In proper doses, comedy is a great medicine after tragedy.
by
Sean Bury
Opinions differ about comedy's role after tragedy
It was early October, a little less than a month following the attacks of September 11th, when I sat down with my sketch comedy troupe to talk about an upcoming show. We had been planning the performance since the summer and, in the days following the attacks, solidified the event. This particular meeting was the initial sketch bid. Ideas, and a few completely written sketches, were to be pitched to the group. Without introduction, copies of one sketch were thrown on our laps. Nick Massouh, whose troupe antics had earned him the nickname "Uncle Shady," presented a sketch parodying the hunt for Osama Bin Laden.
The
basic premise was a spoof of a movie in wide release at the
time: Don't Say a Word. Only a 12-year-old schizophrenic
girl knew the whereabouts of Osama. The sketch was funny,
but only half of the troupe was laughing. The other half wore
grinning looks of concern. The sketch came to a close with
a parody of the tagline, "I'll never tell," and the floor
was opened up for debate.
The concerned half was the first to speak. "It's funny. It's really funny," was how everybody prefaced his or her statements.
This fact was undeniable. Every person in the troupe loved the sketch. However,
the concerned half asked the question that had been on everybody's
mind since hearing the title. Would our audiences be ready for
humor about the nation's tragedy?
Of
course, the sketch meeting was immediately thrown off track.
A small, topical sketch resulted in a lengthy debate about
comedy. Everybody agreed that addressing the tragedy would
be wise. Comedy has the ability to heal and our audiences
could thusly benefit. The emotions involved are deeply rooted;
there was the potential for some very powerful comedy. Also,
our audiences would surely want to know our take on the whole
situation. Still, the troupe was completely divided about
the content of our show.
A portion of the troupe was concerned that September 11th material would offend certain audience members. I, along with others, disagreed. Tastefully done, nobody would be offended. The worst-case scenario would be an audience member personally connected to the tragedy. Though potentially therapeutic, the man obviously did not come to our show to have an emotional breakdown. However, most in the troupe agreed that the probability of this occurrence was slim. We were willing to take that risk.
Comedians are afraid to be funny
When the show went up, though, there wasn't a single sketch, joke, or even reference to the events of the previous month. In the end, other factors prevented a performance of topical humor. The largest concern was time. The troupe had already written several other sketches and we didn't have time to re-write an entirely topical show. We agreed that mixing sketches about the events with our other work would be jarring at best and offensive at worst. We didn't want to give the impression that we were making fun of what happened. We simply needed to comment and give the audience perspective through humor. However, as we debated into the night, we eventually concluded that time was our most limiting factor.
Regardless, our debate was not a horrible misuse of our time. As it progressed, the debate transformed into a discussion of comedy's role in America following the events. It quickly became apparent to us that these same discussions had been occurring behind the scenes of American comedy. Similar debates, even fights, must have been taking place in Los Angeles and New York during the weeks preceding our small sketch meeting.
In effect, we had created a delayed microcosm of the comedy industry.
Following the attacks, comedy shows were reluctant to return to the air. Thankfully, the news programs were dominating television; the nation's comedians were not prepared. However, as the country began to "return to normalcy," comedy was still dragging its feet. Re-runs were shown. All the comedic giants of television were looking at each other and shrugging their shoulders.
For a few days, there was a black hole of humor. The situation could not stand. Comedy holds such an important, if under appreciated, place in our society. Following the attacks, people wanted to laugh, but they had nowhere fresh to turn. American humor faced its greatest challenge yet. What did Americans need in terms of comedy?
Finally, David Letterman broke the silence. The Late Show with David Letterman returned to air on Monday, September 17. On his show, Dave spoke very candidly about his feelings. Choked up, he addressed his sorrow about the attacks on his beloved New York City. While heartfelt, it wasn't funny. Craig Kilborn, Jay Leno and Conan O'Brien followed suit. Each delivered his own deeply emotional statement, then interviewed experts to comment on the disaster (Rocca).
The Onion is gutsy enough to venture at comedy
The
idea was to comfort. The kings of late night talk were practicing
comedic relief: no jokes were made directly relating to the
disaster. The humor was meant to divert attention, rather than
make comment. This type of comedy could not wholly replace satire,
though. The events needed to be interpreted through comedic
mediums.
