Abstract
ABSTRACTDrawing from the art of stage hypnotism, in this article, I contend that there are certain aesthetic practices in which the uncanniness of the content of performance can run counter to the humorous intent of the activity. Comic hypnotism is an artistic performance that flirts with the uncanny but runs the risk of being overwhelmed by it. I argue here that comedy hypnosis must do something more than succumb to uncanniness. Looking at the work of Guy Michaels I consider the work of a performer who emphasizes the comedic over the degrading, and harnesses positive experiences of sociality and laughing with others over negative experiences of exploitation and laughing at others. This article considers ways in which a successful performer navigates the razor's edge between being comical and being creepy.
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