Surreal humour (also known as absurdist humour), or surreal comedy, is a form of humour predicated on deliberate violations of causal reasoning, producing events and behaviours that are obviously illogical. Constructions of surreal humour tend to involve bizarre juxtapositions, incongruity, non-sequiturs, irrational or absurd situations and expressions of nonsense.
The humour arises from a subversion of audience’s expectations, so that amusement is founded on unpredictability, separate from a logical analysis of the situation. The humour derived gets its appeal from the ridiculousness and unlikeliness of the situation. The genre has roots in Surrealism in the arts.
The absurd humor is close to nonsense, illogical. It can be noted that the philosopher Emmanuel Kant stated that “humor is born when the mind perceives an abnormal, unexpected or bizarre fact, in a word incongruous and breaks with the normal order of things”. Some authors identify three types of absurd humor: cerebral modern absurd humor, absurdity and psycho-social absurdity modern humor and even a fourth with the absurd philosophical humor. The illogical, emotional distancing, inconsistency and paradox are the effects of absurd humor.
The absurd humor is constructed by juxtaposing terms in an unexpected way, producing strange combinations of ideas, using the technique of non sequitur, so many practices that can lead to an illogical situation. The sender of an absurd humorous message may seek to disappoint the expectations of the receiver by offering the message a conclusion that does not follow its premises, causing a discrepancy with the expected conclusions of a logical analysis of the situation in the usual world and sense in which the receiver thinks he is thinking. The message thus takes on a logical but meaningless appearance.
The same goes for a gesturewhose meaning or action it produces may be in contradiction with the meaning conveyed by the linguistic message that accompanies it.
The absurd humor can also be the product of an unusual life situation, where the messages and gestures become inappropriate, inappropriate, out of sync, inappropriate where they occur and this shift creates laughter. The situation of life can be self-sufficient to be perceived as absurd without the need for language to reveal its funny and incongruous appearance (this is the case of the burlesque scenes of silent cinema or slapstick).
Surreal humour is the effect of illogic and absurdity being used for humorous effect. Under such premises, people can identify precursors and early examples of surreal humour at least since the 19th century, such as Lewis Carroll’s Alice’s Adventures in Wonderland and Through the Looking-Glass, which both use illogic and absurdity (hookah-smoking caterpillars, croquet matches using live flamingos as mallets, etc.) for humorous effect. Many of Edward Lear’s children stories and poems contain nonsense and are basically surreal in approach. For example, The Story of the Four Little Children Who Went Round the World (1871) is filled with contradictory statements and odd images intended to provoke amusement, such as the following:
After a time they saw some land at a distance; and when they came to it, they found it was an island made of water quite surrounded by earth. Besides that, it was bordered by evanescent isthmuses with a great Gulf-stream running about all over it, so that it was perfectly beautiful, and contained only a single tree, 503 feet high.
Relationship with dadaism and futurism
In the early 20th century, several avant-garde movements, including the dadaists, surrealists, and futurists began to argue for an art that was random, jarring and illogical. The goals of these movements were in some sense serious, and they were committed to undermining the solemnity and self-satisfaction of the contemporary artistic establishment. As a result, much of their art was intentionally amusing.
A famous example is Marcel Duchamp’s Fountain (1917), an inverted urinal signed “R. Mutt”. This became one of the most famous and influential pieces of art in history, and one of the earliest examples of the found object movement. It is also a joke, relying on the inversion of the item’s function as expressed by its title as well as its incongruous presence in an art exhibition.
Etymology and development
The word surreal first began to be used to describe a type of aesthetic of the early 1920s.
Surreal humour is also found frequently in avant-garde theatre such as Waiting for Godot and Rosencrantz & Guildenstern Are Dead. In the United States, S. J. Perelman (1904-1979) has been identified as the first surrealist humour writer.
