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Osservazione della realtà (e dell'immaginario)

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Opposto: andare in profondità

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Esempi Opposto - Monty Pythons #1

L'Uomo che Ripara Biciclette  

in questo caso il meccanismo dell'opposto è utilizzato nella maniera più semplice. il gioco qui è reverse a classic situation, that of the superhero as the only extraordinary person in the middle of a group of citizens 'common'. the comic effect here stems from a society of supermen all (or at least all of a superhero in tights), where the hero is an exceptional biciclettaio, whose normal duties are here characterized as a superhero, and accompanied by an onomatopoeia of action.

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the comic plays on the opposite reverse expectations that the viewer has with respect to the stereotypes of characters that are presented. usually are associated with the character of the old good-natured aspects, fragile and vulnerable, but here becomes the ruthless rebels without a cause, motorized thugs who scare the youth of the neighborhood. the comic effect is enhanced by continuously mixing the two aspects (the rebel and nonnesco), adding references to tea and cakes to those on violence, on the knee to the groin, and so on. The frame that simulates the narrative style of sociological documentary, with its dramatic and alarmist tone, by contrast, contributes to a more ridiculous the whole.

the football match between philosophy

here, with the aid of the opposition, put themselves in a specific situation (the football), the characters who most likely move away from a situation of ' sports action, namely the brooding thinkers. excited by the tone-excited football commentary in describing the philosophers who walk slowly and aimlessly in the camp, combined with the styles of its commentary, as the list of courses in the field, here are fundamental to create the impression of watching a credible event in its absurdity. The same applies to the speeches of the announcer, who constantly mix comments and assessments by sports speaker, a reference to the philosophical theories of the players on the field.

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Esempi Opposto - Superheroes Decadence, Clem Momigliano

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Esempi Opposto - Beetle Bailey, il Mago Wiz

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Pirandello e il Sentimento del Contrario

With a stage name based on paradox, and a collective underground oxymoron in line with this spirit, I've always result in spontaneous track mechanism opposite the root of humor.

This for me is a practical choice rather instinctive in creating humorous stories, has been lucidly theorized by Luigi Pirandello in 1908, in his Essay on mood.

I see an old lady, her hair dyed, all anointed no one knows what horrible manteca (composition of various oils, ed.), And then the whole parade of clothes awkwardly raddled and youth. I start to laugh. I feel that the old lady is the opposite of what a respectable old lady should be. I like that, at first sight and superficially, to arrest this comic impression. The comedian is just a warning to the contrary.

But now if I spoke in the debate, and I suggest that this old lady does not feel like perhaps no other way to spring up like a parrot, but perhaps suffers and does so only because pitifully mistaken that parade as well, thus hiding the wrinkles and gray hairs, can hold back the love of him husband's much younger than her, here I can no longer laugh as before, because just the thought, working in me, made me go beyond that first warning, or rather, more deeply: from that first warning to the contrary I passed this sentiment to the contrary. and it's all here the difference between the comic and the humorous.

Pirandello describes a situation, to come across a character che si comporta in maniera opposta a quello che il suo ruolo gli imporrebbe: una signora anziana che si atteggia a ragazzina, rinunciando alla compostezza che l’età le dovrebbe suggerire. Immagini di cubiste della terza età, di marca defilippiana (Maria, non Peppino), dovrebbero essere un esempio lampante di questa situazione, trasportata ai giorni nostri.

ah, se Pirandello guardasse la tv!

La prima reazione dell’osservatore pirandelliano è il percepire questo divario e di riderne. E questo è ciò che egli definisce Avvertimento del Contrario, e che individua come fenomeno alla base dell’effetto comico.

Ma Pirandello non si ferma qui, e ad un’iniziale, immediata percezione del contrario, segue, mediante un processo di riflessione, una sensazione diversa, una valutazione più complessa dell’evento che ha provocato il riso.

