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Compendium Volume THIRTEEN
Compendium Volume THIRTEEN - Series 1 to 3 CRAZY PEOPLE – SERIES 1 a new form of ‘goon’ humour which they had developed since the war, making each other laugh at the family-run pub of Grafton’s on Strutton Grounds in APRIL 1949-DECEMBER 1951 Westminster. The landlord-cum-theatrical agent Jimmy Grafton had co-written the script under the pen-name ‘James Douglas’ along with his lodger, eccentric THE PROGRAMME musician Terence ‘Spike’ Milligan. Impersonator Peter Sellers headed the cast along with rising comics Harry Secombe, Michael Bentine and Robert Moreton, plus Doris Nichol (a colleague of Jacques Brown’s from Danger – ‘What exactly is a goon? Well, this is the answer Michael Bentine, Spike Men at Work!) and Bob Bain. Peter was Lord Peter, the twenty-second Earl Milligan, Peter Sellers and I cooked up whenever people asked us to explain of Sellers, with Robert as Mr Moreton the butler, Doris as Peter’s aunt Lady ourselves,’ wrote Harry Secombe in his newspaper column for the Glaswegian Lavinia, Harry and Michael as the crackpot wastrels Harry Secombe and the publication The Bulletin on Monday 24 June 1957. He then elaborated: ‘A goon Great Mike Bentine, and Bob as planning representative T Mucksworld Quince. is some one with a one-cell brain. Anything not basically simple puzzles a goon. The script also featured flashbacks to Peter’s ancestors, and opportunities for He thinks in the fourth dimension and his language is one step past babytalk. Peter to impersonate stars of the day such as Robb Wilton and Kenneth Horne. Goonery is bringing any situation to its illogical conclusion.’ Music was composed by established BBC pianist Jack Jordan, a veteran of Have a Go! and various musical shows, the melodies were conducted by From 3.30pm to 4.15pm on Wednesday 26 April 1949, a trial recording of a Stanley Black, and Dennis Castle acted as the announcer. -
“What Time Is It, Eccles?” (Milligan and Stephens, “The Mysterious Punch-Up-The–Conker”)
UNIVERSITY OF OTTAWA FACULTY OF ARTS THEATRE DEPARTMENT Milligan’s Accordion: The Distortion of Time and Space in The Goon Show Richard Cousins Thesis supervisor: Daniel Mroz, Ph.D. Thesis submitted to the Faculty of Graduate and Postdoctoral Studies in partial fulfillment of the requirements for the Master of Arts (M.A.) (Theatre Theory & Dramaturgy) -“ SEAGOON: ...looking for the lost year has made me a weak old man. BLUEBOTTLE: Oh--you hear that, Eccles? ECCLES: What? BLUEBOTTLE: He's only a week old.” - Spike Milligan, “The Lost Year” © Richard Cousins, Ottawa, Canada, 2012 Library and Archives Bibliothèque et Canada Archives Canada Published Heritage Direction du Branch Patrimoine de l'édition 395 Wellington Street 395, rue Wellington Ottawa ON K1A 0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre référence ISBN: 978-0-494-86480-7 Our file Notre référence ISBN: 978-0-494-86480-7 NOTICE: AVIS: The author has granted a non- L'auteur a accordé une licence non exclusive exclusive license allowing Library and permettant à la Bibliothèque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par télécommunication ou par l'Internet, prêter, telecommunication or on the Internet, distribuer et vendre des thèses partout dans le loan, distrbute and sell theses monde, à des fins commerciales ou autres, sur worldwide, for commercial or non- support microforme, papier, électronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriété du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette thèse. -
Diplomarbeit Michaelwappl
The Goon Show – Pioneers of Absurd Humour A Cultural and Linguistic Analysis of the Language of Humour Diplomarbeit zur Erlangung des Magistergrades an der Geisteswissenschaftlichen Fakultät der Karl-Franzens-Universität Graz vorgelegt von Michael Wappl am Institut für Anglistik Begutachter: Ao. Univ.-Prof. Univ.-Doz. Dr. David Newby, B.A., M.Sc. Graz, Juli 2009 Table of Contents 1. Introduction 1 1.1 Research questions 1 1.2 Material and Methodology 2 2. The Phenomenon of Humour 4 2.1 Humour, Laughter, Joke 4 2.2 The Three Theories of Humour 7 2.2.1 Superiority Theory 8 2.2.2 Release Theory 10 2.2.3 Incongruity Theory 13 2.3The Theories of Humour in The Goon Show 21 3. Linguistic Mechanisms of Verbal Humour 22 3.1 Phonology 22 3.2 Morphology 23 3.3 Syntax 25 3.4 Semantics 29 3.5 Pragmatics 32 3.6 Slips of the Tongue 33 4. The Absurd – a phenomenon of philosophy and literature 35 5. The story of The Goon Show 43 5.1 The characters in The Goon Show 50 6. Analysis of Examples of Humour from The Goon Show 55 6.1 Analysis of Examples of Verbal Humour 55 6.1.1 Phonology 55 6.1.2 Morphology 56 6.1.3 Syntax 57 6.1.4 Semantics 58 6.1.5 Pragmatics 62 6.1.6 Slips of the Tongue 64 6.1.7 Interplay of linguistic mechanisms in examples of verbal humour 65 6.2 Analysis of Examples of Absurd Humour 68 6.2.1Absurdness of language and meaning 68 6.2.1 Absurdness of concept and situation 72 6.3 Analysis of Examples of Radio-Specific Humour 81 6.3.1 Radio-specific humour depending on the conventions of radio drama 82 6.3.2 Radio-specific humour depending on sound effects 86 6.4 Analysis of Examples of Running Jokes 88 7. -