Surrealist humour is predominantly approached in cinema where the suspension of disbelief can be stretched to absurd lengths by logically following the consequences of unlikely, reversed or exaggerated premises. Luis Buñuel is a principal exponent of this, especially in The Exterminating Angel. Other examples include The Falls by Peter Greenaway, “Free Time” by The Bogus Group, and Brazil by Terry Gilliam.
Drs. Mary K. Rodgers and Diana Pien analysed the subject in an essay titled “Elephants and Marshmallows” (subtitled “A Theoretical Synthesis of Incongruity-Resolution and Arousal Theories of humour”), and wrote that “jokes are nonsensical when they fail to completely resolve incongruities,” and cited one of the many permutations of the elephant joke: “Why did the elephant sit on the marshmallow?” “Because he didn’t want to fall into the cup of hot chocolate.”
“The joke is incompletely resolved in their opinion,” noted Dr. Elliot Oring, “because the situation is incompatible with the world as we know it. Certainly, elephants do not sit in cups of hot chocolate.” Oring defined humour as not the resolution of incongruity, but “the perception of appropriate incongruity,” that all jokes contain a certain amount of incongruity, and that absurd jokes require the additional component of an “absurd image,” with an incongruity of the mental image.
Nonsense and nonsense
Note that there is, according to the dictionaries of Larousse and Harraps, a difference between the nonsense of the French language and ” nonsense ” of the English language. The nonsense of the French language would be more in the field of logic meaning a lack of logical sense while the English nonsense has a connotation more playful and wider and can also mean stupidity, foolishness, imbecility. childishness, corresponding better to the idea of absurd humor 3. Some French-language authors use the term nonsense 4 exclusively, while others do not distinguish using the French term for all the meanings of English nonsense.
Nonsense and nonsense
A distinction can be made between the absurd and the nonsense insofar as the latter is the “sense of humor applied to the words”, that is to say that it “releases the flange to the language, allows to the mechanics of words, to work for an instant by itself, and seems to find perfectly natural what is, as the case may be, outright absurdity, the solemnly worded paradox, comical paradox or grotesque reasoning “. Whereas absurd humor, rather than being at the level of the mechanics of words, would be at the level of the mechanics of speech, because it organizes words preserving a certain intelligibility for interpretation 1. Thus there may be in the absurd nonsense, the reverse is not necessarily true.
Nonsense and absurd
At the same time, another difficulty is that in the English language there is a difference between absurd and nonsense, where we speak of theater of the absurd and not of nonsense theater. This difference is related to a loan of the English language to the French made by Martin Esslin of the term theater of the absurd to define the genre. This distinction of the English language excludes the theater of the absurd humor nonsense, or what we call in French absurd humor.
Burlesque and absurd
The burlesque is absurd humor using familiar or vulgar words, staging violent acts (falls, sticks shots) to treat absurdly noble subject. the mock-heroic is the inverse of burlesque.
Humor black humor and absurd
It may seem difficult to discern between a dark humor and absurd humor because they are often linked in humorous activity 5 and that “black humor is, in short, one of the means by which the mind reaches to defend oneself against the ineluctable absurdity of the universe “. While it may be thought that the unanimous definition of black humor is impossible to provide, there are instinctive and spontaneous interpretive capacities in each culture that “correctly identify this reality of black humor that we usually know when we identify it. meet “.
Some authors interpret that the two humours take death as subject but that its treatment is not identical in each of them. While the former laughs at death in order to free himself from it with cynicism and coldness and a certain violence, absurd humor conjures the anguish of death by making a psychosocial statement by putting into abyss of absence sense of existence.
