Straight man: Difference between revisions
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| quote = The idea of the comedy team afforded another type of humorous conversation, with one party adopting the role of the "straight man" and the other as the "funny man." The best known of these teams was Burns and Allen. The key to their humor was George Burns' timing and Gracie 's dizzy responses to Burns' questions (i.e. <u>George Burns and Gracie Allen</u>). The sexist role of the batty woman, as seen through Gracie's perceptions, borders on madness and sheer child-like wonder and presents a new role that would be homogenized in the character of [[Lucille Ball]].}}</ref> When a comedy partner behaves [[Eccentricity (behavior)|eccentrically]], the straight man is expected to maintain composure. Whatever direct contribution to the comedy a straight man provides, usually comes in the form of a [[deadpan]]. A straight man with no direct comedic role has historically been known as a '''stooge'''. Typically, |
| quote = The idea of the comedy team afforded another type of humorous conversation, with one party adopting the role of the "straight man" and the other as the "funny man." The best known of these teams was Burns and Allen. The key to their humor was George Burns' timing and Gracie 's dizzy responses to Burns' questions (i.e. <u>George Burns and Gracie Allen</u>). The sexist role of the batty woman, as seen through Gracie's perceptions, borders on madness and sheer child-like wonder and presents a new role that would be homogenized in the character of [[Lucille Ball]].}}</ref> When a comedy partner behaves [[Eccentricity (behavior)|eccentrically]], the straight man is expected to maintain composure. Whatever direct contribution to the comedy a straight man provides, usually comes in the form of a [[deadpan]]. A straight man with no direct comedic role has historically been known as a '''stooge'''. Typically, they are expected to feed the funny man lines that he can respond to for laughs (and is hence sometimes known as a '''feed'''), while seeking no acclamation for themselves. If a straight man unintentionally [[breaking character|breaks composure]] and laughs, it is known in British English as [[corpsing]]. |
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== History == |
== History == |
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[[File:Abbott and Costello circa 1940s.JPG|thumb|Abbott (left) acting as straight man to Costello]] |
[[File:Abbott and Costello circa 1940s.JPG|thumb|Abbott (left) acting as straight man to Costello]] |
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In [[vaudeville]], effective straight men were much less common than comedians. The straight man's name usually appeared first and |
In [[vaudeville]], effective straight men were much less common than comedians. The straight man's name usually appeared first and they usually received 60% of the take. This helped take the sting out of not being the laugh-getter and helped ensure the straight man's loyalty to the team.<ref>[[Gerald Nachman (journalist)|Nachman, Gerald]] (1998). Raised on Radio, p. 36. Pantheon Books, New York. {{ISBN|037540287X}}.</ref> [[Abbott and Costello]], one of America's most popular comedy duos of the 1940s and 50s in radio, film and television, began as nightclub performers when the straight-faced [[Bud Abbott]] contrasted against the bumbling [[Lou Costello]]; Abbott, unusually, allowed Costello a larger paycheck to keep him on the team. |
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=== Women === |
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Despite the usual name, women can fulfill an equivalent role, although they are often described as a "comedic foil". Examples of noteworthy female foils include [[Margaret Dumont]], who often performed with the [[Marx Brothers]] in their films, [[Bernardine Flynn]] up against Art van Harvey on ''[[Vic and Sade]]'', [[Marian Jordan]] against her husband [[Jim Jordan (actor)|Jim]] on ''[[Smackout]]'' and ''[[Fibber McGee and Molly]]'', and [[Pam Dawber]], who performed with [[Robin Williams]] on the television series ''[[Mork & Mindy]]''. |
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== Popular culture == |
== Popular culture == |
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Revision as of 22:32, 27 November 2022
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The straight man is a stock character in a comedy performance, especially a double act, sketch comedy, or farce.[1] When a comedy partner behaves eccentrically, the straight man is expected to maintain composure. Whatever direct contribution to the comedy a straight man provides, usually comes in the form of a deadpan. A straight man with no direct comedic role has historically been known as a stooge. Typically, they are expected to feed the funny man lines that he can respond to for laughs (and is hence sometimes known as a feed), while seeking no acclamation for themselves. If a straight man unintentionally breaks composure and laughs, it is known in British English as corpsing.
History
In vaudeville, effective straight men were much less common than comedians. The straight man's name usually appeared first and they usually received 60% of the take. This helped take the sting out of not being the laugh-getter and helped ensure the straight man's loyalty to the team.[2] Abbott and Costello, one of America's most popular comedy duos of the 1940s and 50s in radio, film and television, began as nightclub performers when the straight-faced Bud Abbott contrasted against the bumbling Lou Costello; Abbott, unusually, allowed Costello a larger paycheck to keep him on the team.
Popular culture
The role is still found today in sitcoms and several Japanese comedy anime, where they are known as tsukkomi. Prominent sitcom characters illustrating this role include Jim Halpert from The Office, Ben Wyatt from Parks and Recreation and Jerry Seinfeld from Seinfeld. Some notable tsukkomi characters include Gintama's Shinpachi Shimura and Toshiro Hijikata, Himeko from Sket Dance, Saiki Kusuo from The Disastrous Life of Saiki K., Yuuko from Nichijou, or Tadakuni from Daily Lives of High School Boys.
See also
References
- ^ Shifreen, Lawrence J. (1977). "STAND-UP COMEDY: A DISCOGRAPHY". Department of American Studies. American Humor. 4 (2, 'Special Issue: Standup'). University of Maryland: 19. JSTOR 42594580.
The idea of the comedy team afforded another type of humorous conversation, with one party adopting the role of the "straight man" and the other as the "funny man." The best known of these teams was Burns and Allen. The key to their humor was George Burns' timing and Gracie 's dizzy responses to Burns' questions (i.e. George Burns and Gracie Allen). The sexist role of the batty woman, as seen through Gracie's perceptions, borders on madness and sheer child-like wonder and presents a new role that would be homogenized in the character of Lucille Ball.
- ^ Nachman, Gerald (1998). Raised on Radio, p. 36. Pantheon Books, New York. ISBN 037540287X.