307 Sentences With "stock characters" | Random Sentence Generator

American literature's thick web of tropes, scenarios, and stock characters from

Anti-heroic, equivocally likeable protagonists are stock characters in Mr Shinn's plays.

The three leads do the best they can with their stock characters.

And the reassuringly stock characters require no special actorly finesse to bring to life.

The tropes and stock characters have robbed the story of its ability to surprise you.

Faithful to formula, his stock characters face unlikely predicaments that are resolved through familiar plot devices.

It's a neat, black-and-white story, peopled with stock characters, useful to both sides, and fundamentally untrue.

Books filled with stock characters and predictable plotlines tend to have the opposite effect, confirming our expectations of others.

In stories of war, there is supposed to be an order to things, a standard narrative with stock characters.

But these particular movies — frank, caustically funny, heartbreaking — don't feature the stock characters of your standard teen comedy or satire.

I don't my want my poems to have excesses, and I don't want any stock characters showing up in them.

So begins this maelstrom of twisty plot points, complicated entanglements, pregnancies of ambiguous etiology and colorful if sometimes stock characters.

The situation is not helped by the presence of two stock characters: Cinta, the historian, and Piya, the marine biologist.

Brooke has only recently moved to LA but she's quickly befriended by a group of typical young adult stock characters.

Or even Commedia dell'Arte where you have these stock characters that are also using masks to convey specific emotions or traits.

Were Patterson's words an innocent joke, playing with familiar stock characters: the horny teenager, the shrewish maternal harridan, the busty "coed"?

Others are classic sexual stock characters, doe-eyed and virginal girls-next-door types, and others still are somewhere in between.

Full of stock characters and leaden dialogue, these interludes only underscore what the audience already knows, blunting the momentum of the central duo's balloon ride.

That can leave talented performers high and dry, and "The Get Down" is a catalog of good actors struggling to bring some life to stock characters.

Henderson offsets these slightly stock characters by paying truth to the schizophrenia of Jim Crow, an evil complicated by the terrifying proximity of oppressed to oppressor.

But all the technical bells and whistles, while smoothly produced, ultimately feel less like integral elements than a distraction from stock characters and a thin, overlong plot.

The plot of "Harlequinade," based on the conventions and stock characters of commedia dell'arte, is only slightly more fleshed out than the Harlequin story I've described above.

The movie is about headstrong, beautiful, black artist Nola Darling (originally played by Tracey Camilla Johns) and the triad of male stock characters trying to win her affection.

It is all of the qualities that I listed above: video game production value; a recognizable franchise; a well-worn plot; a number of stock characters with clear motivations.

The Western also presented an opportunity to recast other stock characters, such as the loyal, crafty house slave, in this case played to magnificent effect by Samuel L. Jackson.

Ms. Witherspoon, Ms. Kidman and Ms. Dern do everything they can to bring their stock characters and situations to life, and from moment to moment they can be fun to watch.

As damaged as Grace may be, Aidan and Mia are no picnic, and their acting out at times is less suggestive of real children than stock characters in a horror flick.

"It's funny because at a certain point, I thought, 'Oh, all the stuff I learned in drama school about, like, stock characters and commedia dell'arte, it's really what we do," she said.

While the show itself has garnered mix reviews for dramatic tropes and stock characters and not-unwelcome scenic pornography, the performances, and Witherspoon's in particular, are as mesmerizing as their Monterey backdrop.

And while Azaria has played all kinds of stock characters on "The Simpsons" — brash Southerners, unctuous Brits, frustratingly polite Canadians — he said they were permissible in a way that Apu is not.

In League of Legends, two teams of five — composed of a set of stock characters seemingly inspired by fantasy novels — try to destroy a glowing object, called a nexus, on their opponent's side.

Everyone else serves his whims, and the people around him are diminished as a result, turned into stock characters to stroke his own ego — which makes for bad drama and bad living alike.

Music and dance are supposed to carry equal weight in an opéra-ballet, a genre particular to the French Baroque that consists of a loose sequence of tableaus filled with stock characters and situations.

Along with Liam Hemsworth, Usher represents the franchise's "new generation," a clutch completed by Nicolas Wright as that most gratuitous of reboot stock characters, the ironic nerd who has apparently seen the first movie.

"Although the show creates a ruthless world - the action is brutal and visceral, and the story advances quickly - it's not inventive enough to overcome the stilted dialogue and stock characters," wrote Brian Lowry of CNN.com.

In the early days of cinema, they rarely appeared except as stock characters like the servant or help (think Hattie McDaniel's "Mammy" from Gone with the Wind or, more recently, Viola Davis' character in The Help).

But Brooks's witty, sophisticated screenplay doesn't treat them like stock characters; these people are all both likable and deeply flawed, and the film's refreshing lack of clear choices makes Hunter's romantic predicament all the more poignant.

During Reptilicus, there are jokes about the movie's slow pace ("Feel free to begin the scene any time, guys"), and about the stock characters and casual sexism ("Brigadier General Military Industrial Complex, this is Miss Doctor Woman").

At Tweetsie, the stock characters are played by local college students, with one robot in the mix: an animatronic town drunk in the jail cell, who's been waving his cup and repeating his tale of woe for decades.

Then, following the film's general tactic of putting Hollywood movie tropes and stock characters through an Asian filter, we get a riveting mahjong showdown akin to a classic scene of a chess game accompanied by a Serious Conversation.

" The artists and writers are pretty much stock characters, turning up every once in a while to choreograph dances about the estrus cycle of seals and lament their lack of progress on literary investigations of the "cartographic imperative.

The first episode introduces the stock characters (loyal son, too-perfect daughter, rebel, cynic, screw-up) in lively fashion, but then the story bogs down in anemic mystery and filler, like a risible detour into the Vietnam War.

If you're going to boot Kate out of the story and leave in Matt and Alejandro, then you owe it to those characters to access the richness that's possible when you drop two stock characters into incredibly complex situations.

That real-world-rooted sense of unease (which frankly might play a bit differently with audiences in the wake of the U.S. election) prompts the military, embodied by some pretty stock characters portrayed by Forest Whitaker and Michael Stuhlbarg, to become increasingly antsy.

While stock characters are a feature of every narrative medium, Blizzard seems to have exactly one vision for female villainy: An angular beauty with lilac skin and a traumatic backstory to explain how a nice girl ended up in the mass-murder business.

Ms. Lee leans hard and deliberately into stereotypes, her central figures versions of stock characters: a salaryman (Eddy Toru Ohno) in his 60s tempted by suicide, and the plaid-skirted Azusa (costumes are by Alice Tavener), who is preyed on by the salaryman.

There are some stock characters in the mix — the brutal enforcer, Jim Brandt, for one, a violent ex-patient hired to "keep the chronics in line" — and the plot, for much of the book, has the earnest, orderly momentum of a model railway layout.

Now 55 and the head of physical acting at the Yale School of Drama, he has spent decades teaching clown work and commedia — an earthy, traditional form of Italian comedy, rife with stock characters and improv — at some of the nation's most prestigious theater programs.

O.J. Simpson belongs to the past, but by making the story as viewer-friendly as it seemed 20 years ago—full of stock characters and catchphrases, entertaining everyone and implicating no one—its creators lose the chance to show us what we can learn from it.

Although the show creates a ruthless world -- the action is brutal and visceral, and the story advances quickly -- it's not inventive enough to overcome the stilted dialogue and stock characters, including an evil queen (Sylvia Hoeks) and her minions, whose military accessories include horses and dogs.

Despite its stock characters, this is storytelling that really sticks to the ribs (especially with "the slow-closing-of-a-coffin-lid blackness of winter" coming on), thanks to Keller's plotting skills and her devotion to her home place, a land of deep beauty and quiet desperation.

And then there are the stock characters: the wicked coyote, the ruthless trafficker, the bright-eyed abuelita with her folk wisdom and unshakable Catholicism, the hardworking and/or exploited housekeeper or fieldworker who is either taking jobs from Real Americans or doing jobs Real Americans won't do.

The new Child's Play often feels like it came straight from the minds of tweens: It's silly, even nigh nonsensical, full of flat stock characters, plot non sequiturs, and a hand-wave-y take on technological dystopia that never manages to get above eye roll levels of sincerity.

It does so by taking the stock characters from these tropes, be it Jon "humble origins, secret destiny" Snow or Daenerys "usurped righteous monarch" Targaryen, and trying to develop versions of them more rooted in the reality of the medieval Europe that modern Western fantasy is based on.

The stock characters in jokes about Jews, such as Jewish mothers—of whom it takes none to change a light bulb, since she would rather sit in the dark—are as much a source of pleasure within Jewish homes as they are a source of amusement or ridicule outside them.

The main problem with 2019's Child's Play, beyond its stock characters and disjointed plot, is that it ultimately comes off as a bit indecisive; while there are a few scenes that seem to be born from an R-rated horror playbook, most of it feels like a fun frolic through PG-13 land.

So the network green-lit a full series, and Moore articulated his vision in the show's 49-page bible: We take as a given the idea that the traditional space opera, with its stock characters, techno double-talk, bumpy-headed aliens, thespian histrionics, and empty heroics has run its course and a new approach is required.

In other words, not just a Hollywood that places Asian-American actors equally in the existing plot formulas and cookie-cutter characters that make up most of our movies, but a kind of cinema that is itself distinctly Asian-American, with our own familiar formulas and stock characters that aren't tied to whiteness (or white ideas of Blackness, as has been argued to be the foundation of Awkwafina's character in the film).

" Now, on the cusp of the dreaded 50th birthday, Arthur finds himself in a sort of authorial Sargasso Sea, "too old to be fresh and too young to be rediscovered, one who never sits next to anyone on a plane who has heard of his books," reduced to accepting gigs like interviewing a mega-best-selling author named H.H.H. Mandern, who has made zillions writing "space operettas" of "tin-ear language and laughable stock characters.

Loukides, Paul; Linda K. Fuller. Beyond the Stars: Stock characters in American popular film, Volume 1. Popular Press, 1990. p. 4 Stock characters in American films have changed over the decades. A 1930s or 1940s films' stock characters include newspaper vendors, ice vendors, street sweepers, and cigarette girls; in contrast, a 1990s film has homeless "bag ladies", pimps, plainclothes police, business women, and Black and Hispanic characters.Loukides, Paul; Linda K. Fuller. Beyond the Stars: Stock characters in American popular film, Volume 1. Popular Press, 1990. p.

Kings are stock characters in plays as well as slaves and braggadocii.

He zigs when most writers would zag which makes even his stock characters interesting.

One challenge with the use of stock characters in TV shows is that, as with films, these stock characters can incorporate racial stereotypes, and "prejudicial and demeaning images".Molina- Guzmán, Isabel. Latinas and Latinos on TV: Colorblind Comedy in the Post- racial Network Era. University of Arizona Press, Mar.

Stock characters are a time- and effort-saving shortcut for story creators, as authors can populate their tale with existing well-known character types. Another benefit is that stock characters help to move the story along more efficiently, by allowing the audience to already understand the character and their motivations.

Stock characters play an important role in fiction, including in fairy tales, which use stock characters such as the damsel in distress and Prince Charming (pictured is Sleeping Beauty). A stock character is a stereotypical fictional person or type of person in a work of art such as a novel, play, or a film who audiences recognize from frequent recurrences in a particular literary tradition. There is a wide range of stock characters, covering men and women of various ages, social classes and demeanors. They are archetypal characters distinguished by their simplification and flatness.

"Eastern" films typically replaced the Wild West setting with by an Eastern setting in the steppes of the Caucasus. Western stock characters such as "cowboys and Indians" were also replaced by Caucasian stock characters, such as bandits and harems. A famous example of the genre was White Sun of the Desert, which was popular in the Soviet Union.

An author can also create a fictional character using generic stock characters, but these are flat, simplified characters that tend to be used for supporting or minor characters. Nevertheless, some significant authors have used stock characters as the starting point for building richly detailed characters, such as Shakespeare's use of the boastful soldier character as the basis for Falstaff.

Around the country, her work has been performed in Texas,Weeks, Jerome. "'Welfare': Stock Characters on Parade". The Dallas Morning News. May 9, 1989.

Many of the characters in Casina are stock characters of Greek and Roman comedy, such as the old man chasing after the young slave woman.

As a result, they tend to be easy targets for parody and to be criticized as clichés. The presence of a particular array of stock characters is a key component of many genres, and they often help to identify a genre or subgenre. For example, a story with a knight-errant and a witch is probably a fairy tale or fantasy. There are several purposes to using stock characters.

Another early form that illustrates the beginnings of the Character is the mime. Greco-Roman mimic playlets often told the stock story of the fat, stupid husband who returned home to find his wife in bed with a lover, stock characters in themselves. Although the mimes were not confined to playing stock characters, the mimus calvus was an early reappearing character. Mimus calvus resembled Maccus, the buffoon from the Atellan Farce.

There is often confusion between stock characters, archetypes, stereotypes, and clichés. In part this confusion arises due to the overlap between these concepts. Nevertheless, these terms are not synonyms. The relationship is that basic archetypes (such as "hero" or "father figure") and stock characters (such as "damsel in distress" and "wise fool") are the raw source material that authors use to build on and create fleshed-out, interesting characters.

"Jack Benny, Inc.: Comedian mixes a fiddle, a feud and stock characters in formula which has paid off for 15 years". Life, p. 85. Retrieved July 16, 2017.

TV writers use these stock characters to quickly communicate to the audience. Molina-Guzmán, Isabel. Latinas and Latinos on TV: Colorblind Comedy in the Post-racial Network Era.

On 18 November 1983, she performed Mrs. Alving in the East Berlin premiere of Ghosts, another of her stock characters from that decade, with Ulrich Mühe as Oswald.

Stock characters also feature heavily in the comic traditions of Kyōgen in Japan and Commedia dell'arte in Italy; in the latter they are known as tipi fissi (fixed [human] types).

A review in School Library Journal calls the book "average series fare" with "stock characters", although the reviewer did praise the descriptions of animals and called Cassie's personal struggles realistic.

Chislett (1914, 166–167). The play blends the stock plot-elements and stock characters of the ancient Greek and Roman theatre with those of chivalric literature and the English mediaeval theatre.Plumstead (1963).

The three-part test to determine this protection seems to be efficient enough to leave stock characters and characters with inadequate unique expressions in the public domain to be used as derivative works.

Originally, Momo was meant to have a much more animal-like personality, and Ogawa considers him one of her easiest characters to draw, describing his character type as being one of her 'stock characters'.

