102 Sentences With "low comedy" | Random Sentence Generator

The committee was repeatedly interrupted by cries of "regular order" as the hearing descended into low comedy and farce.

The three bond in a herky-jerky plot of low comedy, knockabout combat and a saccharine song here and there.

The low comedy of charlatanry, however, should not distract us from the lethal dangers of a wounded and swaggering identity geopolitics.

The contemporary scenes, meanwhile, go for low comedy and topical satire, as Singh (the rare Sikh cop on the Mumbai force) dodges his uniformly corrupt superiors.

But that was mere low comedy; the real insight into the mind of the FA's latest exorbitantly salaried managerial disaster had in fact come the night before.

There is plenty of low comedy as well, a bracing silliness that places Austen in the line of British humor that extends through P. G. Wodehouse to Monty Python.

Featuring crude, single-panel drawings, presented without context, these freehand sketches bridged high and low comedy, and offered up another side to the cerebral, poignant, and wistfully funny headspace that Berman inhabited.

"Instead of taking politics seriously and engaging in public discussions about public matters, we've created campaigns as a sort of secular ritual and entertainment ranging from low comedy to high drama," Scher said.

High drama, low comedy, ghost stories, mystical visions, family and tribal lore — wed to a surprising outbreak of enthusiasm for boxing matches — mix with political fervor and a terrifying undercurrent of predation and violence against women.

He said the idea of Franken resigning "is pure absurdity, and the atrocity it leads to is a code of public deadlines," and called the photo of Franken pretending to Grope Leeann Tweeden while she was asleep "low comedy."

But it was largely because of the nature of his output: lots of low comedy, an abundance of pratfalls and funny faces, but ("The King of Comedy" and some others excepted) not much of the kind of substantive or enduring work that brings statuettes.

His grasp of low comedy is equally impressive — with the playwright Richard Bean, Hytner reconceptualized Goldoni's 1746 comedy, "The Servant of Two Masters," as "One Man, Two Guvnors," a star vehicle for a dazzling James Corden set in 1960s Brighton, incorporating slapstick, farce and a skiffle band.

In response to the initial account from Leeann Tweeden, in which she alleged Franken harassed her on a USO tour and published a photo of Franken grabbing at her breasts while she slept, Keillor wrote: On the flight home, in a spirit of low comedy, Al ogled Miss Tweeden and pretended to grab her and a picture was taken.

Something to do with the marriage of high seriousness and low comedy is at the core of his work; something to do with the wars against false piety, against the fantasy of purity and other forms of sanctimony; something to do with how the novel is playful and capacious enough to contain the life of the mind and the body and the spirit; something to do with human indignation and with human dignity; something to do with an epic disregard for the rigid tedium of conventions and the dishonesties of human life, relationships and consciousness.

This form of comedy connects to popular culture by its easy to understand style. Low comedy, however, has lacked appreciation from most of society and is looked down upon in contrast to high comedy. The sole purpose of low comedy is to evoke laughter in people. Because there is no contextual message in most forms of low comedy, it is not highly respected.

Low comedy, also known as lowbrow humor, in association to comedy, is a dramatic or literary form of popular entertainment without any primary purpose other than to create laughter through boasting, boisterous jokes, drunkenness, scolding, fighting, buffoonery and other riotous activity."low comedy" (2013). In Encyclopædia Britannica It is also characterized by "horseplay", slapstick or farce. Examples include the throwing of a custard pie into another's face.

In his book Horror and Science Fiction Film IV, Donald C Willis described Happy Ghost IV as an "occasionally funny low comedy" with "some okay "invisible ghost" effects".

In these pieces we discover the first traces of that genius for low comedy which was afterwards further developed in the dramas of Bredero and the paintings of Teniers.

Low comedy was first denoted as comedy for the commoners because it was most often practiced by street performers. Over time, as low comedy began to include lewd jokes and more physical comedy, more mainstream performers began to practice this type of comedy: stand-up comedians, musicals, etc. This type of comedy also was employed in most cartoons. For instance, in Porky's Duck Hunt Porky Pig is routinely subjected to physical slapstick.

This does not undermine the fact that it is still an effective form of comedy for its reputation to cause laughter. The classification of things considered to be low comedy constantly changes over time. As society changes, so do the ideas about what high and low comedy is. For example, due to the overdoing of sitcoms in the past, it is now considered shrill, vulgar, low society where everyone talk-screeches in some sub-human, mock-sophisticated language of incessant insult.

Gans, H. J. (1975). Popular culture and high culture; an analysis and evaluation of taste. New York: Basic Books. Low comedy is well known and popular today because it is considered suitable for all individuals.

This definition has also expanded to include lewd types of comedy that rely on obvious physical jokes, such as, the wedgie. The term "low comedy" was coined by John Dryden in his preface to his play An Evening's Love.

Drama ranged from low comedy to Shakespeare (see Henry Irving). Melodrama was a particularly widespread and influential theatrical genre. There were, however, other forms of entertainment. Gentlemen went to dining clubs, like the Beefsteak Club or the Savage Club.

Known production details state that it was shot on a beach resort and used a miniature train. The film had a wide release and was reviewed by The Moving Picture World as a low comedy suited for the burlesque theaters.

He played Antonio in the Merchant of Venice. A performance of Dan in John Bull revealed talent in low comedy. He appeared at Sheerness, and played Richard III at Godalming. He joined, as low comedian, Trotter's company (Worthing, Hythe, and Southend theatres).

