In order to reconstruct the participation frameworks of three TV comedy subgenres,
this article follows the common differentiation into the fictitious characters’
communication and the discourse between a comedy’s production crew
and the television audience. The TV viewer is conceptualised as the central and
ratified empirical recipient. At the same time, it is argued that a fictitious overhearer’s
position is created for her/him on the level of the characters’ communication,
using camera position, sound and other technical means. Participation
frameworks are reconstructed for sitcom, candid camera and stand-up comedy,
which differ considerably from each other and are definitive for their respective
sub-genre. Some manipulations of the basic constellations are also analysed,
including meta-humour.
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