor. An 'olio,' or variety section, followed. Finally, a one-act skit completed the show.

[9] Oliar، Dotan؛ Sprigman، Christopher (2008). "There's No Free Laugh (Anymore): The Emergence of Intellectual Property Norms and the Transformation of Stand-Up Comedy". Virginia Law Review. ج. 94 ع. 8: 1843. JSTOR:25470605. مؤرشف من الأصل في 2022-10-26. اطلع عليه بتاريخ 2020-09-16. Stand-up's early roots can also be traced back to minstrel, a variety show format based in racial stereotypes which was widely performed in America between the 1840s and the 1940s. Minstrel acts would script dedicated ad-lib moments for direct actor-audience communication: these spots often were used for telling quick jokes.Oliar, Dotan; Sprigman, Christopher (2008). "There's No Free Laugh (Anymore): The Emergence of Intellectual Property Norms and the Transformation of Stand-Up Comedy". Virginia Law Review. 94 (8): 1843. JSTOR 25470605. Retrieved 16 September 2020. Stand-up's early roots can also be traced back to minstrel, a variety show format based in racial stereotypes which was widely performed in America between the 1840s and the 1940s. Minstrel acts would script dedicated ad-lib moments for direct actor-audience communication: these spots often were used for telling quick jokes.

[Karno-10] أ ^ب McCabe, John. "Comedy World of Stan Laurel". p. 143. London: Robson Books, 2005, First edition 1975

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