Let us take a moment to examine the durable form of the multi-cam sitcom, often regarded as the emblem of TV witlessness.
Dick Van Dyke and Mary Tyler Moore perform in front of a studio audience, multiple cameras and producers during a taping of"The Dick Van Dyke Show." In 1951, at the dawn of television, Lucille Ball and Desi Arnaz brought forth a new form of comedy: the three-camera sitcom, performed live before a studio audience.
Here’s a fun experiment : Take any single-camera comedy you like — “Veep” or “Brooklyn Nine-Nine” or “Fresh Off the Boat” — and imagine it remade multi-camera style, its sets reconfigured for a studio audience, with fewer locations , longer scenes and jokes modified for multi-camera’s serve-and-return rhythms.
A bow after the taping of the last episode of"Seinfeld" on May 12, 1998. From left, Jason Alexander, Julia Louis-Dreyfus, Michael Richards and Jerry Seinfeld. In fact, single-camera comedy was the dominant style through much of the 1950s and all of the 1960s.
On the face of it, single-camera comedy is more “realistic,” which is to say, it is more like film than like theater. Yet there is nothing natural in how such shows are put together, in scraps, over days, with scenes shot out of order, the recording of any one scene proceeding in fits and starts and repeats, in master shots, and close-ups and reverse angles.
Multi-camera was the ideal medium for an age, not yet concluded, of shows built around stand-up comedians used to working before a live audience: Redd Foxx , Gabe Kaplan , Tim Allen , Freddie Prinze , Bill Cosby , “The Bernie Mac Show” and, more recently, with various degrees of success, Whitney Cummings, John Mulaney and Jerrod Carmichael, in shows all named for their leads.
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