Humor in El palacio de la risa: Parody and Social Critique in Argentinean Television in the 1990s
Television became the most important communication device in the 1990s, reaching all middle-class households and playing a relevant role in constructing shared social meaning. The aim of this article is to examine different dimensions and senses of humor in El palacio de la risa, a very popular tele...
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| Format: | Online |
| Language: | spa |
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Centro de Investigaciones y Estudios sobre Cultura y Sociedad
2024
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| Online Access: | https://revistas.unc.edu.ar/index.php/astrolabio/article/view/39396 |
| _version_ | 1806009925979078656 |
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| author | Suárez, Marina Salas Tonello, Pablo |
| author_facet | Suárez, Marina Salas Tonello, Pablo |
| author_sort | Suárez, Marina |
| collection | Portal de Revistas |
| description | Television became the most important communication device in the 1990s, reaching all middle-class households and playing a relevant role in constructing shared social meaning. The aim of this article is to examine different dimensions and senses of humor in El palacio de la risa, a very popular television comedy show hosted by Antonio Gasalla between 1992 and 1996 —broadcast by ATC and Canal 13— in Argentina. We will focus on the sketches starred by the actors Alejandro Urdapilleta and Humberto Tortonese, who, together with Gasalla, introduced relevant innovations in the production of television humor. In the first section, we will analyze which elements of performing arts of the 1980s underground are used and put into play in this television comedy. Then, we will examine three dimensions that function as crucial material for the trio's humorous production: the critique of the Argentinean high classes, the tension between dominant and dissident sexualities, and the parodic mentions made about television itself. In terms of methodology, the work was based on an analysis of 30 sketches by the Urdapilleta-Gasalla-Tortonese trio, frequent subjects, aesthetic aspects, body gestures and discursive uses. In short, the work seeks to make a contribution to the knowledge of mass culture, as well as the parody and destabilization of the common sense upheld by television during the 1990s in Argentina. |
| format | Online |
| id | oai:ojs.revistas.unc.edu.ar:article-39396 |
| institution | Universidad Nacional de Cordoba |
| language | spa |
| publishDate | 2024 |
| publisher | Centro de Investigaciones y Estudios sobre Cultura y Sociedad |
| record_format | ojs |
| spelling | oai:ojs.revistas.unc.edu.ar:article-393962024-07-20T00:55:13Z Humor in El palacio de la risa: Parody and Social Critique in Argentinean Television in the 1990s El humor en El palacio de la risa: parodia y crítica social en la televisión argentina de los años 1990 O Humor em El Palacio de la Risa: paródia e crítica social na televisão argentina nos anos 90 Suárez, Marina Salas Tonello, Pablo humor television 1990s performing arts parody humor teatro televisión años 1990 parodia humor teatro Anos 90 paródia Television became the most important communication device in the 1990s, reaching all middle-class households and playing a relevant role in constructing shared social meaning. The aim of this article is to examine different dimensions and senses of humor in El palacio de la risa, a very popular television comedy show hosted by Antonio Gasalla between 1992 and 1996 —broadcast by ATC and Canal 13— in Argentina. We will focus on the sketches starred by the actors Alejandro Urdapilleta and Humberto Tortonese, who, together with Gasalla, introduced relevant innovations in the production of television humor. In the first section, we will analyze which elements of performing arts of the 1980s underground are used and put into play in this television comedy. Then, we will examine three dimensions that function as crucial material for the trio's humorous production: the critique of the Argentinean high classes, the tension between dominant and dissident sexualities, and the parodic mentions made about television itself. In terms of methodology, the work was based on an analysis of 30 sketches by the Urdapilleta-Gasalla-Tortonese trio, frequent subjects, aesthetic aspects, body gestures and discursive uses. In short, the work seeks to make a contribution to the knowledge of mass culture, as well as the parody and destabilization of the common sense upheld by television during the 1990s in Argentina. La televisión se constituyó en el dispositivo comunicacional de mayor importancia en los años 1990, al llegar a todos los hogares de clase media y ocupar un rol preponderante en la elaboración de sentidos sociales compartidos. El objetivo de este artículo es indagar distintas dimensiones y sentidos del humor en El palacio de la risa, programa humorístico de gran relevancia conducido por Antonio Gasalla entre 1992 y 1996 y transmitido por ATC y Canal 13, en