Humorous Interpretation performers have a list of go-to characters, accomplished with stance and voice. There is The Matriarch, Sassy Teen, Emo Kid, The Jock, English Gentleman/woman, Geek, Old Man, and so on. For those one-liner characters, or the ones who are strictly there for immoderate comedic relief, a stock character might make an appearance for a fast laugh. It’s an affordable laugh, but one that usually works nonetheless. These stock characters, or stereotypes (yes, these are stereotypes as they are established on a generalization of a group), are acquainted. And there is comfort in the familiar. Audiences cognize that character. People can instantly tie in, see the joke, and thus make it easier for a performer to turn a character with borderline exposure into a laugh
Though, in this politically accurate world stock characters can go glowered upon rather quickly if pushed too far. There is risk in having a cheerful character be colourful and very Jack from Will & Grace. To debar turning a laugh into a make a face there are a few universal stock character rules:
Don’t overstock A Humorous Interpretation with nothing but stereotypes is leaden. Audiences cognize these characters; they see them every day on television and in movies. Not only does this over stereotype use tired your audience, it also displays how unoriginal you are with interpretation. In an event titled Humorous Interpretation it might be all-knowing to prominently market your interpretation skills by, perhaps, actually executing some?
Know the limits. A stock character can swiftly transform into a harsh stereotype if the joke is taken too far. Exaggeration works in comedy and is one of the conspicuous features, but utilizing a stereotype’s gesture/vocalization to a distant is non-funny. How California-bubbly of a voice are you traveling to append to that Cheerleader who flips her hair WAY to much and spells out words? Seriously. It is like watching a guy state a joke he thinks is HILARIOUS, and laugh wildly about it in a disagreeable way, when it really is not. Just discontinue. The joke is asleep.
SUBSTANCE!!! A stock character for a minor role is okay and can be a riot if done tactfully. A lead role as a noisy stereotype, unless the script deems so, might not work. Comedy is humourous because of the enthusiastic shenanigans characters get into and the over-the-top performances. HOWEVER, there needs to be some reflection of reality, otherwise there is no merit to your work. Comedy is intended to instruct life lessons in a larded manner. How can audiences tie and larn from a Humorous Interpretation when the characters are so removed and aeriform?
Familiarity. Stock characters/stereotypes are images and voices and caricatures the audience has seen before. Ergo, your Humorous Interpretation can easily become boring if the character has no real flair. To properly use a stock character you necessitate to give all your energy and trade it. Try appending antithetic quirks as put forward/construed from the script as well to append some originality. HI performers must be constructive and brisk to acquire the audience
Creating categories and labeling groups is unavoidable. Stock characters have been in existence since the Ancient Greeks created theatre (who can bury Theophrastus’ character of The Unpleasant Man?). Back then, easily identifiable characters–through dress, mask, and stance–were incumbent so the audience cognized the persona and could larn the chaste to the Drama without complication. Thousands of years later and humans still necessitate to generalise and create an image of a group. People tie in to the generalization yet can distance themselves just enough to give comfort that they are “not that person.” This close-grained balance is what helps let for some connection and catharsis to prove. Break the bubble of comfort and people happen the generalization barbaric. Knowing that, stereotypes/stock characters can go intend and amnesiac when missing heart and if pushed beyond boundaries. Always be evocative of the stock character you use and inquire “is this too far?”
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