Its drama is regarded as the highest achievement of Sanskrit literature.Brandon (1981, xvii). It used stock characters, such as the hero (nayaka), heroine (nayika), or clown (vidusaka). Actors may have specialised in a particular type.

Another possibility is that the fabula itself is metaphorically "cloaked" in a Greek style.OCD, sv palliata As in all Roman drama, the actors wore masks that easily identified which of the stock characters they represented.

Inspiration () is a 1949 Czechoslovakian animated short film directed by Karel Zeman. It is a wordless stop-motion film made using glass figurines. The characters in the film are stock characters from Italian commedia dell'arte.

Like many of Marivaux's other comedies, La Surprise de l'amour makes use of stock characters from the Commedia dell'arte. In this play, Arlequin and Columbine are featured. Théophile Gautier considered this to be Marivaux's finest work.

All feature the same stock characters, in similar archetypal roles. "Life" is the only one to not feature the children as grown- up or adolescent archetypes of said characters, but as parts of the human organism.

While the names of living Chinese can be just about any combination of characters, the posthumous name was chosen from a rather small pool of stock characters; the literal meaning of which eroded as a result.

This notion has been considerably explored in film theory, where feminists have argued, female stock characters are only stereotypes (child/woman, whore, bitch, wife, mother, secretary or girl Friday, career women, vamp, etc.)."E. Graham McKinley, Beverly Hills, 90210: television, gender, and identity (1997), 19. Ulrike Roesler and Jayandra Soni analyze "not only with female stock characters in the sense of typical roles in the dramas, but also with other female persons in the area of the theatrical stage..."Ulrike Roesler and Jayandra Soni, Aspects of the female in Indian culture: proceedings of the symposium in ... (2004), 119. Andrew Griffin, Helen Ostovich, and Holger Schott Syme explain further that "Female stock characters also permit a close level of audience identification; this is true most of all in The Troublesome Raign, where the "weeping woman" type is used to dramatic advantage.

In American popular films, there a wide range of stock characters, which are typically used as non-speaking extras in the background, bit parts with a single line, minor secondary/supporting roles, or major secondary/supporting roles.

Common to Lam Luang theatre performances are stock characters common to all stories. These include the hero (ພຣະເອກ ), the heroine (ນາງເອກ ), king father, queen mother, clown, villain (ຜູ້ຮ້າຽ ), and supernatural forces such as gods, demons, spirits, or ogres.

Brandon (1981, xvii). It utilised stock characters, such as the hero (nayaka), heroine (nayika), or clown (vidusaka). Actors may have specialised in a particular type. Kālidāsa in the 1st century BC, is arguably considered to be ancient India's greatest Sanskrit dramatist.

Kyōgen is sometimes compared to the Italian comic form of commedia dell'arte, which developed around the same period (14th century) and likewise features stock characters. It also has parallels with the Greek satyr play, a short, comical play performed between tragedies.

The Turks introduced the Karagöz puppet show, which concerns the adventures of two stock characters: Karagöz (meaning "black-eyed" in Turkish) and Hacivat (meaning "İvaz the Pilgrim"). Evening performances of the show are particularly popular during Ramadan in North Africa..

However, a gag character on a show usually appears for only one episode. Any subsequent appearances make the character into a secondary character. Occasionally, gags on television are not dubbed "gags". They are more likely to be called stock characters.

In the theatre of ancient Greece, the eirôn () was one of three stock characters in comedy.Carlson (1993, 23) and Janko (1987, 45, 170). The usually succeeded in bringing down his braggart opponent (the ) by understating his own abilities.Frye (1957, 172).

In the United States, courts have determined that copyright protection cannot be extended to the characteristics of stock characters in a story, whether it be a book, play, or film.Nichols v. Universal Pictures Corp., 45 F.2d 119 (2d Cir. 1930).

Tuồng employs the use of stock characters who are recognizable from their make-up and costumes, which are typically very elaborate and extravagant. Usually, a character's personalities can be revealed through three features: the color of the face, the eyebrows, and the beard.

It blames the script for being "random and haphazard", and for creating "pretty stock characters in pretty stock situations spouting stock words and phrases". This review also calls Madison's performance "fairly wooden", but commends Lynn for doing her best with her role.

Alazṓn () is one of three stock characters in comedy of the theatre of ancient Greece.Carlson (1993, 23) and Janko (1987, 45, 170). He is the opponent of the eirôn. The alazṓn is an impostor that sees himself as greater than he actually is.

Poe was criticized for following his own patterns established in works like "Morella" and "Ligeia", using stock characters in stock scenes and stock situations. Repetitive themes like an unidentifiable disease, madness and resurrection are also criticized.Krutch, Joseph Wood. Edgar Allan Poe: A Study in Genius.

Quoted in . As public opinion toward blacks changed, however, so did the minstrel stereotypes. Eventually, several stock characters emerged. Chief among these were the slave, who often maintained the earlier name Jim Crow, and the dandy, known frequently as Zip Coon, from the song Zip Coon.

Low culture can be formulaic, employing trope conventions, stock characters and character archetypes in a manner that can be perceived as more simplistic, crude, emotive, unbalanced, or blunt compared to high culture's implementations--which may be perceived as more subtle, balanced, or refined and open for interpretations.

Through ruse and disguises, the prince and a trusty female servant manage to break up the relationship, resulting in two marriages. Like many of Marivaux's other comedies, La Double Inconstance makes use of stock characters from the Commedia dell'arte. In this play, Arlequin and Trivelin are featured.

Its comic quality comes from the exaggerated and grotesque representation of the everyday, through a series of stock characters such as the poor villager and the old man who does not understand the modern world around him.Mono Ndjana, Hubert. 1988. “Le théâtre populaire camerounais d’aujourd’hui”. Théâtre camerounais, Cameroon theatre.

It has a similar plot to Akira Kurosawa's Seven Samurai as well as The Magnificent Seven, while Feroz Khan's character is similar to the "Man with No Name" stock characters in Kurosawa's Yojimbo and Sergio Leone's Dollars trilogy. The blockbuster Sholay is said be inspired by this film.

Il Capitano (, Italian for "The Captain") is one of the four stock characters of Commedia dell'arte. He most likely was never a "Captain" but rather appropriated the name for himself. The Captain uses bravado and excessive shows of manliness to hide his true cowardly nature. Engraving by Abraham Bosse.

Queer TV: Theories, Histories. Routledge, Dec. 3, 2008. p. 31 In the 1990s, a number of sit coms introduced gay stock characters, such as Friends, Rosanne, Mad About You, and Will & Grace, with the quality of the depictions being viewed as setting a new bar for onscreen LGB depiction.

Queer TV: Theories, Histories. Routledge, Dec. 3, 2008. p. 31 In the 2000s, with changing views on depicting race, Latino/a characters are both typecast into stock characters and the writers play with viewer expectations by making a seemingly stock Latino/a character act or behave "against type".

Plays were loose frameworks that provided situations, complications, and outcome of the action, around which the actors improvised. The plays used stock characters. A troupe typically consisted of 13 to 14 members. Most actors were paid a share of the play's profits roughly equivalent to the sizes of their roles.

It is also unusual for mixing Lucian's characters from other dialogues with stock characters from New Comedy; over half of the men mentioned in Dialogues of the Courtesans are also mentioned in Lucian's other dialogues, but almost all of the courtesans themselves are characters borrowed from the plays of Menander and other comedic playwrights.

Born in Rome, Fiorentini began his career as an author and radio actor, creating many successful macchiette (i.e. comic monologues caricaturing stock characters). He made his stage debut in 1954, in the revue Tutto fa Broadway. He later focused his stage activity on plays and shows related to Roman culture, often collaborating with Mario Scaccia.

Due to the scheduling constraints on television production, in which episodes need to be quickly scripted and shot, television scriptwriters often depend heavily on stock characters borrowed from popular film.Molina-Guzmán, Isabel. Latinas and Latinos on TV: Colorblind Comedy in the Post-racial Network Era. University of Arizona Press, Mar. 27, 2018 . p. 19.

Later playwrights also borrowed Plautus's stock characters. One of the most important echoes of Plautus is the stock character of the parasite. Certainly the best example of this is Falstaff, Shakespeare's portly and cowardly knight. As J. W. Draper notes, the gluttonous Falstaff shares many characteristics with a parasite such as Artotrogus from Miles Gloriosus.

People dressed as ninjas during the 2009 Himeji Castle Festival in Himeji, Hyōgo, Japan Ninjas are historically known as Japanese spies, assassins, or thieves who formed their own caste outside the usual feudal divisions of lords, and samurai serfs. They are often used as stock characters, in Japanese popular culture and global popular culture.

The troupe first danced onto stage then exchanged wisecracks and sang songs. The second part featured a variety of entertainments, including the pun-filled stump speech. The final act consisted of a slapstick musical plantation skit or a send-up of a popular play. Minstrel songs and sketches featured several stock characters, most popularly the slave and the dandy.

Buddhist philosopher Asvaghosa who composed Buddhacarita is considered to have been the first Sanskrit dramatist. Despite its name, a classical Sanskrit drama uses both Sanskrit and Prakrit languages giving it a bilingual nature. Sanskrit drama utilised stock characters, such as the hero (nayaka), heroine (nayika), or clown (vidusaka). Actors may have specialised in a particular type.

Along with bushrangers and other stock characters of colonial life, convicts were a popular subject during Australia's silent film era. The first convict film was a 1908 adaptation of Marcus Clarke's For the Term of His Natural Life, shot on location at Port Arthur with an unheard-of budget of £7000.Byrnes, Paul. Prisons on Film , Australian Screen.

Anspach and Butler acknowledge the existence of each other's lists, and state that their two lists have been so cross-pollinated over the years as to become effectively identical. The Evil Overlord List has led to spinoffs, including lists for stock characters including (but not limited to) heroes, henchmen, sidekicks, the Evil Overlord's Accountant, and Starfleet captains.

PS, I Love You by Cecelia Ahern, The Guardian, 16 February 2004 The Clare County library called the book "overhyped", "predictable" and "full of stock characters", but lastly an "easy read... and a nice holiday read". Amazon.co.uk calls it "at times repetitive and her delivery is occasionally amateurish [but] Ahern deserves credit for a spirited first effort".

Alissa Simon of Variety wrote that the film "musters mob-film cliches with verve". Reece Pendleton of the Chicago Reader wrote, "Despite the stock characters and well- trod material, this is an engaging tale, enhanced considerably by Vincent's perfect mix of vulnerability and steely resolve." Bill Gibron of DVD Verdict called it "a nicely nuanced crime story".

Relief with Menander and New Comedy Masks (Roman, AD 40–60). The masks show three New Comedy stock characters: youth, false maiden, old man. Princeton University Art Museum The Hellenistic period saw the rise of New Comedy, the only few surviving representative texts being those of Menander (born 342/341 BC). Only one play, Dyskolos, survives in its entirety.

In the theatre of ancient Greece, the bômolochus () was one of three stock characters in comedy, corresponding to the English buffoon.Carlson (1993, 23) and Janko (1987, 45, 170). The bômolochus is marked by his wit, his crudity of language, and his frequent non-illusory audience address. In modern Greek, the word refers to a foul-mouthed person.

27, 2018 . p. 19. One concern raised with these gay stock characters is they tend to be shown as just advice-giving "sidekicks" who are not truly integrated into the narrative; as well, the gay character's life is not depicted, apart from their advice-giving interactions with the main characters.Davis, Glyn; Gary Needham. Queer TV: Theories, Histories.

Although the Russian word "petrushka" has a homonym meaning "parsley", in this context the word is actually a hypocoristic (diminutive) for "Pyotr" (Пётр), which is Peter in Russian. Despite this, the character has little or nothing in common with the commedia dell'arte stock characters of Petruccio or Pierrot, but is instead a Russian version of Punch or Pulcinella.

Weinstock 1963, p. 189–190 In the tradition of opera buffa, the opera makes reference to the stock characters of the commedia dell'arte. Pasquale is recognizable as the blustery Pantalone, Ernesto as the lovesick Pierrot, Malatesta as the scheming Scapino, and Norina as a wily Columbina. The false Notary echoes a long line of false officials as operatic devices.

Alderete: One of the main characters; the youngest of the three nephews to King Roland. His characteristic traits that carried through the short story are optimistic, happy, and peaceful. The Political Council: These one-dimensional, stock characters consist of Prime Minister, Chancellor, Commander-in-Chief, and Lord High Admiral. The Tinker: An old man who travels from house to house mending wares.

Kyōgen plays are invariably brief – often about 10 minutes, as traditionally performed between acts of Noh – and often contain only two or three roles, which are often stock characters. Notable ones include , , and . Movements and dialogue in kyōgen are typically very exaggerated, making the action of the play easy to understand. Elements of slapstick or satire are present in most kyōgen plays.

Siempre Tuya presents the experience of Mexicans fleeing rural poverty and the difficult adaptation to city life. On one level it is standard fare, with stock characters and a plot designed to showcase Negrete's singing. It is in many ways typical of popular films of the Golden Age of Mexican cinema. Ramón and Soledad's perseverance and loyalty are rewarded by a happy ending.

The maile sisters are a favorite stock characters in Hawaiian romance tales. The story of Lāieikawai tells of five Maile sisters. Maile hai wale (brittle maile), Maile lau lii (small-leaved maile), Maile lau nui (large-leaved maile), Maile kaluhea (sweet-scented maile), and Maile pakaha (blunt-leaved maile). Kauai's maile lau lii is often celebrated in song and chant.

The film was universally panned by critics and audiences. On Rotten Tomatoes the film has an approval rating of 21% based on 132 reviews, with an average rating of 4.5/10. The website's consensus reads, "A romantic dramedy with boring, stock characters and contrived situations." Metacritic gave a score of 43 out of 100 based on 28 reviews, indicating "mixed or average reviews".

Women are depicted in film noir crime movies in a range of archetypes and stock characters, including the alluring femme fatale. Film noir directors tried to fulfill specific constructions of gender roles in this aesthetically driven cinema style, creating very specific false archetypes for women within the ongoing history of film noir.Hirsch, Foster. The Dark Side of the Screen: Film Noir.

First printings of 30,000 copies were frequent. In the golden years of the format (late 50s and early 60s) printings reached 100,000 copies. Lafuente's creative process often involved adapting popular dramas into typical Far West settings and stock characters. He was also unique among other Spanish western authors in that he had visited the American west he was writing about.