The context, whether historical or cultural, plays an important role in the interpretation of the nature of humor. Thus, in May 1985, Cabu’s drawing on the program Droit de réponse, which represented giant fans in a football game in the form of giant French fries, seemed to be absurdly funny, but in the historical context of the stadium disaster. Heysel, the fries representing the dead, this drawing was interpreted as a drawing of black humor that the host of the show Michel Polac found scandalous and devoid of humor to end up censoring the antenna. It should be added that the drawing was also accompanied by an explicit comment “Compressed against fences, the spectators stand out in fries” which no longer has any doubt about the interpretation of the black aspect of the drawing for cultural reasons this time, which shows how historical and cultural contexts can be intimately linked in the role they play in the interpretation of humor. Similarly, if the book by Jonathan Swift, Modeste proposal to prevent the children of Ireland be a burden to their parents or their country and to make them useful to the community, in our historical context, can today be interpreted by the reader as absurd humor, because Swift enjoins his fellow citizens to sell their own children to butchery out of poverty in 1729, the time of its publication and In Ireland, this book is a pamphlet of fierce, black irony whose very humor may seem out of place.
The cultural context, alone, can condition the interpretation, as this quotation of Alphonse Allais writes after having traveled in a train crowded with children, with absurd appearances but which is related in many culture to humor noir: “The families, summer come, go to the sea by taking their children in the hope, often disappointed, to drown the ugliest”.
Madness and absurd humor
The absurd humor and the madness can be confused because the words and the gestures of absurd humor can give the impression that the one who produces them is touched by an inability to think logically, of a mental disorder, of dementia, at best he is stupid; his remarks are then described as idiots, idiots, insane. These derogatory qualifiers may be a sign that the receiver of the message has not captured the humorous dimension, or that the sender is simply crazy. The absurd humor can look like madness to the point that in cinematography we often resort to a naive, idiotic, beta, simple or with a mental disorder to express the absurd of a scenario;The Party, Feast Day, Welcome, Mister Chance, Forrest Gump, Bernie, The Army of Twelve Monkeys. The Jewish jokes often depict a shlemil, a simpleton, who opens the story of the joke in the world of the absurd 8. If the absurd humor shows the part of madness of the world, it is not a madness because “the absurd is not the illogism, nor even the alogism, in the pure state: it is necessary that a remnant of mental health remains to look madness and chaos comes a somewhat ordered back ” 4.
The question of receiving absurd humor
The cultural ability for the receiver to identify what is absurd or not is going to condition his ability to understand and therefore laugh at absurd humor. To understand the absurd, do not take the message in the first degree and enter into complicity with its author. The level of complicity, which is a form of adherence to the message, depends on cultural and moral issues.
The absurd humor
Without any formal proof that the English invented humor, it is undeniable that English humor is particularly characterized by an absurd dimension. In the xix th century, Alice’s Adventures in Wonderland by Lewis Carroll widely disseminated the concept and spirit of the absurd humor. During the 20th century, with the development of television media, the group of artists of Monty Pythonknown for the absurdity of his humor, has popularized throughout the world some absurd English humor as we know it today. We can also cite artists, less known in the non-English speaking world, such as the duo of the two ronnies, Eddie Izzard, or Lee Evans with his Malcolm character. The English popular culture is full of absurd jokes.
The absurd humor called “modern” Quebec
In Quebec, Simon Papineau identifies, among Quebec comedians, a new absurd humor described as modern: “Modern absurd humor in Quebec is a type of humor that likes to make associations between words, objects, characters, places and concepts that, strictly speaking, have no “relation”, or even any link between them, that seem to refer to nothing but themselves, and with the aim of to make laugh “. This modern absurd humor would follow in the history of a classic absurd humor where it was not necessarily the nature of the chosen subjects that were absurd but their treatments and where the comedian adapted to the world of the public; while in modern absurd humor, the subjects are deliberately absurd and the audience has to adapt to the absurd, even fantastic, world of comedian. The representatives of this absurd modern Quebec would be, among others, Denis Drolet, Jean-Thomas Jobin, Chick’n Swell, Patrick Groulx.
Types of jokes from popular culture can carry a sense of absurd humor
Jewish popular culture
Jewish popular culture is not without absurd humor, because “one of the most visible aspects of Jewish humor is the disruption of logic and the principle of causality”. Yiddish culture knows many absurd jokes.
