An example from Woody Allen:I contemplated suicide again - this time by inhaling next to an insurance salesman.Or, when a bagpipe player was asked "How do you play that thing?" his answer was "Well." Wit is a branch of rhetoric, and there are about 200 techniques (technically they are called tropes, a particular kind of figure of speech) that can be used to make jokes.In the comedy field, humour induces an "economised expenditure of emotion" (Freud calls it "economy of affect" or "economy of sympathy". The profound meaning behind a wit joke is "I have dangerous ideas". Different wit techniques allow one to express them in a funny way. "Both on the same foot".The typical comic technique is the disproportion.In the wit field plays the "economy of censorship expenditure" (Freud calls it "the economy of psychic expenditure") usually censorship prevents some 'dangerous ideas' from reaching the conscious mind, or helps us avoid saying everything that comes to mind adversely, the wit circumvents the censorship and brings up those ideas. "My father used to wear loafers," she confessed. For example in Side Effects (By Destiny Denied story) by Woody Allen: In the comic, the visual gags may be translated into a joke. An individual laughs because he recognises the child that is in himself. The profound meaning of a comic gag or a comic joke is "I'm a child" the comic deals with the clumsy body of the child.Laurel and Hardy are a classic example. It is not necessarily the rhythm that caused the audience to laugh, but the disparity between the expectation of a "joke" and being instead given a non-sequitur "normal phrase." This normal phrase is, itself, unexpected, and a type of punchline-the anti-climax.In the comic field plays the 'economy of ideative expenditure' in other words excessive energy is wasted or action-essential energy is saved. A classic is the ternary rhythm, with three beats: Introduction, premise, antithesis (with the antithesis being the punch line).In regards to the Milton Berle experiment, they can be taken to demonstrate the concept of "breaking context" or "breaking the pattern".
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Milton Berle demonstrated this with a classic theatre experiment in the 1950s: if during a series of jokes you insert phrases that are not jokes, but with the same rhythm, the audience laughs anyway. What makes us laugh is the joke mechanism. To properly arrange the words in the sentence is also crucial to get precision.Main articles: Timing (linguistics) and Comic timing The joke's content (meaning) is not what provokes the laugh, it just makes the salience of the joke and provokes a smile. He used as an instance a book by an English humorist, in which an elderly woman who desired a reputation as a philanthropist provided "homes within easy hail of her mansion for the conversion of atheists who have been specially manufactured for her, so to speak, and for a number of honest folk who have been made into drunkards so that she may cure them of their failing, etc." This idea seems funny because a genuine impulse of charity as a living, vital impulse has become encrusted by a mechanical conception of how it should manifest itself.To reach precision, the comedian must choose the words in order to provide a vivid, in-focus image, and to avoid being generic as to confuse the audience, and provide no laughter. French philosopher Henri Bergson has said in an essay: "In every wit there is something of a poet." In this essay Bergson views the essence of humour as the encrustation of the mechanical upon the living. These common rules are mainly timing, precision, synthesis, and rhythm. The rules of humour are analogous to those of poetry.
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