Finally, on September 26th, satire returned in full effect. An internet newspaper parody, The Onion, released its first issue since the tragedy. Its coverage of America under attack set the pace for comedy in the transformed nation. Each article was carefully crafted to make its reader laugh and think. Not only did it help heal the public, it served to teach comedians. The issue as a whole could be seen as a guideline for comedians in addressing the September 11th attacks. In fact, careful examination of the issue reveals some very definite rules.
The first rule is to punish the enemies. One of the most prominent articles following the attacks was one entitled, "Hijackers Surprised To Find Selves In Hell" (Hijackers). The article's main focus is punishment of those responsible. As the story superficially discusses the terrorists' confusion over being sent to hell, the actual purpose is to describe the hijackers being subjected to unimaginable torture. "The rest of Atta's words turned to raw-throated shrieks, as a tusked, asp-tongued demon burst his eyeballs and drank the fluid that ran down his face" (Hijackers). On a comedic level, the tortures are funny because they're so over-the-top. They're ridiculous. More importantly, though, the article allows its audience to vent its hate. It directs aggression towards the people actually responsible for the attacks, not just their religion or race. Because of its careful crafting, we laugh and safely direct our anger.
Surreal events leave the public feeling helpless
The next rule is to address the surrealistic nature of the situation and make sense of it. One story dealt with this idea using Hollywood. "American Life Turns Into Bad Jerry Bruckheimer Movie" (American). It is easy for a reader to identify with this article. During the attacks, which most Americans watched live, people somberly muttered, "It's like I'm watching a movie." This piece played well on those shared feelings. Pictures from the attacks are shown with captions that read, "An actual scene from real life" (American). Fictitious people were quoted concerning the attacks: "…it seemed silly and escapist. But this, this doesn't have any scenes where Bruce Willis saves the planet and quips a one-liner as he blows the bad guy up" (American). The humor comes from the truth. We all felt this way during the attacks. However, The Onion also made sense of these feelings. The article tells us that life in America, right now, is painful and strange. Nonetheless, it's real. The attacks happened, as unbelievable as it initially seemed. Now we must take comfort in each other. "Shocked and speechless, we are all still waiting for the end credits to roll. They aren't going to" (American).
Another rule is to note our sense of helplessness. The most potent feeling following the attacks was one of vulnerability. We felt lost, and wondered what we could do to help ameliorate the situation.
The part of the issue that captured this sentiment was "Not Knowing What Else To Do, Woman Bakes American-Flag Cake" (Not). Americans sought ways to stop the sense of lost panic that accompanied the attacks. Many people simply spent hours watching the news coverage of the events replayed time and again. Christine Pearson, the fictitious woman of the article, bakes a cake to fill this void. "Mixing the cake and placing it in the oven shortly after 3 p.m., Pearson sat at the kitchen table and stared at the oven door until the timer rang 50 minutes later" (Not). The article is hilarious because of the absurdity of how this poor woman spends her time. She stares at an oven for almost an hour; she can't figure out what to do with herself. On a deeper level, however, we identify with Christine. She is representative of all of us; we share her sense of being lost. If we can laugh at this woman's ridiculous cake, we can take a step back and laugh at ourselves. This is extremely therapeutic. The violent nature of our laughter expels from us the sadness and the helplessness. Not knowing what else to do, we can laugh.
Ridiculing politicians is risky but effective
Another
guideline is to closely examine the trivialities of American
life before the tragedy. The items making news in the months
before September were, in retrospect, nowhere near being newsworthy.
On October 3rd, as the nation was beginning to return to its
habits, The Onion wrote, "A Shattered Nation Longs To Care About
Stupid Bullshit Again" (A Shattered). Looking back, our news
was petty before the country was transformed on September 11th.
The article notes some of the ridiculous things on American
minds before the tragedy: "If none of this had happened, right
now I'd probably be watching that stupid Journey VH1 Behind
The Music episode for the 40,000th time. Or talking to my friend
Kerri about the Gap skirt I want" (A Shattered). Again, the
humor stems from identification with the subject. We can all
now see how trivial most of the nation's concerns were. The
woman was once caught up with [or in] the most inane products
of luxury. Furthermore, The Onion reminds its readers that it's
easy to fall back into such habits. It tells us not to let go
of the good ways that September changed us. We now care more
about our families and friends. "Now, all I can think about
is how precious life is, and how important it is to spend quality
time with the people who matter to you, because everything could
change in an instant" (A Shattered). We are reminded not to
get caught up in things that, in the end, aren't important.