“After the assassination of Tsar Nicholas II in Russia, a government representative in Ukraine threatens a rabbi:” I guess you know who’s behind this. “Ach,” the rabbi replies, “I do not know, but the government will conclude as usual, it will be the fault of the Jews and the chimney sweepers. Astonished, the government man asks, “Why the chimney sweeps? The rabbi answers, “Why the Jews? »
“In Germany, at the beginning of Nazism, a Jew meets another Jew in a cafe, a friend who reads the anti-Semitic newspaper Der Stürmer. “But how do you read this horror? ” ” Of course ! When I read the Jewish press, there is only bad news, persecutions, anti-Semitism everywhere… While in this journal, it is written that we are the masters of the world and control everything is still more comforting! “.
“My son, I have a riddle for you: what is green, wet, hanging on the wall and whistling?
Son: Hum, I do not know daddy…
Father: It’s a herring.
The son: A herring? But it’s not hanging on the wall!
Father: If, if you hang it on the wall, it can be hung on the wall.
Son: But it’s neither green nor humid!
Father: If, if you paint it in green it will be green and when the painting is not dry it is wet.
Son: But he can not whistle!
Father: Ah! That was just so the riddle was not too easy! “.
Anglo-American popular culture
The Elephant joke are a type of absurd joke involving an elephant appeared in the sixties in Appleton (Wisconsin) in the US in the form of trading cards printed by LM Becker Co.
Examples of Elephant joke:
« Question: Why did the elephant paint its fingernails red?
Answer: So it could hide in the strawberry patch.
Q: How can you tell that an elephant is in the bathtub with you?
A: By the smell of peanuts on its breath.
Q: How can you tell that an elephant has been in your refrigerator?
A: By the footprints in the butter / cheesecake / cream cheese.
Q: What time is it when an elephant sits on your fence?
A: Time to build a new fence. »
Shaggy dog story
The Shaggy dog story are stories that take the classic form of a joke but that stretch over time and whose fall, which may seem steep, does not seem to keep a sense of connection with what precedes it. In the UK, Ronnie Corbett is known for his shaggy dog stories.
Example of Shaggy dog story:
“A boy owned a dog that was uncommonly shaggy. Many people remarked upon their considerable shagginess. When the boy learned that there are contests for shaggy dogs, he entered his dog. The dog won first prize for local and regional competitions. The boy entered the dog in ever-larger contests, until finally he entered the world championship for shaggy dogs. When the judges had inspected all of the competing dogs, they commented on the boy’s dog: “He’s not that shaggy.” ”
Italian popular culture
The supercazzola is a neologism describing a practice that was known to the general public through cinema with the release of the movie My Dear Friends of Mario Monicelli in 1975 and which became synonymous with nonsense in the Italian mass culture. The supercazzola (deformation of the original term supercàzzora that the actor Ugo Tognazzi pronounced in a way too fast to distinguish the last syllable), which usually starts with a question, consists in introducing incomprehensible words in the middle of a discourse, attaching non-existent words to real words, plunging the discussion to the limit of absurdity and nonsense, but making it still quite understandable for the interlocutor to understand the supercazzola and answer the questions it asks.
Examples of supercazzola:
Dialogue in the street between the characters of Count Mascetti (Ugo Tognazzi), a policeman and Perotti (Philippe Noiret):
” Mascetti: Tarapìa tapiòco! Prematurata the supercazzola, o scherziamo?
Mascetti: No, mi permit. No, io… scusi, noi siamo in quattro. How do you feel about it? Antani reed per lei soltanto in due, oppure in quattro reed scribài con cofandina? Come antifurto, per esempio.
Vigil: My che antifurto, mi faccia il piacere! Questi signori who stavano sonando loro. ‘One intrigued!