Cf. p.50 These poems are generally agreed to be the origins of satire. Some modern scholars believe that Lycambes, Neobule, and her sisters were not actually the poet's contemporaries but stock characters from the iambic tradition;M.L.West, Studies in Early greek Elegy and Iambus, Berlin and New York (1974), page 27 others hold that they are merely meaningful names applied to the figures from Archilochus's life.

His style included 'metrical vandalism' and looseness of structure. Horace instead adopted an oblique and ironic style of satire, ridiculing stock characters and anonymous targets. His libertas was the private freedom of a philosophical outlook, not a political or social privilege.L. Morgan, Satire, 177–78 His Satires are relatively easy-going in their use of meter (relative to the tight lyric meters of the Odes)S.

Pavel shares his deathbed confession with them. After Pavel dies, Peter leaves Black Hawk. from My ÁntoniaÁntonia's father befriended the two Russians, Pavel and Peter. of how he and PeterIn his 2009 article in the Great Plains Quarterly, Robin Chen wrote that the names, Peter and Pavel, are those of "stock characters in Russian folktales" whom Ántonia's father befriended two Russians, Pavel and Peter.

At first, these actors performed commedia dell'arte in their native Italian. Commedia dell'arte is an improvisational type of theatre; there were no scripts. They had multiple scenarios that they would pick from to perform, but inside that scenario they really did not have anything else planned out. They did however have specific character types, called Stock Characters, that became famous and loved by the theatre goers.

Atellan play acting contained much pantomiming. All roles were played by males. The plays did not have elaborate scenery and were performed in normal theaters.j. Trapido The Johns Hopkins University Press, Educational Theatre Journal Atellan plays first became popular in Rome in the 3rd century B.C, with a revived popularity in literary form in the 1st century B.C. and included the stock characters in written verse.

Though the judgment of outlawry is obsolete, romanticised outlaws became stock characters in several fictional settings. This was particularly so in the United States, where outlaws were popular subjects of newspaper coverage and stories in the 19th century, and 20th century fiction and Western films. Thus, "outlaw" is still commonly used to mean those violating the lawBlack's Law Dictionary at 1255 (4th ed. 1951), citing Oliveros v.

Instead, Arlequin falls in love with Silvia, a shepherdess. With the help of the fairy's servant Trivelin, the two manage to trick the fairy and live happily ever after. Its plot and comedic features were strongly influenced by the traditional Italian theatre of the Commedia dell'arte. Arlequin and Trivelin are stock characters of the Commedia dell'arte, and Silvia is a name associated with the female romantic lead.

Other stock characters in the parade include four masked, smartly dressed "old men" with walking sticks. From time to time the horse falls to the ground and is then "shod" (the smith hammers the shoe soles of one or other of the carriers, who kick out, wildly). The man who leads it sometimes breathes into its mouth or nostrils. It then revives and continues through the village.

Jokes from these sources usually depended on sexual themes. Cicero believe that humour ought to be based upon "ambiguity, the unexpected, wordplay, understatement, irony, ridicule, silliness, and pratfalls". Roman jokes also depended on certain stock characters and stereotypes, especially regarding foreigners \-- as can be seen within Plautus' Poenulus. Roman culture, which was heavily influenced by the Greeks, had also been in conversation with Greek humour.

The Deceived Ones, or The Deceived (), is a 1531 comedy of intrigue written collectively by the Accademia degli Intronati (the center of intellectual life in Siena). It was the Academy's first publicly hosted event, performed on the last day of carnival 1532 (February 12). It uses stock characters of Commedia dell'Arte. It was internationally successful and translated in many languages, including French, Spanish and Latin.

"The Origins and Development of the Art of Mime". From the Greek Mimes to Marcel Marceau and Beyond: Mimes, Actors, Pierrots and Clowns: A Chronicle of the Many Visages of Mime in the Theatre. 9 March 2000. Retrieved 14 February 2010. Mime (mimius) was an aspect of Roman theatre from its earliest times, paralleling the Atellan farce in its improvisation (if without the latter’s stock characters).

The "macchietta" consisted in comic musical monologues caricaturing stock characters. It was generally committed to the observation of reality, and it sketched characters featuring particular defects or manias, which were further deformed and exaggerated for comical and satirical effects. Every monologue had some music serving as backdrop for the whole performance and the acting was interspersed by brief couplets sung by the comedian.Enzo Giannelli. "Macchietta".

Menaechmi, a Latin-language play, is often considered Plautus' greatest play. The title is sometimes translated as The Brothers Menaechmus or The Two Menaechmuses. The Menaechmi is a comedy about mistaken identity, involving a set of twins, Menaechmus of Epidamnus and Menaechmus of Syracuse. It incorporates various Roman stock characters including the parasite, the comic courtesan, the comic servant, the domineering wife, the doddering father-in- law and the quack doctor.

French-Canadian folklore has its roots in the folklore of France, with some stock characters such as Ti-Jean, the everyman character. Other popular heroes of French-Canadian folklore were created in New France, such as the exploits of the hunter Dalbec, and the voyageur Jean Cadieux. The earliest French-Canadian folksong celebrates the adventures of Jean Cadieux. La chasse-galerie (The Flying Canoe), a popular French-Canadian folktale.

Subanen oral literature include the folktales, short, often humorous, stories recounted for their sheer entertainment value; and the epics, long tales which are of a serious character. One of the stock characters in the long tales is the widow's son, who possesses stupendous physical courage. The following is one of the numerous stories told about him. One day, the widow's son set out to hunt for wild pigs.

It utilised stock characters, such as the hero (nayaka), heroine (nayika), or clown (vidusaka). Actors may have specialised in a particular type. It was patronized by the kings as well as village assemblies. Famous early playwrights include Bhasa, Kalidasa (famous for Vikrama and Urvashi, Malavika and Agnimitra, and The Recognition of Shakuntala), Śudraka (famous for The Little Clay Cart), Asvaghosa, Daṇḍin, and Emperor Harsha (famous for Nagananda, Ratnavali, and Priyadarsika).

In his book Aspects of the Novel, E. M. Forster defined two basic types of characters, their qualities, functions, and importance for the development of the novel: flat characters and round characters. Flat characters are two-dimensional, in that they are relatively uncomplicated. By contrast, round characters are complex figures with many different characteristics, that undergo development, sometimes sufficiently to surprise the reader. Stock characters are usually one-dimensional and thin.

Masks allow the actor to further explore the character. To the audience, the actor's physical movements and embodiment of the stock characters help to establish their character and the mask enhances it. The mask and lazzo connected, without the lazzo a character in a mask is not making anything and is less entertaining. Masks and lazzo go hand in hand and you need one to have the other.

However, unbeknownst to her, her fiancé has the same idea and trades places with his valet. The "game" pits the two false servants against the two false masters, and in the end, the couples fall in love with their appropriate counterpart. Like many of Marivaux's other comedies, The Game of Love and Chance makes use of stock characters from the Commedia dell'arte. In this play, Arlequin is featured.

The Hollywood Reporter, (February 9, 2004). Retrieved January 29, 2011. Film critic Roger Ebert gave it two and a half stars out of four, declaring that the script was peopled from the "Stock Characters Store" and "the movie could have been (a) a gay love story, or (b) an attack on the Mormon Church, but is an awkward fit by trying to be (c) both at the same time".Ebert, Roger.

Taranto achieved large notoriety thanks to two macchiette (i.e. comic musical monologues caricaturing stock characters), Ciccio Formaggio and the Baron Carlo Mazza, two caricatural characters of proven success that he reprised several times during his career. He debuted in cinema in 1938, but achieved some success just in the fifties. In 1953 he won a Nastro d'Argento for Best Actor for his performance in Luigi Zampa's Anni facili.

The first opera written on Canadian soil was Joseph Quesnel's Colas et Colinette. Written in 1788 and first performed in 1790 in Montreal, it was again produced in Quebec in 1805. The comedic opera in three acts is written in a manner that clearly shows the composer's French heritage. The characters are “stock characters” that were often found in French comedies such as Molière's and Jean-Jacques Rousseau's.

As with previous Dynasty Warriors games, Xtreme Legends adds a Challenge Mode, which uses stock characters (as opposed to the customized characters in Story, Free, or Ambition modes) for various arcade-style challenges. There are a total of five mini-games, each of which reward the player with a customizable weapon based on the character's score in the challenge; these may include weapons with weapon elements that are unobtainable in any of the other modes.

Ravens appear as stock characters in several traditional Serbian epic poems. Like in many other cultures, the raven is associated with death - more specifically with an aftermath of a bloody or significant battle. Ravens often appear in pairs and play the role of harbingers of tragic news, usually announcing death of a hero or a group of heroes. They tend to appear in combination with female characters as receivers of the news.

Asimov said of Campbell's influence on the field: > By his own example and by his instruction and by his undeviating and > persisting insistence, he forced first Astounding and then all science > fiction into his mold. He abandoned the earlier orientation of the field. He > demolished the stock characters who had filled it; eradicated the penny > dreadful plots; extirpated the Sunday-supplement science. In a phrase, he > blotted out the purple of pulp.

A comedy of manners satirizes the manners and affectations of a social class, often represented by stock characters. Also, satirical comedy-drama & the plot is often concerned with an illicit love affair or some other scandal. However, the plot is generally less important for its comedic effect than its witty dialogue. This form of comedy has a long ancestry, dating back at least as far as Much Ado about Nothing created by William Shakespeare.

A character who stands as a representative of a particular class or group of people is known as a type.Baldick (2001, 265). Types include both stock characters and those that are more fully individualised. The characters in Henrik Ibsen's Hedda Gabler (1891) and August Strindberg's Miss Julie (1888), for example, are representative of specific positions in the social relations of class and gender, such that the conflicts between the characters reveal ideological conflicts.

Stock characters of all sorts also emerge: courtesans, parasites, revellers, philosophers, boastful soldiers, and especially the conceited cook with his parade of culinary science. Because no complete Middle Comic plays have been preserved, it is impossible to offer any real assessment of their literary value or "genius". But many Middle Comic plays appear to have been revived in Sicily and Magna Graecia in this period, suggesting that they had considerable widespread literary and social influence.

Attractively grown-up Pet Clark turns in a sparkling performance as the doubting young wife. She manages to hold her own against the devastating eyelashes and flashing, wicked smiles of Sonja Ziemann as the hired help. But it's the old hands at this kind of comedy who really carry the fun along: David Tomlinson, Charles Victor and A. E. Matthews, as son, father and grandfather respectively, all stock characters. Yes it's all gay and merry.

This segment involves a cat named Shnookums (voiced by Jason Marsden) and a dog named Meat (voiced by Frank Welker) who do not get along very well. Their owners are unseen stock characters only viewed from the neck down and named (appropriately enough) Husband & Wife (voiced by Steve Mackall and Tress MacNeille). Husband is always referring to their home as their "domicile" before the two leave their pets in charge while they are away.

Secombe then attempts to "start the show" which sounds a lot like starting, or rather failing to start, a car. This play on words was used by Milligan in his other scripts, particularly the contemporaneous "Milligna Show". The tone of the whole show, in fact, was much more like Milligan's then-current writing than any of the original shows. Although all the stock characters put in an appearance, the humour consists mostly of one-liners.

"The Princess and the Iso Peanut", based on the Hans Christian Andersen fairy tale "The Princess and the Pea", was her first not to include some of her stock characters such as Da Mean Mongoose, which she had previously used to generate "simple ethnic comedy". She received numerous awards for her work, including four Po’okela Awards from the Hawai'i State Theatre Council, and a fellowship from the Hawaii State Foundation on Culture and the Arts.

They represent the stock characters needed to perform the roles in the ritual dance dramas included in the ceremony. The masks originated in the Hahoe Folk Village and Byeongsan Village, North Gyeongsang Province, South Korea. They are counted among the treasures of South Korea, and the oldest Hahoe mask is on display in the National Museum of Korea.Kdata.co.kr The Hahoetal masks are considered to be among of the most beautiful and well known images representing Korean culture.

Writing in place of Roger Ebert of the Chicago Sun-Times, Jeff Shannon gave the film 2 stars out of 4, saying that Fleischer, better known for his comedic work, was "out of his element, and barely suppressing his urge to spoof the genre". He further criticized the stock characters, and the generally uneven tone of the film, but praised the action highlights such as the car chase, and occasional flashes of brilliance in the performance of Sean Penn.

Some performers played characters their own age, while others played ages different from their own (whether younger or older). Of all the elements of theatre, the Treatise gives most attention to acting (abhinaya), which consists of two styles: realistic (lokadharmi) and conventional (natyadharmi), though the major focus is on the latter. Its drama is regarded as the highest achievement of Sanskrit literature. It utilised stock characters, such as the hero (nayaka), heroine (nayika), or clown (vidusaka).

Lean and energetic, Buster appeared in 132 B western films. He was one of the most prolific character actors in B westerns, appearing as a wide variety of stock characters. Each year from 1935 to 1946, he was in 20 or more movies, with a peak of 32 movies in 1937. He appeared in 304 films in a career spanning from 1933 to 1960, excluding a hiatus from 1949 to 1952 coinciding with the decline of Poverty Row.

Reviewing the series for ComicsAlliance, Tom Speelman described the premise as "what if Harry Potter was a knight and also kinda dumb?" He recommended it for fans of Naruto and Fairy Tail, noting its similarities to the former series as well as to Bleach. He praised the author's ability to invigorate stock characters. Henry Ma of Ka Leo O Hawaii praised the series' humor and art, noting that the latter was "very nice" and was similar to Fairy Tail.

The Atellan Farce is highly significant in the study of the Character because it contained the first true stock characters. The Atellan Farce employed four fool types. In addition to Maccus, Bucco, the glutton, Pappus, the naïve old man (the fool victim), and Dossennus, the cunning hunchback (the trickster). A fifth type, in the form of the additional character Manducus, the chattering jawed pimp, also may have appeared in the Atellan Farce, possibly out of an adaptation of Dossennus.

5 A criticism of the way stock characters are used in American in films is that some racial and ethnic stereotypes used in the past were offensive, such as the way Blacks were depicted as "lazy" and Japanese people were shown as "treacherous, myopic and buck-toothed". In 1990, the new Black stock character is the "street- smart" African-American and the new Japanese stock type is the "camera-happy tourist". Loukides, Paul; Linda K. Fuller.

