page_title: Monty Python
section_title: Style of the show
hierarchical_section_title: Monty Python / Monty Python's Flying Circus / Style of the show
caption_attribution_description: Photo 02-07-14 12 24 16
context_page_description: Monty Python were a British surreal comedy troupe who created the sketch comedy television show Monty Python's Flying Circus, which first aired on the BBC in 1969. Forty-five episodes were made over four series. The Python phenomenon developed from the television series into something larger in scope and impact, including touring stage shows, films, albums, books and musicals. The Pythons' influence on comedy has been compared to the Beatles' influence on music. Regarded as an enduring icon of 1970s pop culture, their sketch show has been referred to as being "an important moment in the evolution of television comedy".
  Broadcast by the BBC between 1969 and 1974, Monty Python's Flying Circus was conceived, written and performed by its members Graham Chapman, John Cleese, Terry Gilliam, Eric Idle, Terry Jones, and Michael Palin. Loosely structured as a sketch show, but with an innovative stream-of-consciousness approach aided by Gilliam's animation, it pushed the boundaries of what was acceptable in style and content.
context_section_description: Flying Circus popularised innovative formal techniques, such as the cold open, in which an episode began without the traditional opening titles or announcements. An example of this is the "It's" man: Palin, outfitted in Robinson Crusoe garb, making a tortuous journey across various terrains, before finally approaching the camera to state, "It's ...", only to be then cut off by the title sequence and theme music. On several occasions, the cold open lasted until mid-show, after which the regular opening titles ran. Occasionally, the Pythons tricked viewers by rolling the closing credits halfway through the show, usually continuing the joke by fading to the familiar globe logo used for BBC continuity, over which Cleese would parody the clipped tones of a BBC announcer. On one occasion, the credits ran directly after the opening titles. On the subversive nature of the show (and their subsequent films), Cleese states "anti-authoritarianism was deeply ingrained in Python".
  Because of their dislike of finishing with punchlines, they experimented with ending the sketches by cutting abruptly to another scene or animation, walking offstage, addressing the camera (breaking the fourth wall), or introducing a totally unrelated event or character. A classic example of this approach was the use of Chapman's "anti-silliness" character of "the Colonel", who walked into several sketches and ordered them to be stopped because things were becoming "far too silly".
  Another favourite way of ending sketches was to drop a cartoonish "16-ton weight" prop on one of the characters when the sketch seemed to be losing momentum, or a knight in full armour (played by Terry Gilliam) would wander on-set and hit characters over the head with a rubber chicken, before cutting to the next scene. Yet another way of changing scenes was when John Cleese, usually outfitted in a dinner suit, would come in as a radio commentator and, in a rather pompous manner, make the formal and determined announcement "And now for something completely different.", which later became the title of the first Monty Python film.
  The Python theme music is the Band of the Grenadier Guards' rendition of John Philip Sousa's "The Liberty Bell" which was first published in 1893. Under the Berne Convention's "country of origin" concept, the composition was subject to United States copyright law which states that any work first published prior to 1924 was in the public domain, owing to copyright expiration. This enabled Gilliam to co-opt the march for the series without having to make any royalty payments.
  The use of Gilliam's surreal, collage stop motion animations was another innovative intertextual element of the Python style. Many of the images Gilliam used were lifted from famous works of art, and from Victorian illustrations and engravings. The giant foot which crushes the show's title at the end of the opening credits is in fact the foot of Cupid, cut from a reproduction of the Renaissance masterpiece Venus, Cupid, Folly and Time by Bronzino. This foot, and Gilliam's style in general, are visual trademarks of the programme.
  The Pythons used the British tradition of cross-dressing comedy by donning frocks and makeup and playing female roles themselves while speaking in falsetto. Jones specialised in playing the working-class housewife, or "ratbag old women" as termed by the BBC. Palin and Idle generally played the role more posh, with Idle playing more feminine women. Cleese played female roles more sparsely, while Chapman was frequently paired with Jones as a ratbag woman or with Idle portraying middle-class women commenting upon TV. Generally speaking, female roles were played by women only when the scene specifically required that the character be sexually attractive (although sometimes they used Idle for this). The troupe later turned to Carol Cleveland, who co-starred in numerous episodes after 1970. In some episodes, and later in Monty Python's Life of Brian, they took the idea one step further by playing women who impersonated men (in the stoning scene).
  Many sketches are well
caption: Jones and Cleese as housewives in the 2014 reunion. Playing Brian Cohen's mother in Life of Brian, Jones delivered the line, "He's not the Messiah, he's a very naughty boy!".[39]
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