The novel received little critical attention when it first appeared but has since come to be appreciated as a classic work of "low comedy and high seriousness" with disturbing religious themes.eNotes: Wise Blood Study Guide: Introduction Online. Accessed: August 21, 2011.Park, Mary.

Motion Picture World commented "A very laughable production of the low comedy type, full of chuckles and free from offense....The scenes are all of burlesque nature and furnish plenty of genuine amusement."Blake, Michael F. (1998). "The Films of Lon Chaney". Page 6.

Winslow earned a Ph.D. from the University of Chicago in 1922 with a thesis that was later published as a book with the title Low Comedy as a Structural Element in English Drama from the Beginnings to 1642. Winslow died in Maine at age 92.

Philippe Clair (born 14 September 1930) is a French actor, director, producer, screenwriter, and popular humorist.Philippe Clair at Unifrance Films Along with fellow French directors Max Pécas and Richard Balducci, his name is synonymous with the golden age of camp and low comedy in French cinema.

P. Schuyler Miller, commenting on the stories in the collection A Gun for Dinosaur, called this piece "a low comedy of the future entertainment world, [in which] Conan, Tarzan, Flash Gordon and Jungle Jim are properly demolished."Miller, P. Schuyler. "The Reference Library." In Analog Science Fact - Science Fiction, v.

With vaudeville becoming more popular, it allowed female impersonators to become popular as well. Many female impersonators started with low comedy in vaudeville and worked their way up to perform as the prima donna.Moore, F. Michael. Drag!: Male and Female Impersonators on Stage, Screen, and Television: An Illustrated World History.

According to Phillips' biographer Peter Guralnick: :Sam was knocked out by Big Mama Thornton's "Hound Dog" the first time he heard it. Performed with ripsaw gusto by the singer... and modified by a delicate Latin-flavored "rhumba-boogie" beat, the record struck a communal chord somewhere between low comedy and bedrock truth.

" Television critic John Carman of the San Francisco Chronicle commented, "Last night on ABC, no one got it. Hollywood's big event was wonderfully littered by technical errors, bad taste, low comedy and lower necklines." Moreover, he remarked, "Letterman, the rookie host, was off his game in his opening monologue. Maybe it was the big auditorium.

The Observer commented, "It is quite clear that Mr Brandon-Thomas could earn a handsome living at any time in low – very low – comedy."The Observer, 12 January 1930, p. 8 A Broadway musical version, Where's Charley?, with a book by George Abbott and music and lyrics by Frank Loesser, starred Ray Bolger as Charley.

He was a great success in low comedy and servants' parts, and often played comic foreigners such as Canton in The Clandestine Marriage. In 1777 he played Moses in The School for Scandal, which came to be the role with which he was most associated.Broadbent, R. J. (1908). Annals of the Liverpool Stage, p. 41.

"The Man and the Snake" shows that "death for Bierce was hardly the occasion for high tragic or sublime musings; nor was it particularly repulsive but instead a sort of low comedy, in which the joke is often played upon the reader".Gothic Writers: A Critical and Bibliographical Guide. Greenwood Press, 2002. . P. 66.

The scripts incorporated and developed British low comedy styles, particularly "silly-asses, henpecked husbands, battleaxe mothers-in-law and lots of innocent misunderstandings."Archive: "Tom Walls (1883 – 1949)" , British Pictures.com, accessed 2 June 2012 The farces proved popular, and touring casts were regularly sent to the provinces."Local and District News", Western Gazette, 15 August 1930, pp.

In the early 1920s she appeared as a cockney maid in Plus Fours followed in 1924 by her portrayal of a cockney waitress in Frederick Lonsdale's The Fake. In a single paragraph review, an unnamed reviewer noted "Una O'Connor's low comedy hotel maid was effectively handled.""London Sees 'The Fake'," Billboard (22 March 1924), p. 21.

In 1816 she was playing Lady Sneerwell at Drury Lane. Her husband died in March 1818, in his seventy-fifth year. She was a low comedy actress, who without any splendid talent had such a complete knowledge of stage requirements that her services were most useful in any theatre. Her figure was neat, and she often assumed male characters.

Zerlina goes to find Masetto and the others; Leporello escapes again before she returns. This scene, marked by low comedy, is rarely performed today. Also in the Vienna production, Donna Elvira is still furious at Don Giovanni for betraying her, but she also feels sorry for him. ("Mi tradì quell'alma ingrata" – "That ungrateful wretch betrayed me").

He held various jobs in Detroit and then Chicago but was very drawn to the theatre. He eventually got a job at McVickers Theatre in Chicago and began a stage career. He performed in over 200 roles from low comedy to Shakspeare and always received great praise in newspaper reviews. He cut his teeth in San Francisco and Montreal in the 1870s.

Finally, and most importantly, Duppy Conqueror brims with humour and low comedy. It is a pleasing change from the wilfully ponderous treatment of historical memory and diasporic identity in much contemporary postcolonial fiction.""Paradise, Jamaica", Times Higher Education, 29 June 1998. According to The Independent′s Rachel Halliburton: "Duppy Conqueror presents a giant's eye view of the exiled African psyche.