Machon is also the source for the claim that Diphilus acted in his own plays.Athenaeus, Deipnosophistae13.43 An anonymous essay on comedy from antiquity reports that Diphilus wrote 100 plays. Of these 100 plays, 59 titles, and 137 fragments (or quotations) survive. From the extant fragments, Diphilus' plays seem to have featured many of the stock characters now primarily associated with the comedies of the Roman playwright Plautus, who translated and adapted a number of Diphilus' plays.

The shows were performed by Caucasians in make-up or blackface for the purpose of playing the role of black people. Minstrel songs and sketches featured several stock characters, most popularly the slave and the dandy. These were further divided into sub-archetypes such as the mammy, her counterpart the old darky, the provocative mulatto wench, and the black soldier. Minstrels claimed that their songs and dances were authentically black, although the extent of the black influence remains debated.

The play makes use of many stock characters, with which theatergoers would have been familiar. Charinus plays the role of the adulescens amator, Demipho is the senex, and Pasicompsa is the meretrix. The plot is relatively straightforward and is most easily compared to that of the Casina, which also revolves around a conflict between the adulescens and senex. The title of the play may refer to either Charinus or Demipho, as both turn out to be successful merchants.

The stock characters include a cruel and perverse commandant, a lesbian doctor, sadistic guards who freely abuse the prisoners, and a sympathetic German who tries to help the captive women. The theme of Nazi sexual abuse continued in the sleazy, violent drive-in programmer The Cut- Throats (1969) and Torture Me, Kiss Me (1970), a low-budget, black-and-white B-movie about sadistic Nazi officers tormenting female civilians (including fetishistic flogging scenes) in occupied France.

Shows usually consisted of three tandas, or acts. In order to be successful on the carpa stage, an actor had to establish an immediate rapport with the audience and get laughs quickly or risk being booed off stage. This limited the portrayals to stock characters. However, many who allowed their personalities to shine through the characters and who developed a knack for improvisation later found success in the cinema of Mexico, helping to create its Golden Age.

Publicity shot of Willie and Joe, drawn by Bill Mauldin, 1940s. Willie and Joe are stock characters representing United States infantry soldiers during World War II. They were created and drawn by American cartoonist Bill Mauldin from 1940 to 1948, with occasional additional drawings until 1998. They were published in a gag cartoon format, first in the 45th Division News, then Stars and Stripes, and starting in 1944, a syndicated newspaper cartoon distributed by United Feature Syndicate.

Hát tuồng or "hát bội" was imported from China around the 13th century and was used for entertaining royalty for a time before being adapted for traveling troupes of actors. Stories in the opera tend to be ostensibly historical and frequently focus on the rules of social decorum. Like chèo and other forms of opera from around the world, tuồng employs the use of stock characters who are recognizable from their make-up and costumes, which are typically very elaborate and extravagant.

The twelve masks of the Hahoetal represent the characters needed to perform all the roles in the Hahoe pyolsin-gut. Of the twelve original masks, nine remain and are counted among the national treasures of Korea. Each mask has a unique set of design characteristics to portray the full range needed in the representation of these stock characters. They are: Chuji (the winged lions): These masks represent two Buddhist winged lions, which act as protectors from evil during the ritual performance.

The young boy's father turns out to be wealthy and adopts the orphan rescuer. Alger secured his literary niche in 1868 with the publication of his fourth book, Ragged Dick, the story of a poor bootblack's rise to middle-class respectability. This novel was a huge success. His many books that followed were essentially variations on Ragged Dick and featured stock characters: the valiant, hard-working, honest youth; the noble mysterious stranger; the snobbish youth; and the evil, greedy squire.

In the mid-19th century, a new style of novel became popular in France. The serial format known as the roman-feuilleton presented stories in short regular installments, often accompanied by melodramatic plots and stock characters. Although Balzac's La Vieille Fille (The Old Maid), 1836, was the first such work published in France,Bellos, Bette, p. 75. He notes that this was roughly the same moment when Dickens was introducing the English serial with Pickwick Papers. See also Stowe, pp. 101–102.

The Anabaptists influenced other minority groups who sprung out of their movement, such as the Puritans or the Amish. Their beliefs in Baptism have become a main part of mainstream Baptism today. Even throughout the hundreds of years since their starting point, they are still in various cultural references today and a small religious movement across the world. Like in Voltaire's Candide, or as stock characters in Shakespeare's plays, they still play a part in English history and religious history.

Shoot or Be Shot was released on DVD by 20th Century Fox Home Entertainment in May 2004. Ian Jane of DVD Talk gave the film a negative review, saying that the film is "just not funny". Michelle Fajkus of Hybrid Cinema, who also gave the film a negative review, wrote that the film promotes stereotypes with its use of stock characters, such as the dumb blonde. Jeff Strickler of the Star Tribune called the film "a low-rent version of Bowfinger".

The njai has a broad presence in literature. James Siegel argues that "Dutch shame", which he describes as caused by guilt over the contemporary situation in the Indies that the Dutch colonialists seemed incapable of improving, gave rise to certain stock characters that would explain Dutch political and administrative failure. Siegel cites such characters as the "venal Arab" and the "lustful, greedy Chinese merchant", and the "'deceitful' housekeeper or njai". Njai characters are common in works of Chinese Malay literature.

Epic Theatre As devised by Bertolt Brecht, epic theatre forces audience members to constantly return to rational observation, rather than emotional immersion. Sudden bursts of song, elements of absurdity and breaches of the fourth wall are all prime examples of how this rational observation is constantly revitalized; this idea is known as Verfremdungseffekt. Melodrama As devised by early Greek dramatists, these styles rely on stock characters and stereotypes to portray stories in an exaggerated way, either tragic or comic. Links to commedia dell'arte.

After being trained as a gold beater, Lope de Rueda led a theater troupe using the style and influence of an Italian movement called Commedia dell'arte. He wrote several full length plays using this style, but he is more famous for the short works which he called, pasos. These pasos are characterized as having stock characters, containing every day situations, and broad humor. The pasos were generally performed during the intermission of full length plays, and served as entertainment for all social classes.

Characters who embody the upper class, usually the lovers or Innamorati and the lower class female servants do not wear physical headpieces, but their characters are still referred to as "masks." Commedia stock characters tend to introduce themselves as soon as they notice the audience and the mask helps them to do so. A comic mask is a nobody and somebody at the same time. A mask helps to create the beautiful, extravagant, repulsive and yet attractiveness of each character.

Geisha Girl is a 1952 American adventure film directed and produced by George Breakston and C. Ray Stahl, and starring Steve Forrest, Martha Hyer, Tetsu Nakamura, Heihachirô Ôkawa, and Dekao Yokoo. The full film was shot in Tokyo, Japan. The plot was, in fact, created so as to educate American viewers of such Japanese traditions as a Kabuki theater presentation, a Buddhist religious ceremony, and a geisha house. Despite these features, the Japanese people were presented as stock characters or buffoons.

Race films typically avoided explicit depictions of poverty, ghettos, social decay, and crime. When such elements appeared, they often did so in the background or as plot devices. Race films rarely treated the subjects of social injustice and race relations, although blacks were legally disenfranchised in the South and suffered discrimination in the North and South. Race films avoided many of the popular black stock characters found in contemporary mainstream films, or else relegated these stereotypes to supporting roles and villains.

The Cohens and Kellys is a 1926 American silent comedy film directed by Harry A. Pollard and starring Charles Murray, George Sidney, Kate Price, and Jason Robards Sr. The film is the first of the Cohens and Kellys film serials. The film is perhaps best known today as the subject of Nichols v. Universal Pictures Corp., a copyright infringement case, in which Judge Learned Hand articulated the doctrine that copyright protection does not cover the characteristics of stock characters in a story.

John Rich as Harlequin, c. 1720 The development of English pantomime was also strongly influenced by the continental commedia dell'arte, a form of popular theatre that arose in Italy in the Early Modern Period. This was a "comedy of professional artists" travelling from province to province in Italy and then France, who improvised and told comic stories that held lessons for the crowd, changing the main character depending on where they were performing. Each "scenario" used some of the same stock characters.

That's My Bush! is an American sitcom that aired on Comedy Central from April 4 to May 23, 2001. The show was created by Trey Parker and Matt Stone, best known for creating South Park. Despite the political overtones, the show itself was moreso a broad lampoon of American sitcoms, including jokes, a laugh track, and stock characters such as klutzy secretary Princess (Kristen Miller), know-it-all maid Maggie (Marcia Wallace), and supposedly helpful next door neighbor Larry (John D'Aquino).

Kubatsky on Kinopoisk Kubatsky was a prolific character actor, known especially for his roles as eccentric stock characters in fantasy films: robbers, kings, sorcerers, etc.Biography at rusactors.ru His most prominent role was that of King Yagupop the 77th in Kingdom of Crooked Mirrors. He appeared in several other films by Aleksandr Rou: as the bandit chief in Jack Frost, as one of the werewolves in Fire, Water, and Brass Pipes, and as the clerk in Barbara the Fair with the Silken Hair.

Fontanarrosa found a direction for his artistic career in making parodies of stereotyped stock characters. Of all those, he decided to keep working on Boogie and Inodoro Pereyra (a parody of a gaucho). The first compilation of his comic strips was published in 1974, and in the 1980s was included in the magazines Humor, Superhumor and Fierro, published by Ediciones de la Urraca. The character ceased publication in the 1990s, following the general decline in the use of killer characters.

The Plough plays of the East Midlands of England (principally Lincolnshire and Nottinghamshire) feature several different stock characters (including a Recruiting Sergeant, Tom Fool, Dame Jane and the "Lady bright and gay"). Tradition has it that ploughboys would take their plays from house to house and perform in exchange for money or gifts, some teams pulling a plough and threatened to plough up people's front gardens or path if they did not pay up. Examples of the play have been found in Denmark since the late 1940s.

On Rotten Tomatoes, the film has an approval rating of 23% based on 182 reviews and an average rating of 4.31/10. The site's critical consensus reads, "With stock characters and a preposterous plot, this noisily diverting video game adaptation fulfills a Need for Speed and little else." On Metacritic, the film has a score of 39 out of 100 based on 38 critics, indicating "generally unfavorable reviews". Audiences polled by CinemaScore gave the film an average grade of "B+" on an A+ to F scale.

During those years, film roles that went beyond stock characters were few and far between, notable exceptions being his roles in Brothers (1977), the television movie Brave New World (1980), and the miniseries The Sophisticated Gents (1981). He had a number of television guest appearances, frequently playing detective roles. In 1988, O'Neal had a recurring role as Mercer Gilbert on the popular NBC television sitcom A Different World, playing the wealthy father of the spoiled southern belle Whitley Gilbert (Jasmine Guy). His appearances lasted through 1992.

Atellan farce introduced a set of stock characters such as Maccus and Bucco to Latin comedy; even in antiquity, these were thought to be the ancestors of the characters found in Plautus,For instance, Horace, Epistles II, 1, 170 ff. and perhaps distantly of those of commedia dell'arte. Although an older view held that Attic comedy was the only source of Roman comedy, it has been argued that Rhinthon in particular influenced Plautus’s Amphitruo.Z Stewart , The ‘Amphitrue’ of Plautus and Euripides ‘Bacchae’ TAPhA 89, 1958, 348–73.

Dancers and stock characters dress and behave to imitate the Portuguese royal court of the Baroque period. The performance also enacts pre-colonial African traditions, like parading the calunga, a doll representing tribal deities that is kept throughout the year in a special place in the Nação's headquarters. The calungas, usually female, are traditionally made of either wax and wood or of cloth. They may have clothing made for them in a similar Baroque style to the costumes worn by the other members of the royal court.

Much of the humour in the piece centers on the sailor's nautical dialect, combined with his noble character. The play is a nautical melodrama (with all its stock characters) that praises the patriotic British tar (sailor) while critiquing authoritarianism in the British Navy. Aspects of the story were later parodied in H.M.S. Pinafore (1878). The play was Jerrold's first big success, premiering on 8 June 1829 at the Surrey TheatreLondon Evening Standard, 9 June 1829, p. 1 and running for a new record of over 150 performances.

Statue of Giant in gardens of Villa La Pietra Orazio Marinali (1643–1720) was an Italian late-Baroque sculptor, active mainly in the Veneto or Venetian mainland. He trained with Josse de Corte. He is best known for over 150 statues produced by him and his studio for the estate and gardens of a single villa in Vicenza, the Villa Lampertico (also known as Villa Conti or La Deliziosa). Many are stock characters from commedia dell'arte theater; others depict the so-called bravi (desperadoes).

Initially, players are able to create their own family from five stock models, namely - the Fighter, Musketeer, Wizard, Scout, and Elementalist. As the player progresses through the game, NPC characters can be recruited into the player's family. The said characters' fighting abilities can be customized through learning and developing various fighting stances, in addition to equipping them with various armors and accessories with different options. Costumes also play a large role in the customization process, and many have been developed for both the stock characters and RNPCs.

20th century musicals based on Plautus include A Funny Thing Happened on the Way to the Forum (Larry Gelbart and Burt Shevelove, book, Stephen Sondheim, music and lyrics). Roman Laughter: The Comedy of Plautus, a 1968 book by Erich Segal, is a scholarly study of Plautus' work. The British TV sitcom Up Pompeii uses situations and stock characters from Plautus's plays. In the first series Willie Rushton plays Plautus who pops up on occasion to provide comic comments on what is going on in the episode.

The New Janitor The New Janitor was the 27th comedy from Keystone Studios to feature Charlie Chaplin. The film is arguably one of his best for the studio, and a precursor to a key Essanay Studios short, The Bank. The film also demonstrates the differences that Chaplin had with Keystone comedy in that it is a coherent whole in which the stock characters actually fill some emotional center. Chaplin brings a certain complexity to his janitor, unusual to the comedy factory of Mack Sennett.

Born in Catania, Sicily as Salvatore Pandolfini, the nephew of the actor Angelo Musco, he started his career at young age in small local companies before joining the company of his famous uncle in which he created a large number of successful macchiette ( (i.e. comical monologues caricaturing stock characters). Pandolfini was also very active in films starting from the advent of sound, and reached the peak of his popularity in the fifties. He was one of the founders of the Teatro Stabile di Catania.

Lazzi: The Comic Routines of the Commedia dell'Arte. Performing Arts Journal Publications, 1983 The males wear soldier-like attire, while both sexes wear extravagant wigs and also change clothes numerous times throughout the length of the production. The costumes of the lovers were the fashion of the day, and the extravagance of the Lovers costumes often represented the status of the Commedia dell'arte company. The Lovers never wear the masks, which is characteristic of most of the other stock characters in the commedia dell'arte.

