Comedy Performance Artists have a reference character roster, complete with pose and voice. There is the matriarch, the daring teenager, the emotional child, the athlete, the English gentleman/woman, the geek, the old man, etc. For those one-liners, or those who are strictly there for outrageous comic relief, a standard character might pop in for a quick laugh. It’s a cheap laugh, but one that usually works anyway. These stock characters, or stereotypes (yes, they are stereotypes in that they are based on a group generalization), are familiar. And there is comfort in the familiar. The public knows that character. People can instantly relate, see the joke, and therefore make it easier for an actor to turn a character with minimal exposure into a laugh.
However, in this politically correct world, stock characters can be frowned upon rather quickly if pushed too far. There is a risk that a gay character will be flamboyant and very Jack from Will & Grace. To avoid turning a laugh into a grimace, there are some standard rules of thumb:
1. Don’t overstock. A humorous interpretation with nothing but stereotypes is boring. The public knows these characters; they see them every day on TV and in the movies. This excessive use of stereotypes not only bores your audience, but also shows how unoriginal you are with interpretation. At an event titled Humorous Acting, it would be wise to prominently promote your acting skills, perhaps by actually doing something?
2. Know the limits. A stock character can quickly morph into a stern stereotype if the joke is pushed too far. Exaggeration works in comedy and is one of the prominent features, but using the gesture/vocalization of a stereotype to the extreme is not funny. What bubbly California voice are you going to add to that cheerleader who flips her hair too much and spells words? Oh really. It’s like watching a guy tell a joke that she thinks is HILARIOUS and laughing wildly about it in an annoying way, when it really isn’t. Only for. The joke is dead.
3. SUBSTANCE!!! A standard character for a minor role is fine and can be a ruckus if done tactfully. A leading role as a blatant stereotype, unless the script calls for it, might not work. Comedy is funny because of the crazy antics the characters get into and the over-the-top performances. HOWEVER, there needs to be some reflection of reality, otherwise his work has no merit. The comedy is meant to teach life lessons in an embellished way. How can audiences connect with and learn from a humorous performance when the characters are so distant and unreal?
4. Familiarity. Common characters/stereotypes are images, voices, and caricatures that the audience has seen before. Ergo, your humorous portrayal can easily get boring if the character doesn’t have a real flair. To properly use a common character, you need to give all your energy and sell it. Try adding different quirks as stated/interpreted from the script as well to add some originality. HI artists must be creative and energetic to win over an audience.
Creating categories and tagging groups is inevitable. Stock characters have been around since the ancient Greeks created the theater (who can forget Theophrastus from The Nasty Man?). Back then, easily recognizable characters through clothing, mask, and posture were necessary for the audience to know the personality and learn the moral of the drama without complications. Thousands of years later, humans still need to generalize and create a group image. People relate to the generalization, but may distance themselves enough to console themselves that “they’re not that person.” This delicate balance is what helps some connection and catharsis to occur. Burst the comfort bubble and people will find the generalization distasteful. Knowing that, stock stereotypes/characters can become mean and meaningless when they lack heart and are pushed beyond the limits. Always keep in mind the standard character you use and ask yourself “is it too far?”