Mascetti: No, aspetti, mi porga the index; ecco lo alzi cos… guardi, guardi, guardi. Lo vede il dito? Lo vede che stuzzica? Che prematura reed? My allora io the potrei to say, reed with the risk of the authority, the reed soltanto the due cose as vicesindaco, capisce?
Vigil: Vicesindaco? Basta ‘osì, mi seguano al commissariato, prego!
Perozzi: No, no, no, attenzione! Noo! Pastene soppaltate secondo articolo, abbia pazienza, sennò posterdati, per due, reed a pochino antani in prefettura…
Mascetti:… senza contare che la supercazzola prematurata ha perso i contatti col tarapìa tapiòco.
Perozzi:… dopo… ”
The character of Perotti on his death bed to a priest:
” Prete: Dimmi, figliolo.
Perozzi: Sbiliguda venial… Con the supercazzola prematurata.
Prete: Come, figliolo?
Perozzi: Confesso, like fossaantani, con lo scappellamento… A destra e… Costantinato ammàniti.
Ready: Quante volte, figliolo?
Perozzi: Fifty-fifty for the fine… Come mea culpa pit… Alla supercazz…
Ready: Ed io ti assolvo, dai tuoi peccati. ”
The supercazzola was used by a host of the Italian TV program Hyenas during interviews where the interlocutors, rather than admitting not having understood the question, sought to provide an answer to their interlocutor, causing the hilarity of the spectator.
French popular culture
In the French tradition, one speaks more of good word, puns or line or witty to evoke the humor but that does not prevent that this one can be popular and absurd.
The point is according to Jean-François Marmontel, grammarian and encyclopaedist of the XVIIIth Century, a play of word amusing, a funny projection which one finds in the conversation or in light works. In his dictionary of elements of literature, Marmontel writes about the point: ” Puns without having this sharp finesse, are sometimes pleasing, by the surprise that comes from the detour of expression”. Marmontel quotes some examples that have an absurd dimension in their humor:
“A horse having fallen into a cellar, the people had assembled, and one wondered: ” How to draw it from there? “, ” – nothing is easier, “someone says, ” just shoot it in the bottle. ».
“A preacher, who was short in the pulpit, confessed to his hearers, that he had lost his memory, ” Close the gates, ” cried a bad joker, ” there are only honest people here, the memory of the man must be found again ” ».
In France Jean-Marie Gourio focused on frequenting bars and collecting the words and discussions held there. He has removed a series of books entitled Brèves de comptoir that contain many examples of absurd humor that could be described as bistro.
Just open the first pages of one of his collections to meet absurd humor:
“He kills someone and he apologizes, so I say too late! You had to apologize before “.
“Whether we vote or not, what does it change? In any case, they are elected “.
The Brèves de comptoir have never received absurd comedy awards but twice that of the Grand Prix de l’Humor noir. Adaptations to theater, opera and cinema have been made. On television, Le Brèves de comptoir were told by Jean Carmet in the show Palace, Jean-Marie Gourio worked in many French newspapers (Hara-Kiri and Charlie Hebdo) and participated in French television and radio shows (Thank you Bernard, Palace, Dummies and The Court of Blatant Delusions) of absurd humor.
The funniest joke in the world
In 2002, psychologist Richard Wiseman and some of his colleagues sought to know, through experience they named Laughlab, what was the funniest joke in the world, that is say “the one that makes everyone laugh, regardless of age, gender or nationality”, inviting Internet users to send their best jokes via the Internet and give an appreciation for those posted on the site of LaughLab. Data collection has collected 40,000 jokes, it appears that the best joke in the world is an absurd humor joke. This survey, whose methodology is challenged by the choice of a panel made up exclusively of Internet users who are more English-speaking, shows that the Europeans like the most absurd humor and jokes conjuring what he can to be more distressing in life such as illness, death… marriage; and North Americans like humor in which one of the protagonists of the joke is stupid, silly or ridiculed.