185-192 Genres are not fixed; they change and evolve over time, and some genres may largely disappear (for example, the melodrama). Screenwriters often organize their stories by genre, focusing their attention on three specific aspects: atmosphere, character and story. A film’s atmosphere includes costumes, props, locations and the visceral experiences created for the audience. Aspects of character include archetypes, stock characters, and the goals and motivations of the central characters. Story considerations, as they relate to genre, include: theme, tentpole scenes, and how the rhythm of characters’ perspective shift from scene to scene.

In the late '70s and into the 1980s, Brooks worked on an extended series called Tableaux. Like the earlier flats, the Tableaux used the reduced scale of maquettes to stage film still-esque scenes of domestic interiors and dilemmas, often incorporating disarray or ambiguous circumstances within their three walls. Created using miniature figures and other ephemera from the everyday world, these were meant to recall both the rote "stock" characters of soap opera, and domestic dramas constructed from real life accounts and from magazines. The scenes were photographed and subsequently sized up once again.

When slavery was abolished in Brazil in 1888, the institution of the Kings of Congo ceased to exist. Nonetheless, nações continued to choose symbolic leaders and evoke coronation ceremonies for those leaders. Although a maracatu performance is secular, traditional nações are grouped around Candomblé or Jurema (Afro-Brazilian religions) terreiros (bases) and the principles of Candomblé infuse their activities. Traditional nações perform by parading with a drumming group of 80–100, a singer and chorus, and a coterie of dancers and stock characters including a king and a queen.

Late-night horror hosts in other broadcast markets typically portrayed themselves as mad scientists, vampires, or other horror film-themed stock characters. In contrast to this, Anderson's irreverent and influential host character was a hipster. Ghoulardi's costume was a long lab coat covered with "slogan" buttons, horn-rimmed sunglasses with a missing lens, a fake Van Dyke beard and moustache, and various messy, awkwardly-perched wigs. Anderson agreed from the beginning to wear the Ghoulardi disguise on camera so that the notoriety of the character would not interfere with his conventional outside voiceover work.

John King The Cambridge Companion to Modern Latin American Culture- 2004 0521636515 The Argentine Nini Marshall frequently reprised several stock characters including Catita, the foul-mouthed disruptive daughter of Italian immigrants and Candida, the gallega (Spanish) maid. In Brazil, the stars of chanchada and other film genres were Oscarito and Grande Otelo, who played quite subtly with hill-billy and racial stereotypes. Comedy remained a redoubt for national and popular sentiment in the face of Hollywood, a source of pride that there was a 'we', a community, who .

Usually, there is a lesson learned, and with some help from the audience, the hero/heroine saves the day. This kind of play uses stock characters seen in masque and again commedia dell'arte, these characters include the villain (doctore), the clown/servant (Arlechino/Harlequin/buttons), the lovers etc. These plays usually have an emphasis on moral dilemmas, and good always triumphs over evil, this kind of play is also very entertaining making it a very effective way of reaching many people. Pantomime has a long theatrical history in Western culture dating back to classical theatre.

Modern Western theatre comes, in large measure, from the theatre of ancient Greece, from which it borrows technical terminology, classification into genres, and many of its themes, stock characters, and plot elements. Theatre artist Patrice Pavis defines theatricality, theatrical language, stage writing and the specificity of theatre as synonymous expressions that differentiate theatre from the other performing arts, literature and the arts in general. Modern theatre includes performances of plays and musical theatre. The art forms of ballet and opera are also theatre and use many conventions such as acting, costumes and staging.

The review aggregator Rotten Tomatoes reports that 51% of 104 surveyed critics gave the film a positive review; the average rating is 5.7/10. The site's consensus reads: "Despite good intentions, Nim's Island flounders under an implausible storyline, simplistic stock characters, and distracting product placement." Metacritic reported the film had an average score of 55 out of 100 based on 24 reviews. In its opening weekend, Nim's Island grossed $13.3 million in 3,513 theaters in the United States and Canada, ranking #2 at the box office behind 21.

Since the original publication of Les Misérables in 1862, the character of Éponine has been in a number of adaptations in numerous types of media based on the novel, such as books, films,Éponine (Character) at the Internet Movie Database musicals, plays and games. A satirical version of Éponine also appears in the musical Spamalot as part of a contingent of stereotypically "French" stock characters who emerge from the castle of Guy De Lombard in order to inspect the Trojan Rabbit left behind by King Arthur and his knights.

In Roman comedy, servi or slaves make up the majority of the stock characters, and generally fall into two basic categories: loyal slaves and tricksters. Loyal slaves often help their master in their plan to woo or obtain a lover (the most popular plot-driving element in Roman comedy). They are often dim, timid, and worried about what punishments may befall them. Trickster slaves are more numerous and often use their masters' unfortunate situation to create a "topsy-turvy" world in which they are the masters and their masters are subservient to them.

Drawn Together is an American adult animated television sitcom created by Dave Jeser and Matt Silverstein and premiered on Comedy Central on October 27, 2004. The series is a parody of The Real World and follows the misadventures of the housemates in the fictional show of the same name and uses a sitcom format with a reality TV show setting. The show's main characters are a combination of personalities that were recognisable and familiar prior to the series. Differently, however, Drawn Together used caricatures of established cartoon characters and stock characters.

Snidely Whiplash is the archenemy of Dudley Do-Right in the Dudley Do-Right of the Mounties segments of the animated television series The Rocky and Bullwinkle Show (1959–64) conceived by American animator Jay Ward. The character was voiced by Hans Conried in the original cartoon series. Alfred Molina played Whiplash in the 1999 live-action film version Dudley Do-Right. Whiplash is the stereotypical villain in the style of stock characters found in silent movies and earlier stage melodrama, wearing black clothing and a top hat and with a handlebar moustache.

Parmasad was a descendant of Indian indentured servants that were brought over to the Caribbean starting in 1838 after the end of formal "slavery" in the Caribbean. As a result of indentured servitude, Indian culture began to suffer under colonialism. Parmasad's works, which frequently feature a king or a wealthy colonialist, strive to humanize these seemingly larger-than-life figures. Parmasad tends to employ classic comedic stock characters such as the trickster (known as Sakchulee in Trinidad folklore) and the simpleton as well the omnipotent yet foolish king.

Nuclear weapons testing has caused desert mosquitoes to grow into giant monsters, in a plot resembling Them! (1954) and The Deadly Mantis (1957). The film includes stock characters and situations, such as a dedicated lady scientist and the military insisting on using a nuclear weapon to annihilate the monster.Muir (2011), p. 170-172 The gimmick accompanying Mosquito is a life-sized version of the giant mosquito which slides down a rope above the heads of the film audience. This is a tribute to Emergo, the Castle-devised gimmick accompanying House on Haunted Hill (1959).

Fighting his increasing deafness and resultant depression, Smetana made a few small changes to Krásnohorská's original draft and delivered a full score to the New Czech Theatre on 4 August 1877, for the premiere in September. The through composition evident in The Brandenburgers in Bohemia and Libuše is absent; a pot-pourri overture prefaces a sequence of choruses, duets, arias and ensemble pieces, but the characters are portrayed with more feeling and drawn from life, rather than the more stock characters of The Bartered Bride and The Two Widows.

The book does not look particularly revolutionary in 2002, but when you consider that it was created over 30 years ago, this illustrated novel that is a mixture of science-fiction and fantasy genres and is unquestionably aimed at an adult audience, starts to look a lot more impressive. ...Goodwin and Kane take a fairly predictable plot and stock characters and make it a fascinating and twisted ride. ... The material sometimes features cheesy dialogue or veers into melodrama, but mostly it holds up remarkably well. It's hard to argue against the merits of Blackmark.

Rotten Tomatoes reported that 22% of critics gave Planet 51 positive reviews based on 108 reviews with an average score of 4.2/10. The site's consensus reads: "Planet 51 squanders an interesting premise with an overly familiar storyline, stock characters, and humor that alternates between curious and potentially offensive." Another review aggregator, Metacritic, gave it a metascore of 39, indicating "generally unfavorable reviews" , based on 21 reviews. Adam Markovitz of Entertainment Weekly graded the film a B, as it "delivers a few pleasant surprises, including a smart story".

Reviewers found if they stripped the plot to its basics, it is a shallow good-versus-evil story made complex by its presentation in the first half. They, however, appreciated the surprising deaths of certain characters whose sacrifice in vain rendered a poignant emotion at that point of story. Reviewers felt part of the failings laid with the underdeveloped characters despite them being slightly different from usual anime stock characters. The story neither properly introduces them nor explains their backgrounds and motivations, making them hard to identify with.

Sita, wife of Rama, Rabana ChhayaPuppets used in Ravana Chhaya are made of deerskin, range from 6 inches to 2 feet in height and are mounted on bamboo poles. A complete performance requires as many as 700 puppets with multiple puppets being used to depict a diversity of moods for individual characters. Besides these puppets, there are others that set the background and the stock characters of the village barber and his grandson. The puppets are not coloured, have no joints and have perforations that outline their figures and costumes.

Shnookums and Meat was a secondary segment series on this show which would later spin-off into its own show. This segment series involves a cat named Shnookums (voiced by Jason Marsden) and a dog named Meat (voiced by Frank Welker) who did not get along very well. Their owners are unseen stock characters only viewed from the neck down and named (appropriately enough) Husband & Wife (voiced by Steve Mackall and Tress MacNeille). Husband is always referring to their home as their "domicile" before the two leave their pets in charge while they are away.

Robert Pardi of TV Guide rated it 1/5 stars and called it a "pokey exercise in cellblock sadism" that does not live up Lam's previous work. Jason P. Vargo of IGN rated it 5/10 stars and wrote that it is "strictly for Van Damme fans only". Beyond Hollywood wrote that although the film has many stock characters, it enjoyably plays on the usual conventions of a Van Damme film. Ian Jane of DVD Talk rated it 3/5 stars and called it "a pleasant surprise" and the best of Van Damme's recent films.

" Jeff Jensen of Entertainment Weekly said, "Not even a guilty pleasure, Black Sails is arrrrrr-estingly good". Tom Long of the Detroit News commented "Alliances are made and broken, power shifts go this way and that, blood is spilled, and wenches keep wenching. It's oddly addictive, and the cast—made up mostly of British, Australian, and Canadian actors—is as sharp as you'd expect from pay cable". Conversely, Brian Lowry of Variety said, "Black Sails never quite takes off, developing into a tired treasure hunt with indifferent casting and stock characters.

However, in 19th century fiction such as Dracula, butlers generally spoke with a strong Cockney or other regional accent. "The butler" is integral to the plot of countless potboilers and melodramas, whether or not the character has been given a name. Butlers figure so prominently in period pieces and whodunits that they can be considered stock characters in film and theatre, where a catchphrase is "The butler did it!" The best-known fictional manservant, and the archetype of the quintessential British butler, is himself not a butler at all.

Santa and Banta are two popular names for the stock characters in the Sardar jokes. A category of Sardar jokes is the "12 o'clock jokes", which imply that Sikhs are in their senses only at night. Preetinder Singh explains the origin of the "12 o'clock joke" as follows: The real reason for the "12 O'clock Association" with Sikhs comes from Nadir Shah's invasion of India. His troops passed through Punjab after plundering Delhi and killing hundreds of thousands of Hindus and Muslims, and taking hundreds of women as captive.

Several kinds of animals appear regularly enough that they assume the role of stock characters. The lion is strong and fearless, the jackal, his nemesis, is weak, craven, and duplicitous. Animals can also symbolically represent other Buddhist themes, the lion for example is said to represent the Buddha (who is also known as the "lion of the Sakya clan", Sakyasimha), since the lion is the king of the animals, with the loudest roar and the Buddha is the foremost of all humans with the most superior teaching. The deer represents renunciation, since it never sleeps in the same place.

Indigenous communities teach children valuable skills and morals through the actions of good or mischievous stock characters while also allowing room for children to make meaning for themselves. By not being given every element of the story, children rely on their own experiences and not formal teaching from adults to fill in the gaps. When children listen to stories, they periodically vocalize their ongoing attention and accept the extended turn of the storyteller. The emphasis on attentiveness to surrounding events and the importance of oral tradition in indigenous communities teaches children the skill of keen attention.

Though the judgment of outlawry is now obsolete (even though it inspired the pro forma Outlawries Bill which is still to this day introduced in the British House of Commons during the State Opening of Parliament), romanticised outlaws became stock characters in several fictional settings. This was particularly so in the United States, where outlaws were popular subjects of newspaper coverage and stories in the 19th century, and 20th century fiction and Western movies. Thus, "outlaw" is still commonly used to mean those violating the lawBlack's Law Dictionary at 1255 (4th ed. 1951), citing Oliveros v.

Lon Chaney, Sr. and Mary Philbin in the 1925 film The Phantom of the Opera. Though the word horror to describe the film genre would not be used until the 1930s (when Universal Pictures began releasing their initial monster films), earlier American productions often relied on horror and gothic themes. Many of these early films were considered dark melodramas because of their stock characters and emotion-heavy plots that focused on romance, violence, suspense, and sentimentality. In 1923, Universal Pictures started producing movies based on Gothic Horror literature from authors like Victor Hugo and Edgar Allan Poe.

Lee Marshall of Screen International called it an "initially atmospheric yarn let down by weak stock characters and a long veer into fright-free period drama in its over-long middle section". The Hollywood Reporters Deborah Young called the film "atmospheric, heavy on mythology and scary as hell." J. Hurtado of Screen Anarchy had a positive response and wrote: "A slow burn whose finale is wonderfully unexpected and yet fitting, Tumbbad is a great film and hopefully the start of a new trend in India." He also included it on his list of 14 Favorite Indian Films of 2018.

Helias was born in 1914 in Pouldreuzig, Penn-ar-Bed, Brittany. He had a modest upbringing, but this included a good education. After a career in the French Resistance during the Second World War, in 1946 Helias was appointed as director of a weekly programme in Breton on Radio Kimerc'h. Working with Pierre Trépos, he created hundreds of dialogues, many of them between two stock characters, Gwilhou Vihan and Jakez Kroc'hen. In 1948 he was the co-founder, with François Bégot and Jo Halleguen, of Les grandes Fêtes de Cornouaille, a major summer festival of Breton life.