His signature tunes included "Somewhere Over the Rainbow," the title theme from the Star Wars film series and "Amazing Grace." Reeves also wrote four unpublished novels and hosted a Portland-area cable access program called Low Comedy. In May 2012, he traveled to Los Angeles to audition for a slot on America's Got Talent and Shark Tank but wasn't selected for either program.

In his investigation of narrative structures in Spaghetti Western films, Fridlund describes Sting of the West as one of the most hardcore followers of They Call Me Trinity and Trinity Is Still My Name in its employment of smell and gluttony jokes, con men (and women), (fake) religion and low comedy. Fridlund, Bert: The Spaghetti Western. A Thematic Analysis. Jefferson, NC and London: McFarland & Company Inc.

Additionally, Colley Cibber and John Rich began to battle each other for greater and greater spectacles to present on stage. The figure of Harlequin was introduced, and pantomime theatre began to be staged. This "low" comedy was quite popular, and the plays became tertiary to the staging. Opera also began to be popular in London, and there was significant literary resistance to this Italian incursion.

Thark (1927). From left: Mary Brough, Ralph Lynn, Winifred Shotter, Robertson Hare, Tom Walls, Ethel Coleridge and Gordon James The Aldwych farces were a series of twelve stage farces presented at the Aldwych Theatre, London, nearly continuously from 1923 to 1933. All but three of them were written by Ben Travers. They incorporate and develop British low comedy styles, combined with clever word-play.

While Green does express some reservations about what he viewed as several of the film's implausible situations and its "mechanized" structure, he predicts nothing but financial success for the "enjoyable low comedy glorified slapsticker." The trade paper The Film Daily rated the MGM feature as "the funniest film released in months"."'Spite Marriage'", The Film Daily (New York, N.Y.), March 31, 1929, p. 28.

Kingsley claimed the phrase "jaz her up" was used by plantation slaves and that in common vaudeville usage "jaz her up" or "put in jaz" meant to accelerate or add low comedy, while "jazbo" meant "hokum". Bandleader Art Hickman said "jazz" was named for Boyes Springs. He made the claim in the San Francisco Examiner of October 12, 1919 and San Francisco Chronicle of November 9, 1919.

Chaplin recounts seeing him years later in the United States with a circus, and though expecting to see him be a featured star, was surprised to see him only amongst other clowns.Scheide, Frank Milo. The history of low comedy, p. 244 (1990) As Marceline performed before the film era, despite the many contemporary reports of his world fame, there is a lack documentary evidence of his performances.

Drawing of Compton c. 1850 Compton's first professional appearances were in Shakespeare plays in the provinces. He then began to specialize in low comedy roles in touring companies, where he played for over a decade."Death of Mr. Henry Compton", The Musical World, p. 632, J. Alfredo Novello, 1877 He moved from Jackman's Bedford company to Fanny Robertson's Lincoln company in 1832 before moving to York in 1835.

A male receiving a wedgie A wedgie is the act of forcibly pulling a person's underpants upwards from the back. The act is often performed as a school prank or a form of bullying. Wedgies are commonly featured in popular works, either as a form of low comedy or as a behaviour representative of bullying. In such works, briefs are usually the type of underpants that are worn by the victim.Wedgie.

Barbara Anson took the lead female roles, and John Anson and Samuel Johnson shared the low comedy parts. Late in 1847 the trio played in the Dundee area. Johnson first worked with Henry Irving in 1856. From 1853 to 1855 he was in partnership with John Coleman, and the two rented theatres in Stockport, Oldham (where over 2,000 applicants responded to their advert for actors), Cambridge and Sheffield.

In 1930 a suite based on Ariodante was announced, but did not appear. Melville-Mason suggests that Beecham used much of it instead in a ballet score for the Carmago Society, A Woman's Privilege, choreographed by Trudl Dubsky. It was a comedy about exchanged brides, and featured what The Musical Times described as "a pair of low comedy aunts" reminiscent of pantomime dames."Camargo Society", The Musical Times, 1 January 1932, p.

Productions of The Seven Sisters were also mounted successfully outside of New York.Grossman, Barbara Wallace. A Spectacle of Suffering: Clara Morris on the American Stage, pp. 39-40 (2009) (production in Cleveland which included a young Clara Morris) The Seven Sisters essentially co-opted the low comedy elements of the concert saloon, and in that respect was a forerunner of later productions such as The Black Crook and the "leg shows" of Victorian burlesque.

The original Broadway production of The Bat received positive reviews praising its writing and performances. In his New York Times review, Alexander Woollcott described the play as entertaining and well-acted. For the New-York Tribune, Heywood Broun called The Bat better than Spanish Love (which had opened the week before). Broun wrote that The Bat "provided an excellent succession of thrills", although the "interludes of low comedy" with Vokes could have been omitted.

Wedding Babylon (2009) explores the wedding industry. The book lifts the veil on the excesses of the wedding industry - the scams which inflate the prices of everything from flowers to cakes to marquee hire and the wedding disaster stories of high jinxing at the altar and disastrous low comedy in the speeches.Karen Ann Monsy. "Review: Wedding Vows and Woes", Kaleej Times, 24 July 2009Book review, Woman's Day (Australian Consolidated Press), 9/14/2009, Vol.

Henry Compton Henry Compton (real name Charles Mackenzie) (22 March 1805 – 15 September 1877) was an English actor best known for his Shakespearean comic roles. Compton began his career in Shakespeare plays in the British provinces. He then began to specialize in low comedy roles in touring companies, where he played for over a decade. He first appeared in London in 1837 and joined the company at the Theatre Royal, Drury Lane later that year, again playing in Shakespeare.