Catalogue No.1 Literature, Photography & the Performing Arts
CATALOGUE NO.1 LITERATURE, PHOTOGRAPHY & THE PERFORMING ARTS BBC Feung excepay re BBC_SCRIPTS e ln a of dio my cdg “HANCOCK’S_HALF_HOUR” d “THE_GOON_SHOW” Item 85 I: LITERATURE AND PHOTOGRAPHY 2. BLOCH, Robert Pleasant Dreams - Nightmares, By Robert Bloch Sauk City: Arkham House, 1960 8vo, pp. 233. Original black boards, lettered in gilt on spine. Dustwrapper by Gary Gore. Spine ends a little bumped, otherwise a fine copy in a near fine, price-clipped dustwrapper, whites of panels a little browned, minimal edgewear, and with two small closed tears to top edge. First edition, SIGNED BY THE AUTHOR: ‘Best Wishes! Robert Bloch’. One of 2000 copies, according to the limitation page; one of 2060, according to popular bibliographical opinion. A collection of fifteen horror stories by the 3 4 author of Psycho (Hitchcock’s film of which was released the same year). 1 [1478] 3. BOYD, William 4. De BERNIERES, Louis £150 On The Yankee Station The Troublesome Offspring of INSCRIBED TO RICHARD rural America, where his sexuality saw him cast out by both his family and the wider London: Hamish Hamilton, 1981 Cardinal Guzman YATES community, and where he saw his (gay) best London: Secker & Warburg, 1992 8vo, pp. 184. Original blue boards, lettered in friend commit suicide on his wedding day. silver on spine. Fine in a near fine dustwrapper 1. BARR, James [pseud. FUGATE, Quatrefoil, semi-autobiographical and 8vo, pp. 388. Original black boards, lettered in with the very slightest of wear to top edge. James] unashamed, charts the central characters’ silver on spine. A fine copy in dustwrapper. -
Ying Tong Schools Day Performance
YING TONG SCHOOLS DAY PERFORMANCE IMPORTANT INFORMATION Date Wednesday 9 May 2007 Venue Drama Theatre, Sydney Opera House Pre-performance forum 10.30 am Lunch Break 11.15 am Performance Commences 12.15 pm Performance Concludes 2.20pm Post performance Q+A concludes 2.35pm We respectfully ask that you discuss theatre etiquette with your students prior to coming to the performance. Running Late? Please contact Sydney Theatre Company’s main switch on 9250 1700 and a message will be passed to Front of House. Booking Queries Please contact Barbara Vickery on 02 9250 1778 or [email protected] General Education Queries Please contact Helen Hristofski, Education Manager, on 02 9250 1726 or [email protected] Sydney Theatre Company’s Ying Tong Teacher’s Notes © 2007 1 Sydney Theatre Company and Goldman Sachs JBWere present Ying Tong A Walk with The Goons by Roy Smiles Teacher's Resource Kit Written and compiled by Elizabeth Surbey Acknowledgements Sydney Theatre Company would like to thank the following for their invaluable material for these Teachers' Notes: Helen Hristofski and Laura Scrivano of the Sydney Theatre Company Copyright Copyright protects this Teacher’s Resource Kit. Except for purposes permitted by the Copyright Act, reproduction by whatever means is prohibited. However, limited photocopying for classroom use only is permitted by educational institutions. Sydney Theatre Company’s Ying Tong Teacher’s Notes © 2007 2 Contents Sydney Theatre Company 4 Sydney Theatre Company Education 5 Production Credits 5 Summary -
“What Time Is It, Eccles?” (Milligan and Stephens, “The Mysterious Punch-Up-The–Conker”)
UNIVERSITY OF OTTAWA FACULTY OF ARTS THEATRE DEPARTMENT Milligan’s Accordion: The Distortion of Time and Space in The Goon Show Richard Cousins Thesis supervisor: Daniel Mroz, Ph.D. Thesis submitted to the Faculty of Graduate and Postdoctoral Studies in partial fulfillment of the requirements for the Master of Arts (M.A.) (Theatre Theory & Dramaturgy) -“ SEAGOON: ...looking for the lost year has made me a weak old man. BLUEBOTTLE: Oh--you hear that, Eccles? ECCLES: What? BLUEBOTTLE: He's only a week old.” - Spike Milligan, “The Lost Year” © Richard Cousins, Ottawa, Canada, 2012 1 ABSTRACT Spike Milligan has had an undisputable influence on English-language comedy in the past half-century. Monty Python’s Terry Jones cites the “free-wheeling fantasy world” Milligan created for the surreal radio series The Goon Show as the chief inspiration for his own group’s more internationally-famous work. However, Milligan’s writing for The Goon Show, which first aired between 1951 and 1960 displays a depth beyond “the confidence to be silly” noted by Python’s Michael Palin. Milligan’s scripts reveal a deliberate, if not wholly conscious, rejection of the laws of causality and probability, through frequent and systematic distortions of time and space. The fictional world revealed in The Goon Show’s corpus of half-hour stories is one in which concepts relating to time and space lack the fixed meanings that we attach to them in everyday life. Temporal and spatial relationships are fluid and indeterminate: boundaries between different times and different spaces can dissolve, allowing mutually inconsistent chronologies and scales of size and distance to coexist.