Beyond the course of reasonable events that usually play out in fiction, the theater or film lies a dream world. It is where the most illogical things happen, a combination of fantasy and transport into a world where the mind is tested out of its incredulity. It is here that the mind can keep in touch with the subconscious and how it often combines many things thought to be impossible or unlikely.
The surreal is something that has been present in the arts, however the term was only made relevant to the subject for about a century. In years before artists all made use of things like fantasy, dream sequences, the supernatural or divine and made them actionable by twisted or crazy personas. But surrealism or surreal comedies have been there from the start, but unnamed.
This is not something to wonder about, since this is a very familiar thing to much of human experience. Folks, from paupers to kings, have had their share of dreams, whether weird or close to reality, often seeing them as messages from divine sources. Modern studies have identified them as things of the subconscious, visions seen in sleep, when the subconscious mind awakes.
Most times this element can be done with some humor, since illogic can often be very funny. This is the reason why surrealist art often works very well with comedy. There is a specific school for surrealism, although its golden age has passed, a time when artists truly exposed its boundaries and specific characteristics.
Mainstream works and others that belong to certain disciplines may partake of surrealist humor, when and if they are well prepared for. In the surreal discipline itself, audience expectations are always subverted and the art plays many tricks on common beliefs and everyday actions. Because these are rote, reasonable and mundane but very easily twisted into phantasm.
Not being predictable and safely reasonable can often be viewed as very humorous, surprisingly so. Audiences make the gestalt connection but cannot identify it, since the source is often subconscious, lying there waiting to be discovered. Comedies are thus made better, since connecting to this world makes things look clearer than usual.
The connection, though, is not something grasped easily, and can dissolve quickly in the outside world. It is one reason that surrealist comedies are remembered well and appreciated whenever they are mounted. The mainstream may not support them, but they can do the breakthrough into being acceptable and popular.
The field of animation is the place where much surrealist realities have migrated to. Mostly, this is humorous and will not have to conform to any reality but its own. And the human mind can accept this, with the surrealist element hidden in plain sight for the most entertaining cartoons, even as people will not really connect surrealism with things they see in animation.
The makers of this world are thus adepts at transforming subconscious elements into whole, integrated stories that have an illogically logical beginning, middle and end. It is not a matter of twisting weird elements into a whole. Surrealism relies on a subterranean foothold on reality, and this is because it works within the precincts of a dream.
The surreal is something that has been present in the arts, however the term was only made relevant to the subject for about a century. In years before artists all made use of things like fantasy, dream sequences, the supernatural or divine and made them actionable by twisted or crazy personas. But surrealism or surreal comedies have been there from the start, but unnamed.
This is not something to wonder about, since this is a very familiar thing to much of human experience. Folks, from paupers to kings, have had their share of dreams, whether weird or close to reality, often seeing them as messages from divine sources. Modern studies have identified them as things of the subconscious, visions seen in sleep, when the subconscious mind awakes.
Most times this element can be done with some humor, since illogic can often be very funny. This is the reason why surrealist art often works very well with comedy. There is a specific school for surrealism, although its golden age has passed, a time when artists truly exposed its boundaries and specific characteristics.
Mainstream works and others that belong to certain disciplines may partake of surrealist humor, when and if they are well prepared for. In the surreal discipline itself, audience expectations are always subverted and the art plays many tricks on common beliefs and everyday actions. Because these are rote, reasonable and mundane but very easily twisted into phantasm.
Not being predictable and safely reasonable can often be viewed as very humorous, surprisingly so. Audiences make the gestalt connection but cannot identify it, since the source is often subconscious, lying there waiting to be discovered. Comedies are thus made better, since connecting to this world makes things look clearer than usual.
The connection, though, is not something grasped easily, and can dissolve quickly in the outside world. It is one reason that surrealist comedies are remembered well and appreciated whenever they are mounted. The mainstream may not support them, but they can do the breakthrough into being acceptable and popular.
The field of animation is the place where much surrealist realities have migrated to. Mostly, this is humorous and will not have to conform to any reality but its own. And the human mind can accept this, with the surrealist element hidden in plain sight for the most entertaining cartoons, even as people will not really connect surrealism with things they see in animation.
The makers of this world are thus adepts at transforming subconscious elements into whole, integrated stories that have an illogically logical beginning, middle and end. It is not a matter of twisting weird elements into a whole. Surrealism relies on a subterranean foothold on reality, and this is because it works within the precincts of a dream.
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