Monty Python's Flying Circus would routinely parody the classics and high culture as well as philosophy and political issues whilst the Dennis Moore Sketch ridiculed Communism through a Robin Hood parody. Today, high comedy can be seen among sitcoms and talk shows targeted at cultured and articulate audiences. Though there are also sitcoms which utilize low Comedy. Examples of high comedy include Arrested Development, The Marx Brothers, Woody Allen, Seinfeld, The Larry Sanders Show and The Office.

Low comedy in society is quite well known; it can be found in a wide range of media, such as television and theatre. It can also be found in public and occupations, such as clowns, mimes and comedians. The term low is represented in association to low culture. This form of comedy is targeted and understood towards people who attain nonacademic high school education, meaning this form of comedy is not restricted to high levels of education and knowledge.

Rózsahegyi was one of the most notable representatives of realist theatre; a person who was not an artist of words, but rather of simple, natural and direct plays. The range of his work was broad: his works covered all the shades of low comedy and sensual humor. He was born in Endrőd, Békés on October 6, 1873. Following in the footsteps of his father, Ödön Rózsahegyi, he became an actor, and he graduated as an actor from drama school.

Schultz' earliest film projects combined low comedy with profound social comment (Honeybaby, Honeybaby and Cooley High), reaching a peak with the ensemble comedy Car Wash (1976) and Which Way Is Up? (1977), starring Richard Pryor. In 1978, Schultz took the reins of the musical Sergeant Pepper's Lonely Hearts Club Band with the largest budget ever entrusted to an African-American film director to that date. However, upon its release, the project was a commercial and critical failure.

William Shakespeare Hays (July 19, 1837 – July 23, 1907) was an American poet and lyricist. He wrote some 350 songs over his career and sold as many as 20 million copies of his works. These pieces varied in tone from low comedy to sentimental and pious; his material was sometimes confused with that of Stephen Foster as a result. In his later years, Hays put forth one of the more plausible claims to authorship of the song "Dixie".

Anson was born in Montrose in Scotland; his father was actor John W. Anson, whose early career was with theatrical companies of Dundee, Perth, Montrose and Inverness. His mother was the actress Barbara Johnson, the sister of Samuel Johnson who played the low- comedy roles in the Henry Irving Company at the Lyceum Theatre, London. George Anson first appeared on stage at the Theatre Royal, Edinburgh in December 1865. During the next few years he gained a reputation as a character actor.

Without the succour of the Mima, the erstwhile colonists seek distraction in sensual orgies, memories of their own and earlier lives, low comedy, religious cults, observations of strange astronomical phenomena, empty entertainments, science, routine tasks, brutal totalitarianism, and in all kinds of human endeavour, but ultimately cannot face the emptiness outside and inside. The poems are metrical and mostly rhymed, using both traditional and individual forms, several alluding to a wide range of Swedish and Nordic poetry, such as the Finnish Kalevala.

As an actor Saker was most successful in parts requiring drollery and facial expression. His Shakespearean clowns were notable examples of low-comedy acting. However, he made his chief reputation as a manager. His period of management at the Alexandra, Liverpool, was rendered notable by a series of revivals of Shakespearean plays, including The Winter's Tale, Much Ado about Nothing, A Midsummer Night's Dream and The Comedy of Errors In all his undertakings he was ably assisted by his wife, who survived him.

Long before Bringing Up Babys release, Hepburn had been branded "box office poison" by Harry Brandt (president of the Independent Theatre Owners of America) and thus was allowed to buy out her RKO contract for $22,000. However, many critics marveled at her new skill at low comedy; Life magazine called her "the surprise of the picture". Hepburn's former boyfriend Howard Hughes bought RKO in 1948, and sold it in 1955; when he sold the company, Hughes retained the copyright to six films (including Bringing Up Baby).

Leno continued to appear in musical comedies and his own music hall routines until 1902, although he suffered increasingly from alcoholism. This, together with his long association with dame and low comedy roles, prevented him from being taken seriously as a dramatic actor, and he was turned down for Shakespearean roles. Leno began to behave in an erratic and furious manner by 1902, and he suffered a mental breakdown in early 1903. He was committed to a mental asylum, but was discharged later that year.

Though a Court returned to Lisbon in 1640, it preferred, for one hundred and fifty years, Italian opera and French plays to vernacular representations. Early in the eighteenth century several authors sprung from the people vainly attempted to found a national drama. Their pieces mostly belong to low comedy. The "Operas Portuguezas" of António José da Silva, produced between 1733 and 1741, have a real comic strength and a certain originality, and, like those of Nicolau Luiz, exploit with wit the faults and foibles of the age.

The Jackson Sun called High School "a remarkably good comedy" as well as an "authentic...picture of American high school life". The Evening News noted that Withers "graduates to adolescence" in this film. This review complimented her for dancing and singing "passably well"; it also said she "is developing a modest flair for low comedy". It also predicted a positive future for Joe Brown Jr., in teenage films, writing: "Anything but handsome, young Mr. Brown possesses the other virtues of acting ability and a decided infectious personality".