And the funniest joke in the world is:
“Two hunters are out in the woods when one of them collapses. He does not seem to be breathing and his eyes are glazed. The other guy whips out his phone and calls the emergency services. He gasps, “My friend is dead! What can I do?” The operator says, “Calm down, I can help, let’s make sure he’s dead.” There is a silence, then a shot is heard. Back on the phone, the guy says “OK, now what?” »
French translation of the funniest joke in the world:
“Two New Jersey hunters walk in the forest when one of them falls to the ground. His eyes are rolled back, he is not breathing anymore. His teammate grabbed the cell phone and called the emergency services. Panicked, his voice broken, he said to the operator, “My boyfriend is dead! What do I have to do ! “Calm down,” the operator answers reassuringly, “first, make sure he’s dead.” A silence, then a shot. The hunter picks up the phone: “Ok, what now? »
The second funniest joke in the world:
“Sherlock Holmes and Dr. Watson were going camping. They pitched their tent under the stars and went to sleep.
Sometime in the middle of the night Holmes Watson woke up and said: “Watson, look up at the stars, and tell me what you see. ”
Watson replied: “I see millions and millions of stars. ”
Holmes said, “and what do you deduce from that? ”
Watson replied: “Well, if there are millions of stars, and if there are a few of these planets, it’s quite likely there are some planets like earth out there. And if there are a few planets like earth out there, there might also be life. ”
And Holmes said, “Watson, you idiot, it means that somebody stole our tent. » ».
According to Monty Python’s Flying Circus, however, it would seem that the funniest joke in the world can not really be known to anyone because it has never been listened to, or read, in full, by anyone without literally dying of laughter.
Works representative of absurd humor
Jonathan Swift, humble proposal to prevent the children of the poor in Ireland from being dependent on their parents or their country and to make them useful to the public,.,
Edward Lear, A book of non-sense, (1846), Poems without meaning (bilingual, translation of Henri Parisot, Aubier Montaigne, (1993), Nonsense (bilingual, translation of Patrick Hersant), Shadows, (1997), The History of the Four Little Children Who Go Around the World, (translation by François Ruy-Vidal), Harlin Quist, (1970), and other works.
Lewis Carroll, The Adventures of Alice in Wonderland, (1865), On the Other Side of the Mirror, 1931, and Other Works.
Alphonse Allais, To twist. Paris, Ollendorff, (1891), Two and two are five. Paris, Ollendorff, (1895), and other works.
Pierre Dac, The Sacred Boudin, ed. Special, (1971-72) and other works.
Authors of the College of Pataphysics.
Douglas Adams, The Galactic Traveler’s Guide, (1979), and other works.
Alfred Jarry, Ubu king.
Eugène Ionesco, The Bald Soprano.
Jean Constantin, The Papa Slippers, (1955).
Boby Lapointe, Aragon and Castile, (1960), Raspberry, (1960) and other songs.
Philippe Katerine, Chicken n o 728,120 (1999) and other songs.
Norman Panama, astronauts in spite of themselves, (1962), United Kingdom.
Dino Risi, Franco Rossi and Luigi Filippo D’Amico, The Complexes, (1965), Italy.
Eldar Ryazanov, The Irony of Fate, (1975), Union of Soviet Socialist Republics.
Terry Gilliam, Terry Jones, Monty Python: Holy Grail!, (1975), United Kingdom.
Michael Hui, Mr Boo Private Detective, (1976), Hong Kong.
Hal Ashby, Welcome, Mister Chance, (1979), United States.
Terry Jones, The Meaning of Life, (1982), United Kingdom.
Luc Moullet, Opening Trial, (1988), Parpaillon, (1993), The Shipwrecked of the D17, (2002).
Harold Ramis, An Endless Day, (1993), United States.
Josef Fares, Cops, (2003), Sweden.
Albert Dupontel, Bernie, (1996), Locked Out, (2006).
Jean-Jacques Rousseau (filmmaker), The Revenge of the Cannibalistic Sacristan, (2004),
Benoît Delépine, Gustave Kervern, Aaltra, (2004).