Retrieved December 2008. The shorts brought Mulloy to the attention of audiences in the UK and internationally.Animatica'07 programme notes Retrieved December 2008 Mulloy exploits many of the clichés of the Western genre, minimalist Saguaro cactus dotted wilderness, stock characters like the Stetson wearing semi-nomadic wanderer, horses, lynchings and so forth drawn using brush and black ink in an intentionally primitive, silhouetted style to portray male violence, greed and rivalry using absurd black comedy. Mulloy, commenting on his creative approach said: :“The audience is familiar with genres and clichés, and I take advantage of that fact.

A faro game in a Tombstone, Arizona Territory saloon. The frontier gambler is one of the most recognizable stock characters of the 19th century American frontier. Historically, gamblers were of both sexes, came from a variety of professions and class and geographical backgrounds, were of many different nationalities, and were part of a well-respected profession. As the west became increasingly populated and domesticated, the public perception of gambling changed to a negative one and led nearly all of the state and territorial legislatures to pass anti-gambling laws in and effort to "clean up" their towns.

Though the first heroic horses emerged from the silent film era, they were prominently featured in the B-Westerns of the 1930s, 1940s, and 1950s. During the early decades of sound film, cowboy movies targeted a juvenile demographic. The film's heroes were generally one- dimensional, stock characters, who represented and promoted truth and goodness to their young audience. More popular with adolescent viewers than a human sidekick, the Wonder Horse could not only outrun the mounts of the villains, but could also perform a series of feats and tricks to ensure that the cowboy hero would triumph.

The Great Train Robbery Gunslingers frequently appear as stock characters in Western movies and novels, along with cowboys. Often, the hero of a Western meets his opposite "double", a mirror of his own evil side that he has to destroy. Western gunslinger heroes are portrayed as local lawmen or enforcement officers, ranchers, army officers, cowboys, territorial marshals, nomadic loners, or skilled fast-draw artists. They are normally masculine persons of integrity and principle – courageous, moral, tough, solid, and self-sufficient, maverick characters (often with trusty sidekicks), possessing an independent and honorable attitude (but often characterized as slow-talking).

He comes to a grisly end in the ending of the poem: stripped of his skin and thrown to the swine. Reinardus, by contrast, represents the poor and the lowly; he triumphs over Ysengrimus by his wits. Nivardus deals with a subject that got extensive treatments in European popular culture during the Middle Ages and the early modern period. The characters Ysengrimus and Reinardus were clearly well developed by the time he wrote his epic; later treatments, however, usually featured Reynardus and relegated Ysengrimus the wolf to the menagerie of stock characters that served as Reynardus's supporting cast.

Later, the dictator Sulla wrote some Atellan Fables. The dramatist Quintus Novius, who lived and wrote 50 years after the abdication of Sulla, wrote fifty fables, including Macchus Exul (Exiled Macchus), Gallinaria (The Henhouse), Surdus (The Deaf One), Vindemiatores (The Harvesters), and Parcus (The Treasurer). When the Atellan plays were revived in the 1st century B.C. professional actors were no longer excluded from playing the stock characters' roles.J. Trapido The Johns Hopkins Press, Educational Theatre Journal Lucius Pomponius of Bologna, influenced by Palliata Fabius Dorsennus composed several Atellan plays, including Macchus Miles (Macchus the Soldier), Pytho Gorgonius, Pseudoagamemnon, Bucco Adoptatus, and Aeditumus.

Occasional characters that were sometimes included were the butcher's brother, the collector, and a leader for Old Tup. Some recorded instances also featured a blacksmith and his brother; these were stock characters in the Old Horse tradition which geographically overlapped that of Old Tup, and may be an element borrowed from the former by performers of the latter. This troupe would travel around the settlement, knocking on doors and requesting admission. Once they had been admitted, Old Tup would either try to escape or would attack the assembled audience, while the troupe would since a song known as "The Derby Tup".

Another characteristic of commedia dell'arte is pantomime, which is mostly used by the character Arlecchino (Harlequin). The characters of the usually represent fixed social types and stock characters, such as foolish old men, devious servants, or military officers full of false bravado. The characters are exaggerated "real characters", such as a know-it-all doctor called Il Dottore, a greedy old man called Pantalone, or a perfect relationship like the Innamorati. Many troupes were formed to perform commedia dell'arte, including I Gelosi (which had actors such as Isabella Andreini, and her husband Francesco Andreini), Confidenti Troupe, Desioi Troupe, and Fedeli Troupe.

There was a good film waiting to come out here, it's a shame only half of it did."Screamers review Popcorn Pictures Rob Blackwelder of SplicedWire said, "Screamers is inundated with movie clichés, stock characters, stolen premises and scenes that just don't make sense."Review by Rob Blackwelder, SplicedWire, 1996 Beyond Hollywood wrote, "One of the biggest problems with Screamers is the near absence of a likeable character, or at least someone who we actually give a damn about escaping those slice-and-dice robots. ... There's no doubt Screamers could have been a lot better than it is.

Media like this relied on the novelty of performing apes to carry their timeworn, low comedy gags. Chimpanzees in media include Judy on the television series Daktari in the 1960s and Darwin on The Wild Thornberrys in the 1990s. In contrast to the fictional depictions of other animals, such as dogs (as in Lassie), dolphins (Flipper), horses (The Black Stallion) or even other great apes (King Kong), chimpanzee characters and actions are rarely relevant to the plot. Depictions of chimpanzees as individuals rather than stock characters, and as central rather than incidental to the plot can be found in science fiction.

Rube [short for Reuben] and Mandy were stock characters in American popular culture. Along with Uncle Josh, they were country folk with little or no knowledge of city ways. In short, they were “hicks” whose encounters with city living were often a source of comedy. They show up, if only very occasionally, in early newspapers, going back to the 1880s and continued into the first decade of the twentieth century.“Millie, the Orphan,” Maryville (Tennessee) Times, 9 November 1887, 3; “Her One Desire,” Brooklyn Eagle, 12 November 1900, 2;“Is a Joke No Longer,” Arizona Journal-Miner, 27 May 1903, 2.

Dovzhenko was invited to stage the film because of his knowledge of the diplomatic sphere; he also used to work as a diplomatic courier. Under the influence of the German cinema school, he fills the movie with clichés borrowed from German crime fiction: a brawl in the compartment of an international express train and on its steps, a fight on the deck of the ship, a steamer pursuing the boat, and so on. Many of the genre's stock characters appear: spies, prostitutes, police agents, visitors of port pubs, and jazz bands. At this time, cinematographer Nikolai Kozlovsky introduces Dovzhenko to cropping techniques.

The Crescentia cycle features women who suffer trials and misfortunes, similar to those of Le Bone Florence of Rome, Emaré, Constance, and Griselda, stock characters in chivalric romance.Carol Falvo Heffernan, Le Bone Florence of Rome, p 3 , It is distinguished among them by the story's opening with her brother-in-law approaching her with offers of love and ending with her fame as a healer bringing all her persecutors together; there are more than a hundred versions from the twelfth to the nineteenth century. One such features in the Gesta Romanorum.Margaret Schlauch, Chaucer's Constance and Accused Queens, New York: Gordian Press 1969 p.

Although mainly Northern in origin, many minstrel shows, black or white, celebrated "Dixieland" and presented a loose concoction of "Negro melodies" and "plantation songs" infused with slapstick, word play, skits, puns, dance, and stock characters. The hierarchies of the social order were satirized, but seldom challenged. While hokum mocked the propriety of "polite" society, the presumptions and pretensions of the parodists were simultaneous targets of the humor. "Darkies" dancing the cakewalk might mimic the elite cotillion dance styles of wealthy Southern whites, but their exaggerated high-stepping exuberance was judged all the funnier for its ineptitude.

The second libretto was arranged for a ballet titled Les Saisons (The Seasons), being a plot-less ballet divertissement that represented the four seasons through Petipa's classical formula of danced tableaux. The third ballet was Les Millions d'Arlequin (Harlequin's Millions), with a libretto based on episodes featuring the stock characters from the Italian Commedia dell'arte. Petipa and Vsevolozhsky's original intentions were to commission the score for Les Millions d'Arlequin from Alexander Glazunov, while Riccardo Drigo was to compose the score for Les Saisons. The composers were close friends, and soon developed an affinity for their colleague's assigned ballet.

The characters of the commedia usually represent fixed social types and stock characters, each of which has a distinct costume, such as foolish old men, devious servants, or military officers full of false bravado. The main categories of these characters include servants, old men, lovers, and captains. Carlo Goldoni, who wrote a few scenarios starting in 1734, superseded the comedy of masks and the comedy of intrigue by representations of actual life and manners through the characters and their behaviours. He rightly maintained that Italian life and manners were susceptible of artistic treatment such as had not been given them before.

According to these, the Mari Lwyd was a tradition performed at Christmas time by groups of men. They would form into teams to accompany the horse on its travels around the local area, and although the makeup of such groups varied, they typically included an individual to carry the horse, a leader, and individuals dressed as stock characters such as Punch and Judy. The team would carry the Mari Lwyd to local houses, where they would request entry through the medium of song. The householders would be expected to deny them entry, again through song, and the two sides would continue their responses to one another in this manner.

He himself spent a year in Hollywood working on scripts for movies of his own books and on TV shows. The money earned from the film of The Golden Salamander (filmed with Trevor Howard) meant that Canning could buy a substantial country house with some land in Kent, Marle Place, where he lived for nearly twenty years and where his daughter continues to live now. From the mid-1950s onwards his books became more conventional, full of exotic settings, stirring action sequences and stock characters. In 1965 he began a series of four books featuring a private detective called Rex Carver, and these were among his most successful in sales terms.

The label of genre fiction is typically assigned because of the reuse of settings, content, layout, and/or style. The label of formula fiction is assigned because of the reuse of plot, plot devices and stock characters. Genres like high fantasy, Westerns and science fiction space opera often have specific settings, such as a pseudo-Medieval European setting, the Old West, or outer space. Approaching a given genre, certain assumed background information covers the nature and purpose of possible predictable elements of the story, such as the appearance of dragons and wizards in high fantasy, warp drives in science fiction, or shootouts at high noon in Westerns.

The Christy Minstrels established the basic structure of the minstrel show in the 1840s.. A crowd-gathering parade to the theater often preceded the performance.. The show itself was divided into three major sections. During the first, the entire troupe danced onto stage singing a popular song.. Upon the instruction of the interlocutor, a sort of host, they sat in a semicircle. Various stock characters always took the same positions: the genteel interlocutor in the middle, flanked by Tambo and Bones, who served as the endmen or cornermen. The interlocutor acted as a master of ceremonies and as a dignified, if pompous, straight man.

Later, the format of his show "La Taberna de Pedro" became the number one radio show hit in Bogota, Colombia, by Radio Caracol titled El Cafe de Montecristo featuring the zany comedian Guillermo Zuluaga as "Montecristo" which was González' first successful show in exile after leaving Cuba in 1961. As a humorist, he helped popularize Colombian folk stock characters with the realism of his comedy of manners style, honed in Cuban radio and television. Unbeknownst to him, CMQ had sold his radio show scripts to Radio Caracol. The sheer coincidence of the writer meeting up with his scripts in another country at random could only be described as serendipity.

Only 42 bibles are known by collectors to have been issued in this style, and most of them were soon being reprinted in truncated eight-page versions. Often the added two pages were simply filler gag panels drawn by Zilch. In addition to comic strip characters and celebrities, many bibles featured nameless stock characters like cab drivers, firemen, traveling salesmen (and farmer's daughters), icemen, maids, and the like. Very few original recurring characters were created expressly for the bibles; Mr. Prolific's "Fuller Brush Man" was one, in which a door-to-door salesman named Ted starred in a series of ten episodic eight-page adventures.

It contains elements of satire and postmodernism and has stock characters who gleefully attack the reputation of an old, outmoded, oppressively renowned poet who, incidentally, goes by a familiar name: "Rabindranath Tagore". Though his novels remain among the least-appreciated of his works, they have been given renewed attention via film adaptations by Ray and others: Chokher Bali and Ghare Baire are exemplary. In the first, Tagore inscribes Bengali society via its heroine: a rebellious widow who would live for herself alone. He pillories the custom of perpetual mourning on the part of widows, who were not allowed to remarry, who were consigned to seclusion and loneliness.

Although architects of the second phase of the Case Study House Program never gave up their belief in the potential of steel framing for residential construction, the public never embraced the material. As Elizabeth A. T. Smith explained: “Unfortunately, the economic pressures of the era were pushing residential construction another way, to accommodate the merchant builders working to deskill building tradesman and architects, and to glorify the add-ons and fix-ups of Mr. Homeowner and Mrs. Consumer, the stock characters of American advertising lobbying of the 1920s and 30s.” Although they imagined factory-based industrial materials could be more economical then traditional wood framing, this was never realized.

Although the original Scarborough production ran to full capacity, the reviews in the national papers were very mixed.Reviews page on Ayckbourn site Martin Hoyle for the Financial Times praised the play for Ayckbourn venturing into new darker territory (citing touches of The Secret Life of Walter Mitty, Blithe Spirit and The Exorcist) whilst remaining a uniquely Ayckbourn play. Robin Thornber for The Guardian, meanwhile, was particularly positive with about the way Ayckbourn combined the character's ideal fantasy world with her bleak real word. At the other end of the scale, however, Martin Cropper, writing in The Times derided the play for all characters, real or pretend, being Ayckbourn stock characters.

The story follows a traditional Commedia dell'arte structure, with many characters seemingly based on famous stock characters. The plot involves a Spanish count, called simply The Count, although "Almaviva" appears as an additional name (whether it is a first name or a surname is not clear), who has fallen in love at first sight with a girl called Rosine. To ensure that she really loves him and not just his money, the Count disguises himself as a poor college student named Lindor, and attempts to woo her. His plans are foiled by Rosine's guardian, Doctor Bartholo, who keeps her locked up in his house and intends to marry her himself.

Yule & Burnell, ix Rhyming reduplication (as in "Hobson-Jobson" or "puli kili") is highly productive in South Asian languages, where it is known popularly as an echo word. In English, however, rhyming reduplication is generally either juvenile (as in Humpty Dumpty or hokey- pokey) or pejorative (as in namby-pamby or mumbo-jumbo) and that, further, Hobson and Jobson were stock characters in Victorian times, used to indicate a pair of yokels, clowns, or idiots (compare Thomson and Thompson).Traci Nagle (2010). 'There is much, very much, in the name of a book' or, the Famous Title of Hobson-Jobson and How it Got That Way, in Michael Adams, ed.

