They're both as important as one another. End.
Living together - THE underlying 'situation'? Page 2
But why single out the sitcom? In 99.99999% of fictional prose character is key, whether it be a sitcom, a novel, a play, or whatever.
Sometimes the situation can pull an audience however if it belongs, or at least pretends to belong, to a genre or area that interests them.
I remember when I first saw the trailer for Red Dwarf when I was a kid. Just because it was set in space I couldn't wait to see it. Most of the conflict the crew faced in RD was (of course) related to sci-fi. Many of these conflicts could've arisen in almost any situation really, but because I was a big sci-fi fan, they were that much more interesting and engrossing to me.
Quote: Aaron @ January 19, 2008, 8:53 PMThey're both as important as one another. End.
Not true. End 
And by situation, I dont mean the action or events, Im literally referring to where its set. A flat, or hotel,or whatever. Obviously humour is generated by the situation, but as a writer you have to create characters for a piece to work.
End part two.
But you also have to create settings and events for them to be in and experience.
Granted, the set is less important. But the events and set together are just as important as the character(s).
No character(s) - no comedy, no matter what's happening.
No set/events - nothing for the characters to do, see, whatever.
Each relies on the other. They're intrinsically linked. I WIN. 
Quote: Aaron @ January 19, 2008, 9:07 PMBut you also have to create settings and events for them to be in and experience.
Granted, the set is less important. But the events and set together are just as important as the character(s).
No character(s) - no comedy, no matter what's happening.
No set/events - nothing for the characters to do, see, whatever.Each relies on the other. They're intrinsically linked. I WIN.
I don't agree with that at all. It is perfectly possible to write great dialog for two or more characters floating in oblivion.
Now where are those custard creams, Aaron? 
But you have to have something for them to be talking about...
Actually I just realised the ill-thought-out bullshittedness of my argument, since oblivion here would become the situation. I think? Hmm, I'm just gonna go take some pills and relax for a while.
I still want a custard cream though.
*offers biscuit barrel around*
Quote: Aaron @ January 19, 2008, 9:13 PMBut you have to have something for them to be talking about...
Yes, but they could talk about anyhting, it doesnt have to realate to where they hapen to be sitting. Im not saying situation isnt important, just that I think character is even more important. Take one of youre current favourites, Not Going Out, is that funny becuase its set in a flat and sometimes they go to a bar, or because the characters have a good dynamic and have funny conversations?
Like I think Ive said, Im not talking about actual story or events in the show, purely the setting. Would Fawlty Towers be half as good, with exactly the same events going on and the same set, if it didnt feature characters like Basil or Manuel?
But yes, setting/situation is a vital layer to the sitcom cake. Character is the sponge, story is the jam, setting is the icing. Did I just write that last line? I think I must be tired. Or drunk.
Uhhhhh, yeah. I think we're in general agreement, just under slightly different definitions of situation.
If we're going purely by the where (bedroom, hotel room, sitting room, bar, kitchen, etc), then characters are more important. But if we're talking in terms of location AND events being 'situation', then I reckon they're pretty much equal.
Anyway.
Red Dwarf is the epitome of a sitcom where characters are trapped with each other. They want to escape each other, but they can't.
It's the same with Father Ted (All banished to Craggy Island), Steptoe and Son (Can't escape the family link) and many others.
I've always wanted to write a script set in a submarine, just so the characters cannot easily leave.
sadly I know nothing about life onboard a submarine.
Cramped.
Quote: ian_w @ January 19, 2008, 8:55 PMBut why single out the sitcom? In 99.99999% of fictional prose character is key, whether it be a sitcom, a novel, a play, or whatever.
Sometimes the situation can pull an audience however if it belongs, or at least pretends to belong, to a genre or area that interests them.
I remember when I first saw the trailer for Red Dwarf when I was a kid. Just because it was set in space I couldn't wait to see it. Most of the conflict the crew faced in RD was (of course) related to sci-fi. Many of these conflicts could've arisen in almost any situation really, but because I was a big sci-fi fan, they were that much more interesting and engrossing to me.
I think I was just taking issue with the title of the genre: 'situation comedy'.
After all - and to use your own examples - we don't hear much about 'situation novels or 'situation plays'.
Having mulled it all over, my conclusion is that the use of the term 'situation' isn't actually so much wrong as simply irrelevant. Why don't we just call 'em 'comedy series' and have done with it?