Manders went into management with John Kemble Chapman at the City Theatre where he became a great success playing the low comedy roles. At the Queen's Theatre he played Sam Slap in The Rake's Progress (1833)The Rake's Progress on the Victorian Plays Project and Sarah Gamp in Martin Chuzzlewit (1844) in a production authorised by Charles Dickens.Malcolm Morley, 'Martin Chuzzlewit in the Theatre', The Dickensian Vol. 47 (Jan 1, 1951): 98 He became the landlord of the Sun Tavern in Long Acre, a popular theatrical rendezvous, and the Marquis of Gransby in Knightsbridge.

Some Sitcoms are somewhere in between low and high comedy. For instance The Simpsons routinely has Homer Simpson get electrocuted or otherwise hurt, has Bart Simpson get strangled by his father, gets Apu shot by Snake Jailbird, hits Sideshow Bob with rakes and has Milhouse Van Houten (and Martin Prince) routinely receive wedgies. Yet the Simpsons has satirized political issues like gun control and genetic engineering as well as gay marriage and immigration and has parodied classic films and literature. Today, low comedy can be seen in almost any production.

In 1858 he had his early success with Sothern in Tom Taylor's Our American Cousin, in which he later appeared in London and in Paris. Raymond first became known in New York in 1861, when he appeared at Laura Keene's Theatre, succeeding Joseph Jefferson in low comedy parts, and at that time he acted Asa Trenchard in "Our American Cousin." His greatest popular hit was as Col. Mulberry Sellers in a dramatization of Mark Twain's Gilded Age' (1873), a character that became completely identified with his own breezy optimism.

In 1833 he joined, still as a singer, the company at Covent Garden under Macready, appearing in Fra Diavolo, Gustavus III, and other operas. With his engagement at the Adelphi, then (1838) under the management of Yates, the later and better known phase of Bedford's popularity commenced. Blueskin, in Jack Sheppard, 1839, added to a reputation which attained its climax in Jack Gong in the Green Bushes, 1845, and the Kinchin Cove in the 'Flowers of the Forest', 1847. During many years he played second low-comedy parts at the Adelphi, with Edward Wright first, and after his death with Mr. Toole.

The revue paired Jones with rising vaudeville composers Bob Cole and Billy Johnson. The show consisted of a musical skit, followed by a series of short songs and acrobatic performances. During the final third of each show, Jones performed arias and operatic excerpts, although “low” comedy, song and dance were also showcased in what was originally a “free-for-all” variety production with no pretense of a coherent story line. The Indianapolis Freeman reviewed the “Black Patti Troubadours” with the following: “The rendition which she and the entire company give of this reportorial opera selection is said to be incomparably grand.

The Moving Picture World reviewed the film as being a low comedy that featured "somewhat disgusting" dental humor with the extraction of teeth with pincers and ice tongs. A more direct review in response to the film's comedic antics came from a letter to the editor of The Motion Picture Story Magazine which appealed the vulgar antics in the film as going to alienate members the audience and risk their continued patronage. The film had a wide national release that was shown in theaters throughout the United States. Locations included Chicago, Illinois, Atlanta, Georgia, Oklahoma, Ohio, North Carolina, Pennsylvania, Oregon, Wisconsin, and Kansas.

Molierein the Hypochondriac depicts an eccentric protagonist who routinely requests enemas and drinks his own urine based on the advice doctors give him in exchange for his money in an effort to ridicule the businesslike operations of medical professionals. Thus it uses what would normally be Low Comedy to satirize an important social issue and thus the play is High Comedy. Likewise Charlie Chaplin deliberately incorporated pathos into the character of The Tramp, a largely comic figure. Chaplin also made movies like Modern Times and The Great Dictator which despite their reliance on slapstick actually satirized issues relating to capitalism and fascism respectively.

" The Guardians Philip French opined, "Jeremy Irons is excellent as the suavely villainous lion Scar." David Sterritt of The Christian Science Monitor exalted Irons's acting, describing him as "positively brilliant." Also hailing the film's cast as "incredible," Desson Howe of The Washington Post highlighted Irons as a "standout." Praising the film for successfully combining "grand-opera melodrama and low-comedy hi-jinks," the Orlando Sentinels Jay Boyar concluded that "One reason they work so well together is that even most of the serious sections contain an undercurrent of humor, provided ... by the deliciously droll voice-performance of Jeremy Irons as Scar.

Sitcoms often base most of the plot on this type of comedy because of society influencing productivity and considering it a low form of comedy. Modern adaptations of Shakespeare's plays also use low comedy to convey a different understanding of the play. As You Like It for example is the story of a woman named Rosalyn who meets her male love interest while disguised as a man and inadvertently arouses the affection of a woman named Phoebe who repeatedly rejects her male suitor because she is in love with the man that Rosalyn is pretending to be.

Media like this relied on the novelty of performing apes to carry their timeworn, low comedy gags. Chimpanzees in media include Judy on the television series Daktari in the 1960s and Darwin on The Wild Thornberrys in the 1990s. In contrast to the fictional depictions of other animals, such as dogs (as in Lassie), dolphins (Flipper), horses (The Black Stallion) or even other great apes (King Kong), chimpanzee characters and actions are rarely relevant to the plot. Depictions of chimpanzees as individuals rather than stock characters, and as central rather than incidental to the plot can be found in science fiction.