Reception for Our Mighty Yaya has been negative upon release, with critics noting its tired and clichéd plot as well as its stock characters. Oggs Cruz of Rappler called it "a movie that has given up in both originality and ambition," as well as "unapologetically generic and predictable," and a "humdrum and routinary to really be memorably entertaining." Furthermore, Cruz opined that the film merely serves as a starring vehicle for Ai-Ai delas Alas. Philbert Dy of The Neighborhood felt similarly, while also taking notice of unconvincing performances by Megan Young and delas Alas; he gave an overall rating of 2.5 out of 5.

This change often means a cessation of athletics or some other equivalent social sacrifice, which leads to the character no longer being considered a jock. Examples from movies include Randall "Pink" Floyd in Dazed and Confused and Andrew Clark in The Breakfast Club. Examples from television shows include Nathan Scott in the teen drama series One Tree Hill, Whitney Fordman in Smallville and Luke Ward in The O.C.. As antagonists, jocks can be stock characters shown as lacking compassion for the protagonist and are generally flat and static. Often in high school comedies or dramas where the main characters are not popular, the jock is the chief antagonist and cruel to the main characters.

The Mari Lwyd party consisted of four to seven men, who often had coloured ribbons and rosettes attached to their clothes and sometimes wore a broad sash around the waist. There was usually a smartly dressed "Leader" who carried a staff, stick, or whip, and sometimes other stock characters, such as the "Merryman" who played music, and Punch and Judy (both played by men) with blackened faces; often brightly dressed, Punch carried a long metal fire iron and Judy had a besom. The Mari Lwyd party would approach a house and sing a song in which they requested admittance. The inhabitants of the house would then offer excuses for why the team could not enter.

In his review in The New York Times, Vincent Canby described the film as "a silly, foolishly entertaining movie ... nonsense of a quite acceptable order, filled with absurd chases and stock characters who have been conceived and played with affection." Of its star he observed, "Miss Davis ... gives a performance that may be one of the funniest and most legitimate of her career."The New York Times review In the Cleveland Press, Toni Mastroianni said, "Bette Davis and Ernest Borgnine play a Bonnie and Clyde of the Geritol set and the result is about as satisfying as a bad television show."Cleveland Press review Time Out London called it an "embarrassingly unfunny caper".

Three men robbing a miser in his house, in a scene from a phlyax play painted by Asteas (350–340 BCE) A Phlyax play (, also phlyakes), also known as a hilarotragedy, was a burlesque dramatic form that developed in the Greek colonies of Magna Graecia in the 4th century BCE. Its name derives from the Phlyakes or “Gossip Players” in Doric Greek. From the surviving titles of the plays they appear to have been a form of mythological burlesque, which mixed figures from the Greek pantheon with the stock characters and situations of Attic New Comedy. Only five authors of the genre are known by name: Rhinthon and Sciras of Taranto, Blaesus of Capri, Sopater of Paphos and Heraklides.

Zack Handlen's review of the novel for The A.V. Club describes Feed as "The West Wing by way of George Romero". He singles out the level of detail in McGuire's worldbuilding for praise, and he observes that although most of the cast are stock characters, this is not a major obstacle in enjoying the book's narrative. Writing for Strange Horizons, Jonathan McCalmont praised Feed as a "delight", highlighting its overall structure, well written action and dialogue, and detailed worldbuilding. However, McCalmont found it hard to take the book at face value as a political thriller, and chose to interpret it as a merciless satire of contemporary journalism and the issues associated with it.

In 1914 Rees took an injunction (Rees vs. Robbins) against theatre managers Walter and Frederick Robbins, better known as Walter and Frederick Melville, for infringement of copyright. Rees sought to prevent performances of the Melville's play 'The Beggar Girl's Wedding' on the grounds that it had great similarities to a play she had written in 1906 called 'A Beggar Bride' and which had been read by the Melvilles; she had changed the title of the play to 'A Desperate Marriage' and it was performed in Brighton in 1908. The court found there had been no infringement of copyright because as melodramas they would have many similarities in their plots and stock characters.

The intermezzo, in the 18th century, was a comic operatic interlude inserted between acts or scenes of an opera seria. These intermezzi could be substantial and complete works themselves, though they were shorter than the opera seria which enclosed them; typically they provided comic relief and dramatic contrast to the tone of the bigger opera around them, and often they used one or more of the stock characters from the opera or from the commedia dell'arte. In this they were the reverse of the Renaissance intermezzo, which usually had a mythological or pastoral subject as a contrast to a main comic play. Often they were of a burlesque nature, and characterized by slapstick comedy, disguises, dialect, and ribaldry.

Early white performers in blackface used burnt cork and later greasepaint or shoe polish to blacken their skin and exaggerate their lips, often wearing woolly wigs, gloves, tailcoats, or ragged clothes to complete the transformation. Later, black artists also performed in blackface. The famousHow a bearded Virginia Woolf and her band of 'jolly savages' hoaxed the navy Dreadnought hoax involved the use of blackface and costume in order for a group of high profile authors to gain access to a Military vessel. Stereotypes embodied in the stock characters of blackface minstrels not only played a significant role in cementing and proliferating racist images, attitudes, and perceptions worldwide, but also in popularizing black culture.

High- flown language was generally avoided in favor of dialogue that the lower class would relate to, often in the local dialect, and the stock characters were often derived from those of the Italian commedia dell'arte. In the early 18th century, comic operas often appeared as short, one-act interludes known as intermezzi that were performed in between acts of opera seria. There also existed, however, self-contained operatic comedies. La serva padrona (1733) by Giovanni Battista Pergolesi (1710–1736), is the one intermezzo still performed with any regularity today, and provides an excellent example of the style. Lo frate 'nnamorato (1732) and Il Flaminio (1735), by Pergolesi as well, are examples of the three-act commedia per musica.

By the 1960s and 1970s the Latin American 'star system' fell apart alongside the collapse of the traditional studio mode of production. Contemporary stars are more likely to ...The Cambridge Companion to Modern Latin American Culture 0521636515 John King - 2004 The Argentine Nini Marshall frequently reprised several stock characters including Catita, the foul-mouthed disruptive daughter of Italian immigrants and Candida, the gallega (Spanish) maid. In Brazil, the stars of chanchada and other film genres were Oscarito and Grande Otelo, who played quite subtly with hill-billy and racial stereotypes. Comedy remained a redoubt for national and popular sentiment in the face of Hollywood, a source of pride that there was a 'we', a community, who .

Born in Naples into a family of Apulian origins, Inglese debuted on stage as a child actor at 2 years old, and then he was part of some of the most important stage companies of the time, including the one led by Raffaele Viviani in 1920. He abandoned the theater to devote himself to radio, with which he got a large popularity thanks to his comic monologues caricaturing typical Southern stock characters, notably the "peasant from Apulia". He made his cinema debut when he already was mature aged, in 1948, mostly cast in character roles in which he reprised his radio repertoire. He was often a sidekick of Totò, both in cinema and on stage.

Castro-Santana 2018 p. 54 This strategy, characteristic of a savvy playwright who knew how to cater for a widely diverse spectatorship, produced an ambiguous effect that complicates our understanding of heroism and gender roles in Fielding's plays. Castro-Santana 2018 p. 54 Starting with Love in Several Masques, the stock characters that he relies on emphasise the deviations by recalling traditional behavioural stereotypes and in their commentary on the masculinity or femininity of other characters. The political implications for gender extend to a criticism of powerful female within the domestic and public domains. Many of the problems portrayed within the plays are the results of the domestic sphere extended into politics, especially within Tom Thumb.

Rotten Tomatoes, a review aggregator, reports that one of eight surveyed critics (13%) gave the film a positive review; the average rating is 3.9/10. Den of Geek rated it 2.5/5 stars and wrote that the story should have focused more on the intriguing premise of testing neurotic astronauts in a simulation. Michael Rechtshaffen of the Los Angeles Times criticized the film's story as not living up to the intriguing premise and wrote, "Lacking a viable exit strategy, the tension-free 400 Days feels like wasted time." Leslie Felperin of The Guardian rated it 2/5 stars and wrote that the stock characters and predictable backstories make it seem "like watching Solaris performed by sock puppets".

TV Guide gave the film a negative review, awarding it 1.5 out of 4 stars and calling it "laughable", but also commented that the monster costume was good. Leonard Maltin gave the film a negative review, criticised the film's production values, calling it "hideous". In his book The Encyclopedia of Monsters, author Jeff Rovin called it "a clever twist on the Wolfman theme" and an "effective and gritty film [that] boasts an excellent monster costume". Allmovie gave the film a positive review, calling it "a staple of TV horror programming since the early 1960s" and praising the film's claustrophobic feel, editing and actor/director Clarke's performance as the lead character, while criticizing the film's stock characters and "clunky" dialogue.

Another popular element of Turkish folklore is the shadow theater centered on the two characters of Karagöz and Hacivat, who both represent stock characters: Karagöz—who hails from a small village—is something of a country bumpkin, while Hacivat is a more sophisticated city-dweller. Popular legend has it that the two characters are actually based on two real persons who worked for Orhan I—the son of founder of the Ottoman dynasty—in the construction of a mosque at Bursa in the early 14th century CE. The two workers supposedly spent much of their time entertaining the other workers, and were so funny and popular that they interfered with work on the palace, and were subsequently put to death.

Hayward, Susan. "Melodrama and Women's Films" in Cinema Studies: The Key Concepts (Third Edition). Routledge, 2006. p. 236 Other stock characters are the "fallen woman", the single mother, the orphan and the male who is struggling with the impacts of the modern world.Hayward, Susan. "Melodrama and Women's Films" in Cinema Studies: The Key Concepts (Third Edition). Routledge, 2006. p. 236 The melodrama examines family and social issues in the context of a private home, with its intended audience being the female spectator; secondarily, the male viewer is able to enjoy the onscreen tensions in the home being resolved.Hayward, Susan. "Melodrama and Women's Films" in Cimena Studies: The Key Concepts (Third Edition). Routledge, 2006. p. 236 Melodrama generally looks back at ideal, nostalgic eras, emphasizing "forbidden longings".

The Victorian stage melodrama featured six stock characters: the hero, the villain, the heroine, an aged parent, a sidekick and a servant of the aged parent engaged in a sensational plot featuring themes of love and murder. Often the good but not very clever hero is duped by a scheming villain, who has eyes on the damsel in distress until fate intervenes at the end to ensure the triumph of good over evil.Williams, Carolyn. "Melodrama", in The New Cambridge History of English Literature: The Victorian Period, ed. Kate Flint, Cambridge University Press (2012), pp. 193–219 Two central features were the coup de théàtre, or reversal of fortune, and the claptrap: a back-to-the-wall oration by the hero which forces the audience to applaud.

Their activism mainly took the form of "zaps", a form of guerrilla theater mixing street theatre and protest, where they used attention-catching and humorous public actions to highlight political and economic complaints against companies and government agencies, frequently involving the use of witch costumes and the chanting of hexes. Witches often appeared as stock characters in feminist Left theatre, representing the misogynist crone stereotype. On Halloween 1968, women from W.I.T.C.H. staged a "hex" of Wall Street at a branch of Chase Manhattan Bank, wearing rags and fright makeup; Robin Morgan stated that the Dow Jones Industrial Average declined sharply the next day. The DJIA did not decline sharply, and experienced a rise over the next several days and weeks.

The Crook of Rao, a significant artifact found on the isle, is rediscovered in From the Ashes written by Carl Sargent and published by Wizards of the Coast in 1992. In addition, stock characters from the module reappear in Return of the Eight written by Roger E. Moore and published by Wizards of the Coast in 1998. Further history of the Isle of the Ape was revealed in Dungeon Issue #143, where the origins of the tribe residing on the isle are determined to originate from the Isle of Dread. A portal to the Isle of the Ape was added to Expedition to the Ruins of Greyhawk, written by Jason Bulmahn, James Jacobs, and Erik Mona and published by Wizards of the Coast in 2007.

His illustrations not only lampooned prominent politicians and businessmen, but also regularly featured stock characters meant to satirize prevailing mores and ironies. Some of the best-known are the antiquated Aunts Vicenta and Cora; the self-righteous "pillar of society" Señor Porcel (whom he patterned after his own father); the unethical businessman Señor Cateura, Rogelio (whose good intentions are defeated by "analysis paralysis"); the anti-Peronist inquisitor Detective Cuculiu; Fofoli (who replaces even common words for euphemisms); the philandering executive; and his put-upon wife, the self-absorbed Señora Gorda. He also wrote and illustrated a weekly column in Clarín's Ollas y Sartenes culinary insert. The column, Landrú a la pimienta ("peppered Landrú") offers recipes created from ingredients with a double meaning related to Argentina's current events.

William Blake was commissioned to illustrate a later edition. In the visual arts, this fashionable intellectual melancholy occurs frequently in portraiture of the era, with sitters posed in the form of "the lover, with his crossed arms and floppy hat over his eyes, and the scholar, sitting with his head resting on his hand"—descriptions drawn from the frontispiece to the 1638 edition of Burton's Anatomy, which shows just such by-then stock characters. These portraits were often set out of doors where Nature provides "the most suitable background for spiritual contemplation" or in a gloomy interior. In music, the post-Elizabethan cult of melancholia is associated with John Dowland, whose motto was Semper Dowland, semper dolens ("Always Dowland, always mourning").

The character represents an archetype of 1960s Swinging London, with his advocacy of free love, his use of obscure impressions and his clothing style. The films poke fun at the outrageous plots, rampant sexual innuendo, and two dimensional stock characters associated with 1960s spy films, as well as the cliché of the ultra suave super spy. The general theme of the films is that the arch villain Dr. Evil plots to extort large sums of money from governments or international bodies but is constantly thwarted by Powers, and (to a degree) his own inexperience with life and culture in the 1990s. In Austin Powers: International Man of Mystery, Austin and Dr. Evil are awakened after being cryogenically frozen for thirty years.

Meme inspired by a print of David Garrick Between Tragedy and Comedy Early variations of the distracted meme used other photos from Guillem's photo shoot of the three stock characters to create a story. In late January 2018, some social media users noted similarities between the meme and promotional image from Mission: Impossible – Fallout featuring Henry Cavill and Angela Bassett. On April 16, 2018, a Twitter user called the Joshua Reynolds painting David Garrick Between Tragedy and Comedy the "18th-century equivalent" of the distracted boyfriend meme, and the painting became popular as a similar meme with historic references. In early May 2018, a Twitter user posted the coin commemorating the wedding of Prince Harry and Meghan Markle with one of the characters from the meme.

