Ellen Callas

At the San Francisco Mime Troupe, we have been using humor as a method of presenting serious socio/political topics to our audiences for over 54 years. Our intent is to engage and activate them and offer a sense of solidarity with their fellow viewers. It’s not a new concept.

Broadly drawn, easily recognizable characters are the basis of all forms of Popular Theater from Ancient Greece to the Commedia dell’arte of Renaissance Italy to American Melodrama. Be it Kabuki or Jatra, the basic archetypes are present onstage, demonstrating the commonality of humanity’s struggle with itself. The lines are easily drawn; heroes and villains, bosses and workers, landlords and tenants all evidence of the ongoing class struggle that is our collective history. It was (and is) humor that allowed the servants to laugh publicly at their masters as they were often portrayed onstage as vain and idiotic. It was a liberation of their spirit as audiences delighted in the undoing of the patricians at the hands of a clever underling.

Whether we are tackling GMO’s, corporate personhood, workers rights, C.I.A. backed wars or oil companies, our methodology is the same. Like Mary Poppins’ “spoonful of sugar,” we have found that facts and evidence stick with folks if the information is delivered through physical comedy and witty songs. People who might routinely disagree with our point of view are more receptive to alternative ideas when laughing. Often the humor acts as a time release pill of realization when an audience member sees in real life what we illustrated onstage.

Our call for activism is usually manifested onstage by our “every person” character, who is typically called upon to make a conscious choice between their own self interest and the common good. Often that character’s sense of disempowerment mirrors that of the audience. In “Social Work”, Sharon Lockwood played Phoebe, an overworked social worker whose ability to help her clients was hamstrung by budget cuts.  Driven by frustration, she dons a disguise and as The Lady in Red,   and in a comic Grand Guignol eliminates her foils in elaborate murders. Clearly we were not advocating murder, but the over-the-top style provided a catharsis for the audience as they cheered Phoebe on.  Often audience members recognize themselves onstage in a way that might affect their choices in the future, as in the portrayal of the disillusioned and disengaged activist. Humor can provide a wake-up call.

Mistaken identity, farcical chase scenes, and slapstick are classic comic devices. We employed all of them in “Seeing Double,” our take on the ongoing Palestinian/Israeli tragedy.  Yet we still chose to end the play in a way that reflected the reality of the situation. Because the comedy allowed the audience emotional access to the Palestinian and Israeli characters, the tragic finale had an even greater impact. After every show, including those performed in East and West Jerusalem, lively discussions erupted. Both sides were gratified that their respective point of view was accurately portrayed. Despite the differing points of view, dialogue occurred. Comedy had disarmed them.

Humor sparks our imaginations. In a world riddled with 24/7 bad and usually violent news, the possibility of envisioning a better future is a daily challenge.  It is especially so for young people whose future is shadowed by environmental catastrophes and societal dysfunction. The teens that join our long running Youth Theater Project are seeking something. They say it’s to meet new people or learn to be less shy but clearly they are seeking more.  Providing a safe, confidential space, the students open up and share their “burning issues.” They learn that theater gives them an opportunity to create the world as they want it to be. Everyone likes being funny and youth’s natural gift of play enables the creation of their own collaborative work. And it is interesting to note that the collaborative process seems so much smoother when laughter is in the house. Using the Popular Theater comic models, youth are able to illustrate the results of adult mistakes and misplaced values. It allows them a space to envision a better future, to actually live it onstage. And they get to be funny and stretch themselves in ways they could not have imagined!  The transformative power of political comedy is evident when proud and empowered youth take their group bows onstage. They have built a community from strangers and have created a positive collective vision for their future. Having that experience and realizing it onstage motivates them to be part of the solution rather than disengage. They are activated.

Humor is not only our best defense but clearly our best offense if we are to tear down the walls of ignorance and fear that cripple progressive action. Power to the people can be accelerated through collective laughter -especially at ourselves.