Thomas Jevon (1652–1688) was an English playwright, and one of the first English Harlequins. He began his career as a dancing master, but worked his way onto the stage, and played leading low-comedy parts in London between 1673 and 1688. His brother-in-law was the English playwright and poet laureate Thomas Shadwell. Jevon's only published play, the farce The Devil of a Wife, or, a Comical Transformation (with a plot borrowed from a Philip Sidney story, and possibly some assistance from Shadwell), was performed in 1686 at Dorset Garden, where Jevon usually acted.

It was so broad that there was no mistaking its ludicrousness. Hokum also encompassed dances like the cakewalk and the buzzard lope in skits that unfolded through spoken narrative and song. W. C. Handy, himself a veteran of a minstrel troupe, remarked that, "Our hokum hooked 'em," meaning that the low comedy snared an audience that stuck around to hear the music. In the days before ragtime, jazz and even hillbilly music and the blues were clearly identified as specific genres, hokum was a component of all-around performing, entertainment that seamlessly mixed monologues, dialogues, dances, music, and humor.

Dante's use of real characters, according to Dorothy Sayers in her introduction to her translation of the Inferno, allows Dante the freedom of not having to involve the reader in description, and allows him to "[make] room in his poem for the discussion of a great many subjects of the utmost importance, thus widening its range and increasing its variety."Dorothy L. Sayers, Hell, Introduction, p. 16 (Penguin, 1955). Dante called the poem "Comedy" (the adjective "Divine" was added later, in the 16th century) because poems in the ancient world were classified as High ("Tragedy") or Low ("Comedy").

The tale appears to combine the motifs of two separate fabliaux, the 'second flood' and 'misdirected kiss', both of which appear in continental European literature of the period. Its bawdiness serves not only to introduce the Reeve's tale, but the general sequence of low comedy which terminates in the unfinished Cook's tale. > This Absolom, that jolly was and gay, > Gooth with a sencer (censer) on the haliday, > Sensynge the wyves of the parisshe faste; > And many a lovely look on hem he caste, > And namely on this carpenteris wyf. (3339) Alisoun, however, does not return Absolom's affections, although she readily takes his gifts.

He claimed to have learned the number by watching an old, limping black stable hand dancing and singing, "Wheel about and turn about and do jus' so/Eb'ry time I wheel about I jump Jim Crow." Other early minstrel performers quickly adopted Rice's character. Slave characters in general came to be low-comedy types with names that matched the instruments they played: Brudder Tambo (or simply Tambo) for the tambourine and Brudder Bones (or Bones) for the bone castanets or bones. These endmen (for their position in the minstrel semicircle) were ignorant and poorly spoken, being conned, electrocuted, or run over in various sketches.

Howard Thompson of The New York Times said it was basically a movie that involved "mostly a voluptuously drawn Cleopatra and a bevy of cuties that trot around bare breasted", but praised it for the "lavish backgrounds" and imagery. Variety called the movie "partly sophomoric", with "emphasis on vulgar low comedy", but praised it for having "good animation and color." books.google.com Retrieved 18 April 2020 Cleopatra was not submitted to the MPAA, and may not have received an X-rating if it had been. It is currently unknown if an English dub actually exists or not; however people who claim its existence say that the English dub has since been lost.

Two Brothers in Trinity or Two Brothers in a Place Called Trinity () is a 1972 Italian Spaghetti western low comedy film directed by Renzo Genta and Richard Harrison, and produced by Fernando Piazza. It was originally called Due Fratelli (Two Brothers). It stars Gino Marturano, Luciano Rossi, and Osiride Pevarello. In this film the half brothers pair Jesse and Lester converges to lay their hands and what keepst them together is their inherited mind, as between Hallelujah and Sartana in Alleluja e Sartana, figli di... Dio (1972), the hero and the monk in Tedeum (1972) and Slim and the pizza baker/preacher in Posate le pistole... reverendo (1971).

The show has also received limited criticism from reviewers. LeChevallier, in an otherwise largely positive review of the third season for Slant magazine, wrote that "the short-form format leaves some emotional substance to be desired", and that this was inevitable for a series with such short episodes. The independent cartoon scholar and critic David Perlmutter, who otherwise applauded the show's voice acting and its ability to surpass its source material, argued that the show's vacillation between high and low comedy epitomizes the fact that Cartoon Network is "unsure of what direction to pursue". He noted that "while some of [Adventure Times] episodes work well, others [are] simply confusing".

The Era's correspondent reported that "the success of Mr. Sefton Parry's Company at the Theatre Royal here has been considerable, and we should think, judging from the crowded houses, that Mr. P. must be well satisfied with the financial prospects of his undertaking. Mr. Parry's Low Comedy is exceedingly good and his characters are invariably hits. The Theatre is really a blessing to us, for Cape Town is awfully dull, and we are glad to think that Mr. Parry's enterprise is meeting with the reward he so well deserves. The Drama at the Cape of Good Hope has never before been so well represented in Africa as it has been during the last three or four months".

In these societies a man's position was above a woman's, causing a rising action that suited itself to tragedy, sentimental melodrama and comedies of manners that involved confused identities. A man dressed as a woman was thought to be a falling action only suited to broad low comedy and burlesque. Les Ballets Trockadero de Monte Carlo are an all-male ballet troupe where much of the humor is in seeing male dancers en travesti; performing roles usually reserved to females, wearing tutus and dancing en pointe with considerable technical skill. These conventions of male-dominated societies were largely unbroken before the 20th century, when rigid gender roles were undermined and began to dissolve.

