28 March 2024 The Irish Film & Television Network
     
Emmanuel Oberg to Tutor Exploring Genre – Screenplay Unlimited Comedy Workshop
25 Apr 2017 : Katie McNeice
This two-day workshop will run from Thursday, June 15th, 2017 at Bow Street, Dublin and is aimed at writers, development personnel, directors and editors who wish to hone their understanding of storytelling in comedies.

Applicants must have attended Oberg’s Advanced Development Workshop or read his book- ‘Screenwriting Unchained: Reclaim your Creative Freedom and Master Story Structure’, prior to applying.

The deadline for applications is Friday May 12th.

Topics

  • What makes a comedy? When you’re selling a comedy, make sure you deliver a comedy!
  • Low-brow (sex/excrement/slapstick), Romantic (love/relationships) or Ethereal (satire/manners): from scatological to cerebral, where do you set the dial?
  • Different types of comedy: dark, character, romantic/screwball, action, horror, slapstick, fish-out-of-water, teen, situation, anarchic, mockumentary, spoof/parody, satire, comedy of manners, fantasy/sci-fi, gross out, just a few of the many subgenres. What do they all have in common?
  • Which story-types are used most for comedies and why?
  • How do we use Maslow to work for – not against – a comedy and target the right audience?
  • Comedy and budget: cheap and cheerful or action-filled star(s) vehicle?
  • High concept and humour: Can you pitch two laughs with one line?
  • Anatomy of a comedy: What are the mechanics of humour? How do we design a gag? How do we generate, sustain and milk the essential elements of a comedy: identification and frustration, pity and mockery, laughter and elation?
  • A good set-up, or how to design the first 15 minutes of a comedy.
  • The protagonist: Why we need to care about the characters, even in a comedy.
  • The antagonist: Do we need one in a comedy? What makes a good comedy antagonist?
  • Comedy and Craft: Running Gag, Topper, Milking, Classical Misunderstanding, Dialogue, Visual Gag, Ad-lib/Improvisation, Laughs-per-Minute, Catch Phrase, Timing
  • Managing conflict: How do we design a comedy storyline, and how do we break it up into funny scenes and sequences? How do we keep the pace up?
  • Managing information: using dramatic irony to generate humour; creating gags with surprises; making sure mystery doesn’t kill humour or prevent identification.
  • Designing a comedy climax: How to design a funny and moving ending; Can a comedy convey meaning?
  • Developing a Plot-Led Comedy.
  • Developing a Character-Led Comedy.
  • Developing a Theme-Led Comedy.
  • Developing a Comedy as a Hybrid or an Exception.

Visit Screen Training Ireland Online to Apply





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