- Taschenbuch: 414 Seiten
- Verlag: Da Capo Press; Auflage: Reprint (29. Mai 2003)
- Sprache: Englisch
- ISBN-10: 0306812053
- ISBN-13: 978-0306812057
- Größe und/oder Gewicht: 21,8 x 16,8 x 2,2 cm
- Amazon Bestseller-Rang: Nr. 1.400.344 in Englische Bücher (Siehe Top 100 in Englische Bücher)
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Produktbeschreibungen
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"Will be the standard work for years to come."
Kurzbeschreibung
A vibrant history of the British satire explosion of the early 1960s and its lasting influence on comedy.. A Great, Silly Grin opens at the 1960 Edinburgh Festival, where a staggeringly inspired satirical revue called Beyond the Fringe startled a public steeped in the polite, bland banality of the 1950s. From there it is a short trip to the coffee bars of London, where the appearance of a scruffy yellow pamphlet calling itself Private Eye overturned the way Britons looked at their world. The apotheosis of the satire boom, and the progenitor of so many American comedy acts, was the groundbreaking BBC television program "That Was the Week That Was," which combined elements of sketch comedy and evening-news broadcast to produce something essential, hilarious, and, on occasion, scandalous. Humphrey Carpenter's history of this tumultuous and exciting era introduces us not only to the people involved in its creation--Peter Cook, Dudley Moore, Michael Frayn, Jonathan Miller, Alan Bennett, and David Frost--but also their routines and sketches.
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Einleitungssatz
Three years before Macmillan's "never had it so good" speech, in October 1954, a tall, fair-haired, bespectacled twenty-year-old Yorkshireman arrived at Oxford to read Modern History. Lesen Sie die erste Seite
Buchdeckel | Copyright | Inhaltsverzeichnis | Auszug | Stichwortverzeichnis | Rückseite
Three years before Macmillan's "never had it so good" speech, in October 1954, a tall, fair-haired, bespectacled twenty-year-old Yorkshireman arrived at Oxford to read Modern History. Lesen Sie die erste Seite
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The evolution of British satire
3. Juni 2002
Format:Gebundene Ausgabe
Humphrey Carpenter's Great, Silly Grin follows contemporary British humor, beginning with the 1960 Edinburgh Festival when a satirical review Beyond the Fringe fostered a new breed of British humor. The evolution of British satire that followed through the 1960s receives close examination in this involving survey.
3 von 4 Kunden fanden die folgende Rezension hilfreich
Grin or Grimace?
30. Juli 2002
Format:Gebundene Ausgabe
Carpenter examines English cultural values during the years immediately following World War Two and focuses specifically on the 1960's when students from Oxford and Cambridge universities (with others) challenged those values with immensely entertaining satire. Theirs were significant contributions to a tradition of creative ridicule which extends back more than 2,500 years. Of course, Chaucer, Shakespeare, and Dickens are among those English authors properly renowned for their comic genius but are not usually thought of primarily as social satirists. Throughout the Age of Victoria and well into the 20th century, the British Empire flourished within a somewhat rigid social order, one which (generally) seemed to lack a sense of humor. By 1960, England had become "a bankrupt, defenseless little country run by a ridiculously elderly prime minister" (Harold Macmillan) when Jonathan Miller, Peter Cooke, Dudley Moore, and Alan Bennett introduced "Beyond the Fringe" at the Edinburgh Festival. Out of that developed Private Eye magazine, The Establishment (a men's cabaret featuring satire), and the BBC's That Was the Week That Was. Carpenter devotes substantial attention to Miller, Cooke, Moore, and Bennett as they and others detonated a "boom" of social satire whose reverberations continued through Second City, Monty Python, and Saturday Night Live. Carpenter duly notes the influence of the Goon Show (Millgan, Sellers, et al) as well as American humorists such as Mort Sahl, Mel Brooks, Lenny Bruce, and Tom Lehrer on their English counterparts. Of special interest to me is Carpenter's suggestion that, as England continued its decline among world powers in the 1960s, social satire served as a medication to deaden the pain. At one point, he reminds his reader of Cook's warning that England was then in danger of "sinking giggling into the sea." That has not as yet happened and never will but the image remains vivid nonetheless.
As Peter Cook used to say...
30. August 2003
Format:Gebundene Ausgabe
Just read A Great Silly Grin: The British Satire Boom of the 1960s, by Humprey Carpenter. This period has long been a subject of interest to me despite the fact that I'm too young (and geographically challenged) to have seen most of the programs in the first place.
Besides being a linked series of show business biographies of key figures of the time (The Beyond the Fringe foursome, etc), the book raises some good discussion.
Just how much does satire really matter, if it does at that? As Peter Cook used to say, the peak of satire was 1930's Berlin--and look how much that did to prevent the rise of Hitler.
But the best part of the text may be the final chapter, which paints an unflattering picture of the state of the art in 2000-era Great Britain--and it's sobering how much of it applies to the US as well.
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