Argentina. Nos enfocaremos en los números protagonizados por los actores Alejandro Urdapilleta y Humberto Tortonese, quienes, junto a Gasalla, introducen importantes innovaciones en la producción humorística televisiva. En la primera sección, analizaremos qué elementos del teatro underground de los años 1980 son recuperados y puestos en juego en la propuesta televisiva. A continuación, se examinarán tres dimensiones que funcionan como materia prima para la producción humorística del trío: la crítica a las clases dominantes argentinas, la tensión entre sexualidades dominantes y disidentes, y las menciones paródicas realizadas sobre la propia televisión. En cuanto a la metodología, el trabajo fue realizado en base a un análisis de 30 sketches del trío Urdapilleta-Gasalla-Tortonese, registrando temas, aspectos estéticos, gestualidad corporal y usos discursivos. En suma, el trabajo realiza una contribución al conocimiento de la cultura de masas y las posibilidades paródicas y de desestabilización del sentido común de la televisión durante los años 1990 en Argentina. A televisão tornou-se o dispositivo de comunicação mais importante nos anos 90, atingindo todas as residências de classe média e desempenhando um papel preponderante na elaboração de significados sociais compartilhados. O objetivo deste artigo é investigar diferentes dimensões e significados de humor no El Palacio de la Risa, um programa de comédia televisiva altamente relevante apresentado por Antonio Gasalla entre 1992 e 1996 - transmitido pela ATC e pelo Canal 13 - na Argentina. Vamos nos concentrar nos números protagonizados pelos atores Alejandro Urdapilleta e Humberto Tortonese, que, juntamente com Gasalla, introduziram importantes inovações na produção do humor televisivo. Na primeira seção, analisaremos quais elementos do teatro subterrâneo dos anos 80 são recuperados e colocados em jogo na proposta televisiva. Em seguida, examinaremos três dimensões que funcionam como matéria-prima para a produção humorística do trio: a crítica das classes dominantes argentinas, a tensão entre as sexualidades dominante e dissidente, e as menções paródicas feitas sobre a própria televisão. Em termos de metodologia, o trabalho foi baseado em uma análise de 30 esboços do trio Urdapilleta-Gasalla-Tortonese, temas de gravação, aspectos estéticos, gestos corporais e usos discursivos. Em resumo, o trabalho contribui para o conhecimento da cultura de massa e das possibilidades paródicas e da desestabilização do senso comum da televisão durante os anos 90 na Argentina. Centro de Investigaciones y Estudios sobre Cultura y Sociedad 2024-07-20 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Artículo revisado por pares application/pdf text/html https://revistas.unc.edu.ar/index.php/astrolabio/article/view/39396 Astrolabio; No. 33 (2024): July - December: Towards the End of Human Exceptionality: Multidisciplinary Perspectives on the Animal Question; 338-365 Astrolabio; Núm. 33 (2024): Julio - Diciembre: Hacia el fin de la excepcionalidad humana: miradas multidisciplinarias sobre la cuestión animal; 338-365 Astrolabio; n. 33 (2024): Julho a dezembro: Rumo ao fim da excepcionalidade humana: perspectivas multidisciplinares sobre a questão animal; 338-365 1668-7515 10.55441/1668.7515.n33 spa https://revistas.unc.edu.ar/index.php/astrolabio/article/view/39396/45793 https://revistas.unc.edu.ar/index.php/astrolabio/article/view/39396/45811 Derechos de autor 2024 Marina Suárez, Pablo Salas Tonello https://creativecommons.org/licenses/by-nc-sa/4.0 |
| spellingShingle | humor television 1990s performing arts parody humor teatro televisión años 1990 parodia humor teatro Anos 90 paródia Suárez, Marina Salas Tonello, Pablo Humor in El palacio de la risa: Parody and Social Critique in Argentinean Television in the 1990s |
| title | Humor in El palacio de la risa: Parody and Social Critique in Argentinean Television in the 1990s |
| title_alt | El humor en El palacio de la risa: parodia y crítica social en la televisión argentina de los años 1990 O Humor em El Palacio de la Risa: paródia e crítica social na televisão argentina nos anos 90 |
| title_full | Humor in El palacio de la risa: Parody and Social Critique in Argentinean Television in the 1990s |
| title_fullStr | Humor in El palacio de la risa: Parody and Social Critique in Argentinean Television in the 1990s |
| title_full_unstemmed | Humor in El palacio de la risa: Parody and Social Critique in Argentinean Television in the 1990s |
| title_short | Humor in El palacio de la risa: Parody and Social Critique in Argentinean Television in the 1990s |
| title_sort | humor in el palacio de la risa parody and social critique in argentinean television in the 1990s |
| topic | humor television 1990s performing arts parody humor teatro televisión años 1990 parodia humor teatro Anos 90 paródia |
| topic_facet | humor television 1990s performing arts parody humor teatro televisión años 1990 parodia humor teatro Anos 90 paródia |
| url | https://revistas.unc.edu.ar/index.php/astrolabio/article/view/39396 |
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