Johnson made his London stage début at a Savage Club performance at the Lyceum Theatre as Cassim Baba in The Forty Thieves. He then joined the company at Astley's Amphitheatre, appearing in plays and farces until early 1860. From 1860 to late 1862 Johnson was in Edinburgh where he played low comedy roles and Scottish characters, and from April to December 1862 he was actor-manager of the new Theatre Royal at St Helens. During 1863 he appeared at the St James's Theatre in The Carte de Visite and played Spilliken in H.J. Byron's Goldenhair the Good and Leontes in William Brough's burlesque Perdita, the title role being played by Marie Wilton.

Early in 1992 the science fiction writer Orson Scott Card reviewed reissues of several Diana Wynne Jones novels. He wrote concerning Witch Week: > Thus it is that underneath what seems to be rather low comedy—brooms that > demand to be taken riding by witches (and hoes and rakes and mops that can > be ridden, but behave more like mules and pigs than noble steeds); prankster > spells at about the level of magic spitwads—there is a continuous foundation > of truth. Children need powerful adult intervention to help them get control > of their powers and keep their powers from taking control of them. Instead > of using them for immediate self-gratification, the children instead have to > create and respect certain limits to avoid destroying themselves and others.

According to Gerri Hirshey: "Title agreed upon, Solomon added the trappings: a crown, a scepter, a cape, robe, dancing girls, and colored lights." Burke's crown was an exact replica of "the crown jewels of London" and the cape was trimmed with real ermine. Burke, whose shows were tours de force of riveting soul and unashamed hokum", "ticked every box from low comedy through country pleading to the kind of magisterial rock'n'roll that brought the house down",David Hepworth, "Farewell to a Heavyweight From the Golden Age of Soul", The Independent (October 11, 2010). and he "became known as much for his showmanship as he did his voice. He would often take the stage in a flowing, 15-foot-long cape and bejeweled crown, his stage theatrics predating those of such legendary showman as James Brown.

John Sutherland was unconvinced by Ochiltree's readiness to put the welfare of his betters before his own, and interpreted this as a symptom of Scott's nostalgia for the national solidarity of Britain in the 1790s, when men of all classes felt threatened by Revolutionary France. Scott's biographer Edgar Johnson acknowledged that some readers find the scenes between Ochiltree and the fraudster Herman Dousterswivel too redolent of low comedy. He himself doubted if Ochiltree's eloquence was entirely realistic in a beggar, and he also noted his tendency to be conveniently present whenever the plot needs to be moved forward. The academic Robin Mayhead however disagreed, arguing that The Antiquary does not have the conventions of the realist school; for him Ochiltree functions as an embodiment of dependability, necessary to offset the faults and fallibilities of other characters in the novel.

The new Joker line was billed as one of the "best comedies yet" by advertisers wanting to draw crowds to the theaters, but there may have been truth in the claims because it was cited as one of Max Asher's best roles in a 1914 edition of Moving Picture World. The film had a wide release with showings in Indiana, Kansas, Ohio, North Carolina, Maryland, Pennsylvania, Texas, and in Chicago, Illinois. The Moving Picture World review of the film noted that it was a low comedy suitable for the burlesque houses with "less particular audiences" than finer establishments because one of the minor characters spat frequently on camera, interrupting the humor and thus making it unfit for the best theaters. Another newspaper review claimed that it was one of the best comedies released in months, but ended up referring to the film as "The Chinese Special".

He played also in low comedy, sang occasionally, and for benefits took on some serious characters, appearing on one occasion as Richard III.During his first year's engagement he was seen as Jack Meggott in the The Suspicious Husband, Osric in Hamlet, Lord Trinket in The Jealous Wife, Lord Plausible in The Plain Dealer, Slender in the Merry Wives of Windsor, Sir Harry Wildair in The Constant Couple (George Farquhar), Roderigo in Othello, Alexas in All for Love, Sparkish in The Country Wife, Sir Novelty Fashion in Love's Last Shift, and Marplot in The Busybody (Susanna Centlivre), with other characters. He was especially noted as Sir Andrew Aguecheek and Abel Drugger. Among characters of which Dodd was the first exponent were Sir Benjamin Backbite in The School for Scandal, Dangle in The Critic, Lord Foppington in A Trip to Scarborough, and Adam Winterton in The Iron Chest.

11 When he returned to London Gwenn appeared not in low comedy, but in what The Times called "a notably intellectual and even sophisticated setting" at the Court Theatre under the management of J. E. Vedrenne and Harley Granville-Barker. There, in 1905 to 1907, in the words of The Times, "he was invaluable in smaller parts [giving] every part he played its full worth", including Straker, the proletarian chauffeur to John Tanner in Bernard Shaw's Man and Superman, and Drinkwater, the cockney gangster in Captain Brassbound's Conversion. He also appeared in plays by Granville-Barker and John Galsworthy, in Elizabeth Robins’s suffragette drama Votes for Women and in works by other contemporaries. In Barrie's What Every Woman Knows (1908) in the role of the over-enthusiastic James Wylie he impressed the producer Charles Frohman, who engaged him for his repertory company at the Duke of York's Theatre.