Quentin Dupieux, Rubber, (2010), Wrong, (2012), Wrong Cops, (2013).
Pierre Carles, Not seen not taken, (1998).
Michael Moore, Bowling for Columbine, (2002), United States of America.
Phil Mulloy, Cowboys, (1991) and other works, United Kingdom.
Tatia Rosenthal, The Meaning of Life for $ 9.99, (2008), Israel, Australia.
1 = 3, (1964), broadcast by Jacques Martin and Jean Yanne, RTF
The Invisible Camera, (1964-1971), RTF and ORTF.
Monty Python’s Flying Circus, (1969-1974), BBC1 United Kingdom.
Ronnie Barker, Ronnie Corbett, The Two Ronnies (in), (1971-1987), BBC1, UK.
Pierre Carles columnist on the program L’Assiette anglaise, Antenne.
The necessary Minute of Sir Cyclops, (1982-1984), FR3.
Thank you Bernard, (1982-1984), FR3.
Striptease, (1982-2002), RTBF1, FR3, Belgium and France.
Daniel Prévost host in the Little Reporter and presenter of the program Anagram, (1985), TF1.
Prohibited Documents, (1986-1989), Arte.
Dummies, (1987-1992), Canal +.
Interviews with Hugues Delatte, TF1, Canal +.
Studio Julmahuvi (fi), (1998), Yle TV1 Finland
Chick’n Swell, (2001-2003), Radio Canada, Canada.
Groland, Canal +.
Just for laughs: The gags, TVA, CBC Television, Canal D; Canada.
Robins woods, Canal +.
The blonde Minute, Canal +.
Uncle Grandpa, Cartoon Network (2013-2017)
Linwood Boomer, Malcolm, (2000-2006), United States of America.
Jacques Rouxel, The Shadoks (1968-1973).
Atte Järvinen (fi) Pasila (animated series) (fi), (2007-2013), Finland.
Peter Browngardt (in), Uncle Grandpa, United States of America.
Trey Parker and Matt Stone, South Park, United States of America.
Stephen Hillenburg, Spongebob, United States of America.
Pierre Dac, Signed Furax, (1951-1952), RTF and Europe.
Pierre Dac and Henri Marc, The Sacred Boudin, (1971-1972), The light that extinguishes (1971-1972), the Gruyère that kills (1976) and other radio soap operas.
Collectif, The Tribunal des flagrants délires, (1980-1981 and 1982-1983), France Inter.
Pierre Dac and Louis Rognoni, Good kisses everywhere, (1982-1984), France Inter.
François Pérusse, The Two Minutes of the People, NRJ (Quebec), CHLC-FM, CHOE-FM, CIPC-FM, CKOI-FM, France Inter, Europe, Laughter and Songs, Color 3, Red FM, Joker FM, Contact, Canada.
Frederic Martin, The World of Sir Fred, (1998-2003), OÜI FM.
Vincent Kucholl, 120 seconds, (2011-2014), Color 3, Switzerland
Nikita Mandryka, The Masked Cucumber
F’murr, The Genie des alpine
Philippe Valette, Georges Clooney tome – Mi-homme Michel
Dimitri Planchon, Jesus and friends
Kamagurka and Herr Seele, Cowboy Henk
Fabcaro, Zai zai zai zai, 6 feet underground, 2015
Marx Brothers, United States.
Norman Wisdom, United Kingdom.
Richard Pryor, United States.
Ronnie Corbett, United Kingdom.
Woody Allen, United States.
Steve Martin, United States.
Andy Kaufman, United States.
Monty Python, United Kingdom.
Eddie Izzard, United Kingdom.
Lee Evans (actor), character from Malcolm, United Kingdom.
Denis Drolet, Canada.
Jean-Thomas Jobin, Canada.
Chick’n Swell, Canada.
Patrick Groulx, Canada.
Source from Wikipedia