Basic Principles of Comic Relief in Theatre
Basic Principles of Comic Relief in Theatre

Summary/Abstract: The means of expression in the art of acting differ from those in other performing arts. I wanted to write this study on comic relief in order to present a different approach to dramatic analysis, a different angle on comic mechanics, a different understanding of the relations between author, director, actor, and spectator. These relations often lack a basic understanding of comic mechanics, an analysis of comic phonetics, a unified perception of the means of expression in comic rhetoric, and the result is, most often, that the last person in the chain (the spectator) is on the losing side. Over time, I have had the occasion to observe work on texts from several perspectives – as an author, as a director, as an actor – and the product analysis that reached me as I also placed myself in the position of a spectator led to certain conclusions. This four-sided perspective has given me the chance to understand, from its very beginnings (the text) how a comic mechanism is born and developed, down to its last phase – perception by the receptor (the public).

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