Plays did not originate from written drama but from scenarios called lazzi, which were loose frameworks that provided the situations, complications, and outcome of the action, around which the actors would improvise. The plays utilised stock characters, which could be divided into three groups: the lovers, the masters, and the servants. The lovers had different names and characteristics in most plays and often were the children of the master. The role of master was normally based on one of three stereotypes: Pantalone, an elderly Venetian merchant; Dottore, Pantalone's friend or rival, a pedantic doctor or lawyer who acted far more intelligent than he really was; and Capitano, who was once a lover character, but evolved into a braggart who boasted of his exploits in love and war, but was often terrifically unskilled in both.

The misadventures of the damsel in distress of the Gothic continued in a somewhat caricatured form in Victorian melodrama. According to Michael Booth in his classic study English Melodrama the Victorian stage melodrama featured a limited number of stock characters: the hero, the villain, the heroine, an old man, an old woman, a comic man and a comic woman engaged in a sensational plot featuring themes of love and murder. Often the good but not very clever hero is duped by a scheming villain, who has eyes on the damsel in distress until fate intervenes to ensure the triumph of good over evil. Such melodrama influenced the fledgling cinema industry and led to damsels in distress being the subject of many early silent films, especially those that were made as multi-episode serials.

Gaslamp fantasy also differs from classical Victorian/Edwardian faerie or pure fantasy in the J.R.R. Tolkien or Lewis Carroll style or from historical crime-novels in the Anne Perry or June Thomson style by the supernatural elements, themes, and subjects it features. Many of its tropes, themes, and stock characters derive from Gothic literature—a long-established genre composed of both romantic and horrific traits and motivated by the desire to rouse fear, apprehension, and other intense emotions within the reader—and could be described as an attempt to modernize literary Gothicism. Writer and artist Kaja Foglio originally coined the term in an effort to distinguish her and husband Phil Foglio's comic series, Girl Genius, from "steampunk". Kaja hoped to suggest the work's distinctive style, a medley of alternate history and Victorian-esque "mad science".

These seasons see the group attempt to complete a number of laborious tasks in highly unusual circumstances, generally to no avail, that involve sustaining an illegal cocaine operation to keep afloat, contract work for the CIA, and running a private, Los Angeles-based detective agency after being blacklisted from espionage by the US government. The show's eighth season, Archer Dreamland, transpires in Sterling's subconscious, re-imagining the core cast as stock characters from a noir film set in Gangland-era 1947 Los Angeles. The ninth season, Archer: Danger Island, continues this arc as the characters are again re-envisioned as inhabitants of a remote South Pacific island circa 1939. The tenth season, titled Archer: 1999, imagines the main characters travelling in a retro-futuristic vision of outer space.

The Crescentia cycle features women who suffer trials and misfortunes, similar to those of Emaré, Constance, and Griselda, stock characters in chivalric romance.Carol Falvo Heffernan, Le Bone Florence of Rome, p 3 , It is distinguished among them by the story's opening with her brother-in-law approaching her with offers of love and ending with her fame as a healer bringing all her persecutors together; there are more than a hundred versions from the twelfth to the nineteenth century. One such features in the Gesta Romanorum.Margaret Schlauch, Chaucer's Constance and Accused Queens, New York: Gordian Press 1969 p 111 Many of these are strongly miraculous,Laura A. Hibbard, Medieval Romance in England p12-3 New York Burt Franklin,1963 which led to their becoming Miracles of the Virgin.

Shakespeare also used the Pastoral genre in As You Like It to 'cast a > critical eye on social practices that produce injustice and unhappiness, and > to make fun of anti-social, foolish and self-destructive behaviour', most > obviously through the theme of love, culminating in a rejection of the > notion of the traditional Petrarchan lovers. The stock characters in conventional situations were familiar material for Shakespeare and his audience; it is the light repartee and the breadth of the subjects that provide opportunities for wit that put a fresh stamp on the proceedings. At the centre the optimism of Rosalind is contrasted with the misogynistic melancholy of Jaques. Shakespeare would take up some of the themes more seriously later: the usurper Duke and the Duke in exile provide themes for Measure for Measure and The Tempest.

The puppet designs were drawn by artist Todd James before being constructed based on the various marks' voices, and, along with a series of stock characters (such as "Niles Standish", "Bobby Fletcher" and "Special Ed") based on the performers' character voices, the calls are re-enacted for the skits. The main character puppets for the first season were constructed by Bob Flanagan's company Den Design with additional puppets built by BJ Guyer, Carol Binion, Rick Lyon, Ron Binion, Jim Kroupa and Artie Esposito. An in-house puppet shop was set up for the following seasons to accommodate the fast-paced schedule of the show and the sheer volume of puppet characters required for each episode. The puppets are puppeteered by Ron Binion, Rick Lyon, BJ Guyer, Victor Yerrid, Paul McGinnis, Alice Dinnean-Vernon and Artie Esposito.

Fresh Kill was directed by Shu Lea Cheang and written by Jessica Hagedorn. The film bills itself as "eco cyber noia", the term "cyber noia" (or "cybernoia") having been coined by Cheang to describe "massive intrusions of networking technology into people's lives," and what she foresaw as "a future where multinational media empires clash with hackers." Cheang has stated that the film was motivated by a desire to depict the relationship between the media and environmental racism, drawing parallels between the dumping of industrial toxic waste in the Third World with "the dumping of garbage TV programs" into Third World countries. Hagedorn has stated that she wished to invert typical expectations and cliché stock characters, though sought not to "reverse things for their own sake," noting that Honey's parentage and the differing races of characters with direct biological relations are specifically never explained.

The reviewer concluded that, despite the film's obvious problems and predictability, it had a "certain amount of low budget charm," and that "even the cheesiness of the plot and fake special effects doesn't totally spoil this film and at times it makes it even more enjoyable." Finnish newspaper Kaleva remarked that the stress and operations of air traffic ground control were a perfect backdrop for a drama film. TV Guide wrote that the film's characterizations were "strait-laced and noble" and that the film "could have been commissioned by the Air Traffic Controllers' Benevolent Association." They made note of the film's story and plotline being derivative, its "threadbare production values" and "artless" special effects, and its use of "stock characters", but admitted that, despite those weaknesses, the film "does manage to whip up a little suspense".

Stone's work is similar to much of the pulp fiction written in the time period with stock characters and simple plots, but Stone also included some of the first women and black protagonists as well as the first planet dominated by women in the science fiction pulps. Asking if Stone's writing is feminist is complicated by her use of contemporary aspects of the pulp science fiction genre, specifically male narrators and viewpoints. While her work is not explicitly feminist, her writing often crituques masculinity and its role in science and often frames her stories with positive images of strong female characters and societies. Additionally, while her writing was similar in style to the other works of the time, Stone used her work to critique racism, raise questions about war, and raise questions about science and what outcomes it might bring about.

Sydney Morning Herald gave it a mixed review, saying: > If it did little else...[theplay] showed that some, extraordinarily strong > things can happen, in an Erskineville cafe. To; Mr Bunbury's credit, > Erskineville and its inhabitants are not distorted; but the play is so > freebly balanced and so afflicted by dramatic inertia that it often seemed > the locality was a prime reason for the writing of the play. Stock > characters include the proprietor, a kind of fatherly confessor; a sweet and > trusting 16-year-old girl; a society girl with alt attitude; her rather > vacuous boy friend; 3 reminiscing middle-aged man —they are all there. The > drama in the story hinges on the 16-year-old girl's brother who appears in > the cafe owner's living-room badly hurt after being in a taxi which has > crashed, killing tin driver.

Cross-dressing, in particular, "released the heroine for a more active role in the plotting, making her the subject as much as the object of action", since it "removes the character from both the domestic arena, where her action would be restricted to the roles of a wife, and the world of city comedy where her sexuality would be at issue."McLuskie (1994, 133). McLuskie relates this dramatic strategy to Thomas Middleton and Dekker's The Roaring Girl (c. 1607). Sonia Massai identifies Heywood's use of stock characters familiar from his other plays, such as the dissolute youth, the pedantic schoolmaster, and the foolish old father, as well as relating The Wise Woman of Hoxton to a number of other contemporary plays that included a Griselda-type heroine: All's Well That Ends Well, Measure for Measure, and How a Man May Choose a Good Wife from a Bad.

As an example of an explicit maxim, at the end of Aesop's fable of the Tortoise and the Hare, in which the plodding and determined tortoise won a race against the much-faster yet extremely arrogant hare, the stated moral is "slow and steady wins the race". However, other morals can often be taken from the story itself; for instance, that arrogance or overconfidence in one's abilities may lead to failure or the loss of an event, race, or contest. The use of stock characters is a means of conveying the moral of the story by eliminating complexity of personality and depicting the issues arising in the interplay between the characters, enables the writer to generate a clear message. With more rounded characters, such as those typically found in Shakespeare's plays, the moral may be more nuanced but no less present, and the writer may point it out in other ways (see, for example, the Prologue to Romeo and Juliet).

XIX only about 20 years before the performance there of The Acharnians, the first of Aristophanes' surviving plays. According to Aristotle, comedy was slow to gain official acceptance because nobody took it seriously,The Poetics 1448b38 – 1449b, Wikisource English translation s:The Poetics#V section V yet only 60 years after comedy first appeared at the City Dionysia, Aristophanes observed that producing comedies was the most difficult work of all.Aristophanis Comoediae vol. 1, F. W. Hall and W. M. Geldart (eds), Oxford Classical Texts, Knights line 516 Competition at the Dionysian festivals needed dramatic conventions for plays to be judged, but it also fuelled innovations.Aristophanes:The Frogs and Other Plays David Barrett, Penguin Classics 1964, p. 12 Developments were quite rapid and Aristotle could distinguish between 'old' and 'new' comedy by 330 BC.Nichomachean Ethics 1128a 21–24 The trend from Old Comedy to New Comedy saw a move away from highly topical concerns with real individuals and local issues towards generalized situations and stock characters.

In response to the "albino gunmen" characters in The Da Vinci Code and The Matrix Reloaded, albinistic actor Dennis Hurley wrote, produced and starred in a short film parody, The Albino Code, playing up the stereotypes, illustrating a typical example of real-world prejudice, and pointing out that the vision problems associated with albinism would make a successful career as a hitman highly improbable. In The Big Over Easy, author Jasper Fforde includes an "albino community" protest against albino bias among his fictional news clippings, most of which satirize stock characters and hackneyed plot devices. Chicago Tribune movie reviewer Mark Caro says of this character type that it is someone "who looks albino and thus, in movie shorthand, must be vicious"."Movie review: Cold Mountain" ; Caro, Mark; Chicago Tribune (online edition), date unspecified; accessed 13 March 2007 The National Organization for Albinism and Hypopigmentation (NOAH) has stated that there were a total of sixty-eight films from 1960 to 2006 featuring an "evil albino".

While there are obvious similarities between some of the characters in della Porta's comedies and the masks of the commedia dell'arte, it should be borne in mind that the characters of the commedia erudita are uniquely created by the text in which they appear, unlike the masks, which remain constant from one scenario to another. Indeed, the masks of the improvised theatre evolved as stylised versions of recurring character types in the written comedies. One of Della Porta's most notable stock characters was the parasito or parassita, a gluttonous trickster whose lack of moral scruples enabled him to pull of stunts that initially might risk bringing the plot crashing down, but ended up winning the day in unexpected ways. The term parasito was translated by John Florio in his Italian to English Dictionary first published in 1598John Florio, A Worlde of Wordes, Or Most copious, and exact Dictionarie in Italian and English.

In February 1981 the company mounted the New York Premiere of the Commedia dell'arte farce The Three Cuckolds with Perla Armanasco, Jim Brewster, Ronald Lew Harris, David Murray Jaffe, Joe Meek, Jim Maxson, and Jane Badgers, Lloyd Davis, Jr. (as an "outstanding" Arlecchino),"Delightful Cuckolds" by Marily Stasio, The New York Post, February 11, 1981. Oded Carmi and Marla Buck, directed by Dan Southern with an original score by Michael Canick, sepia drops depicting contemporary New York street scenes by Dorian Vernacchio costumes by Barbara Weiss and masks by Paul Mantell, about which Marilyn Stasio of the New York Post wrote: > The resident company under Daniel O. Smith's stage direction, has > enthusiastically caught the outrageous spirit of that venerable theater > form. ... The stock characters of commedia – from the bulbous-nosed clowns, > the zanni, to that nimble trickster Arlecchino – are all authentically > masked, padded and caricatured. And the cast's high level of comic energy > makes them perfectly ridiculous.

Alberto González wrote his first comic script titled "Madera de Comerciante" (Merchant by Vocation) with Adolfo Otero and Mario Galí for the radio show Teatro Del Pueblo (The People's Theater) in RHC-Cadena Azul in La Habana on September 1, 1949, at the age of 21. Cuba's legendary radio station, CMQ later hired him to be a staff writer in the social satire of the day created by Antonio Castells, Chicharito y Sopeira with the hilarious duo of Alberto Garrido in blackface and Federico Piñeiro as a Galician born immigrant which pulled for rival baseball teams and became known in Cuba as "the Aces of Laughter". According to Rine Leal's 1982 book on the history of Cuban Theater, Cuban comedies derived much of their lively situations from Cuban musical theater genre was known as Bufo Theater and usually involved three main stock characters, a black man, a Spaniard and a mulatto woman in situations varying from lighthearted to ribald that became typical social signifiers in Cuban culture and music.Leal, Rine 1982.

She appeared in the Broadway run with Kevin Kline and Madeline Kahn, continued with the national tour starring Rock Hudson and Judy Kaye and returned for a later tour revival in the mid-1980s with Kaye and Frank Gorshin. She also co-starred with singer Maxine Sullivan in My Old Friends and touring productions including musicals such as Once Upon a Mattress and Bells Are Ringing and plays such as The Prisoner of Second Avenue and Luv. She rejoined Sid Caesar in 1961–62, 1977 and 1990–91 for a traveling stage revue and made an appearance with Caesar and Howard Morris at Comic Relief VI in 1994. One of Coca's early stock characters on the Caesar series blended comedy with socially conscious pathos as a bag lady and she was frequently asked to reprise the role, including by Carol Burnett for her 60s series and by Red Skelton as love interest to one of his own familiar characters in the 1981 TV special Freddie the Freeloader's Christmas Dinner.