One other rule of September 11th satire is to tastefully poke fun at our leaders. There is no topic more dangerous for comedians than leaders during conflicts. The nation is almost always supportive of the president in times of war. However, it is possible to get away with some jokes, if properly executed. The article, "U.S. Vows to Defeat Whoever It Is We're At War With" (U.S.) demonstrates this possibility. This piece plays on the sense of confusion that our leaders were experiencing after the attacks. Just like all Americans, they were equally clueless about who had perpetrated these acts against us.
The article describes the President's fighting words, "The United States is preparing to strike, directly and decisively, against you, whoever you are, just as soon as we have a rough idea of your identity and a reasonably decent estimate as to where your base is located… That is, assuming you have a base" (U.S.). The comedy arises from the futility of the threat from our confused leaders. Still, the article does not step on toes. The leaders are treated with respect. As a reader, we identify with the frustration of not knowing who is responsible. In the end, the article gets away with poking fun at the President, while still eliciting pathos from the reader.
Authors express their own grief through comedy
An
additional rule of this satire is to nail the opportunists.
Everybody despises those who use tragedies for personal gain.
The Onion plays on this idea with "Dinty Moore Breaks Long Silence
On Terrorism With Full-Page Ad" (Holy "Dinty"). In this short
news brief, a soup company is lampooned for using the tragedy
to advertise. "Dinty Moore joins Knoche Heating & Cooling and
Tri-State Jacuzzi in condemning terrorism" (Holy "Dinty"). It
seems profane, but such advertisements were clearly a problem
in the weeks after September 11th. This news brief lets us laugh
at the prospect of small businesses registering political statements
on the world stage. Beyond that, it allows us to express our
anger for those who did not treat the situation with the reverence
it deserved.
The final, most important rule is to let your audience know how you feel.
When a comedian makes light of a very tragic situation, it's also important for him to simultaneously express his sadness. In this issue, the writers show their feelings in "God Angrily Clarifies 'Don't Kill' Rule" (God). This piece is composed of a long, barely interrupted rant by God. The article chronicles a press conference in which the Creator becomes very emotional. He tells interviewers that it's His will that humans be kind to each other. "Somehow, people keep coming up with the idea that I want them to kill their neighbor. Well, I don't. And to be honest, I'm really getting sick and tired of it" (God). Speaking in a highly conversational tone, it is apparent that God's voice is that of the writers. The sincerity in this piece is rare for comedians, but the result of this sincerity is a powerful message. It carries the same significance as the heartfelt speeches by the late night talk show hosts. Yet, it still is funny. The idea of our omniscient Creator addressing the press is hilarious. But, the message of the article becomes especially evident at the end. "Then, witnesses reported, God's shoulders began to shake, and He wept" (God). The ironic tone of the article is completely dropped. Stripped down, this last line, which loosely quotes the Bible, basically shows the sorrow felt by the writers of The Onion. It lets us know that, even though the writers are making us laugh, they understand the sadness involved. They feel it too.
The Onion bravely brought comedy back after 9/11
With these rules outlined, satire was able to make a triumphant return. Not only was The Onion able to create a funny piece about September 11th, it also made social commentary. The issue itself defined the true nature of satire. The news stories held a metaphorical mirror up to the attacks and asked, "What have we learned?"
Because the September 11th issue is satire at its most successful, the guidelines presented by The Onion were followed for months after the attacks. These works instructed comedians in the art of tragic comedy. They were handy not only for the professional comedians of television, but also the smaller players. Had my sketch comedy troupe decided to do topical sketches in October, we would have used The Onion for guidance in writing our material.
In the end, I regret that my troupe didn't have time to put together a show based on the events. As comedic performers, we're leaders. We should have had a message behind our work. With topical humor, we could have engendered in our audience the most genuine response: laughter through tragedy. The violent response of their laughter could have helped cleanse and heal. Rather, we took the same path as The Daily Show and provided comedic relief. While still a great show, we missed a chance to make some powerful comedy.
In
the days following the show, a few asked about our lack of
topical material. This would launch me into a vague statement
about the troupe's comedic debate, our lack of time, and Uncle
Shady's Osama sketch. I never could succinctly explain all
that is dictated by the nature of comedy. Although, I know
now what I would do if I could face those people again. "Go
read The Onion," I would say. "It's therapeutic."
Sean Bury graduates
from USC in May with a degree in Acting. He is an active member
of the USC improv and sketch group, Commedus Interruptus.
Comments regarding this article may be directed to Sean@commedus.net.