Nella satira questa ‘impressione di secondo grado’ è funzionale a far emergere gli aspetti più grotteschi e moralmente mostruosi dei personaggi, per esprimere un giudizio negativo e suscitare lo sdegno nel lettore. (gli esempi che seguono sono tratti dal Sardelli , da Sospensorio e da un Mannelli d’epoca ).

 

L’umorismo, invece, per come lo intende Pirandello, va ancora oltre nel suo smascheramento della vanità umana, e invece della condanna del comportamento cerca la comprensione delle motivazioni di fondo e l’empatia con il personaggio che è oggetto del ridicolo. Questo effetto viene chiamato il Sentimento del Contrario.

(…) il comico ne riderà solamente, contentandosi di sgonfiar questa metafora di noi stessi messa sù dall'illusione spontanea; il satirico se ne sdegnerà; the humorist, not: through the ridiculous side of this discovery will see the serious and painful; unmount this construction, but not only laugh, and instead of outrage, perhaps, laughing, compatirà.

At this degree of amused compassion for the characters comes gradually, and already understand and master the tools to create the comic 'surface' is an important first step and then to touch the deepest emotional layers. First therefore we will focus on how to use the opposite, even in its most simple and immediate way to create a comic effect.

Meanwhile, in Pirandello's theory it should be noted two aspects:

Even in its most immediate level of 'perception to the contrary', the comic effect relies on an assumption social and cultural situation is strange and ridiculous at the time turns the expectations that we normally take for granted. An old woman Cubist would not laugh if the company had not agreed to little old ladies and cubist roles and cultural connotations diametrically opposed. In people shared values \u200b\u200bto an old associate of composure, and we expect them to behave in accordance with this.

addition, the humor is not an immediate and instantaneous, but operates through a reflection that involves understanding della psicologia di un personaggio e delle motivazioni dietro al suo comportamento comico.

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Canto de maiden, the fruit of the fig

Dialogue obscene-lyrical contrast, Irpinia, between a robin and the lush fruit of a fig tree.

folk song discovered by researchers at the Lombard group "Hello Beautiful" directed by Robert Leyden, who was said to believe that most of its Greek origins. To bear witness to the veracity of this claim, he showed the image of an Attic vase of the fourth century, on which was painted black on red clay, the game of love among the fruit of the fig tree and the robin.

Here are some verses of this musical dialogue.

What is yet zirànno tuna tuna dintonno me?

What is zercànno, petter ó sso?

Ogne when you're on me and makes me spaviènto.

(Canto of mascula, lu petter ó sso)

De quanno, fruit dolz, Toja has run the fissure have you

'ppenn' antìcchia,

fate of nu that there prafummaménto that all the core if deschiàtta meo.

(Young girl)

Stamm off aluminum, red bird, with good reason that I wanted entìnzere jo el t ó or beak.

(Masculo)

Tu se' crudèl, fìcola zentìl, che io so' assetato e solo dello parfumo tòjo me vorrarìa notrìre.

(Giovinetta)

Già, 'na beccata e via, tanto pe' gradire.

E che importa po' se me guasti la fissùra,

che ben jo te con ó scio.

'na volta che te se' pijàto lu piascé, petter ó sso mio,

you Desperate and no 'if you do Vegh jug ...

(Masculo)

fruit odor, no 'me Scazzi,

if you' acquired by flowers ... comme 'no geras the ó!

Quinn touches you choose all'intrassàt, suddenly,

dolz ó that we have already re Tojo spalamàto pe 'll' entire universe.

or allows it to suck either eo, lo petter ó sso,

o a frotte te vienerànno addosso: calabr ó n, sciame d'ape e vesponi...

jo so' d ó lze e delecàto, jo te farò plazér con riverenza, chilli so' 'na masnada de violénzia...

e scarranàta te lasserànno... o fico, meo adorato. 

----
da: Dario Fo, L'osceno è sacro, Guanda Editore (2010)
http://www.anobii.com/books/Losceno_è_sacro/9788860883681/01a280597c95801a5a/