He was born at Bath, and from some lines in his own collection of poems, entitled 'Scripscrapologia,' he would seem to have been a tailor's son. He was bred up to the business of a staymaker, but an occupation of that nature ill accorded with his disposition, and he very early in life made his appearance on the Bath stage, and filled many parts there, extending to 'tragedy, genteel comedy, low comedy, and old men and country boys in farces and operas,' a range of character which could not have been uniformly successful. In October 1764, he appeared at the theatre in Smock Alley, Dublin, as young Mirabel in the 'Inconstant,' and 'proved a very respectable acquisition to the Irish stage.' In Ireland, as at Bath, the characters assigned to him were of necessity often varied, but he seems to have always played with credit, and to have made his mark in comic opera.

The second thing signalled even more clearly that the theatre's dramaturgy considered the change in style to be final. During a time which political powers tried to occupy a large place in the workings of cultural institutions, Miklós Faludi asked the state's top attorney Albert Váry whether he could present protégé Géza Fazekas "Randevú" (Rendezvous) titled play with the following words: No matter how certain the low comedy of mischief is, at this point we cannot return to those performances in which the switching of identity, mistaken identity, and the mistress's constant nagging complicate activities. Separate hotel rooms, and the comedic situation of those who mistakenly show up at the wrong room or wind up locked up in the wrong room are very far from the current repertoire of the Vígszínház. In the first place, the Vígszínház needed to have financial independence in order to develop its own performances as it pleased and tweak them as it liked.

His last part at the Prince of Wales's was in 1874: Sir Peter Teazle in The School for Scandal to the Lady Teazle of Mrs Bancroft, with Bancroft and Charles Coghlan as the Surface brothers. He was praised for rescuing his role from the low comedy treatment it had long suffered, but some thought his portrayal erred in the opposite direction and was too serious."Prince of Wales's Theatre", The Standard, 6 April 1874, p. 2; "Prince of Wales Theatre", The Morning Post, 6 April 1874, p. 6; "The Prince of Wales's Theatre", The Pall Mall Gazette, 14 April 1874, pp. 11–12; and "The School for Scandal", The Era , 26 July 1874, p. 11 Hare left the company in October 1874, when he was unable to master a leading role written for him in Sweethearts by W. S. Gilbert. The author was a close friend and wished to make use both of Hare's naturally boyish appearance and of his talent for impersonating elderly men, contrasting the character in youth in the first act and old age in the second.

Explaining his reasons for the glasses, as well as their sartorial advantages, Lloyd said: "They make low-comedy clothes unnecessary, permit enough romantic appeal to catch the feminine eye, usually diverted from comedies, and they hold me down to no particular type or range of story." Horn-rimmed glasses were popular in the 1920s but steadily lost their appeal as sturdier metal styles became more economic alternatives during the Depression. Exposure to heat and sunlight rendered the plastic brittle and prone to breakage, often to the point that they would break should an optician attempt to install new lenses.Ed Welch's Eyeglasses Warehouse: Antique FramesAll About Vision: Frame Materials browline (left) and wayfarer horn- rimmed glasses A variant of horn-rimmed glasses, browline glasses, became one of the defining eyeglass styles of the 1940s and 1950s. Invented in 1947, the style combined the aesthetics of horn-rimmed glasses with the stability of metal frames by fitting prominent plastic "brows" over the tops of metal frames, creating a distinctive look that was also sturdier than solid plastic frames.

Stephen Chesley predicted that the A Sweeter Song's contemporary audience would react well to the film's theme of youth sexuality: "overall there is a freshness and likeability to the film", and credits the novice director for choosing "such a difficult genre" and "bringing most of it off." Chesley praised both the cinematography, editing, and the principal cast of five actors for their strong, enthusiastic acting, singling out Susan Petrie: > Susan Petrie proves herself to be one of the best actresses in Canadian film > with this role. Unlike her past typecasting as the frigid teenage tease, she > finds things in this character that aren't in the script, and it's one of > the few times we can see a contemporary young woman on the screen, > especially considering the void that now exists in roles for women. She > allows the script to overwhelm her at points too much relish in her dirty > lines that are grafted onto the dialogue, and tossing away a term such as > "meaningful relationship" by laughing at its wrenching commonness as she > proclaims it in her character - but in her crucial moments she's completely > believable, and carries her low comedy scenes with great timing.

His parts were mainly confined to Shakespearean clowns and other characters principally belonging to low comedy. Some few might perhaps be put in another category. The Shakespearean parts assigned him included Clown in 'Measure for Measure,' Polonius, Peter in 'Romeo and Juliet,' Dogberry, Trinculo, Sir Andrew Aguecheek, and Shallow in the 'Merry Wives of Windsor.' Other roles of interest were Don Pedro in the 'Wonder,' Don Jerome in the 'Duenna,' Crabtree, Antonio in 'Follies of a Day,' Silky in the 'The Road to Ruin,' Don Manuel in She Would and She Would Not and Sir Robert Bramble in the 'Poor Gentleman.' Out of many original parts taken between 1794 and 1805 the following deserve record: Robin Gray in Arnold's ‘Auld Robin Gray,’ Haymarket, 29 July 1794; Weazel in Cumberland's ‘Wheel of Fortune,’ Drury Lane, 28 February 1795; Fustian in the younger Colman's ‘New Hay at the Old Market,’ Haymarket, 9 June 1795. In the famous production at Drury Lane of Colman's ‘Iron Chest,’ 12 March 1796, Suett was Samson. In the ‘Will’ by Reynolds, 19 April 1797, he was Realize. His great original part of Daniel Dowlas, alias Lord Duberly, in The Heir at Law, was played at the Haymarket on 15 July 1797.