Stand-up Comedy Research Articles

Borders and Bridges in Gender Discourse: A Comparative Study of Feminist Stand-up Comedy in China and the United States

This paper selects the textual content of Yang Li’s and Iliza’s stand-up comedy for a comparative analysis, aiming to foster a dialogue between Chinese and American feminist stand-up comedy. This research findings uncover numerous similarities as well as several noteworthy differences. Additionally, to further explore the female discourse in Chinese and American feminist stand-up comedy, this paper employed quantitative analysis to assess the audience sentiment in the comment sections of the two comedians’ videos, aiming to analyze the discourse power and expression rights of these two feminist comedians. The findings offer insight into the potential and difficulties faced by female comedians tackling gender problems by highlighting the cultural quirks and social attitudes toward feminist humor in both nations. In addition, the study looks at how these comedians’ performances affect the public conversation about feminism and gender equality, offering insights into how feminist comedy is changing in China and the US.

Penyimpangan Prinsip Kerja Sama dalam Penciptaan Humor Wacana Lisan Stand-Up Comedy Ali Akbar: Kajian Pragmatik

This research is entitled “Deviation of the Principle of Cooperation in the Creation of Humor in Ali Akbar's Stand-Up Comedy Oral Discourse: A Pragmatic Study”. There are two problems in this research, namely what deviations of the principle of cooperation are contained in the oral discourse of Ali Akbar's stand-up comedy, and what kind of humor is contained in the oral discourse of Ali Akbar's stand-up comedy. This study aims to classify the form of deviation of the principle of cooperation used as a means of creating humor contained in the oral discourse of Ali Akbar's stand-up comedy. The theory used in this study is the theory of the principle of cooperation Grice in Wijana (1996). The data collection method used is the listening method equipped with the tapping technique and the advanced technique of free listening and speaking and the note-taking technique. The data analysis method is the matching method and the distribution method. The method of presenting the results of the data analysis used in this study is the informal method. Based on the analysis that has been carried out, the form of deviation of the principle of cooperation is found to include, deviation of single maxims and deviation of double maxims. The humor contained is joking, insulting, complaining, and satirizing.

Motivation, self-determination, and reflexivity of researchers in comedic public engagement.

Understanding motivation and impact of participation in public engagement programs is crucial for fostering dialogue between researchers and the public. Using Self-Determination Theory and Reflexive Thematic Analysis, in this study we analyzed motivation and impact on identity of researchers participating in Bright Club Ireland, a public engagement project where academic researchers learn to use stand-up comedy as an informal and accessible means of communicating their research, then perform at a public-facing variety night alongside professional comedians. Through semi-structured interviews and focus groups, we found that participation in Bright Club is largely intrinsically motivated, driven by researchers' desire to gain skills, be recognized as experts, and present their own perspectives on their disciplines. These findings shed light on how participation in public engagement can promote a sense of autonomy, competence, and relatedness among researchers, and highlight the role of creative expression in facilitating reflection and growth.

Stand-Up Comedy as an Erotic Art: Reframing Stand-Up Comic Performance Through the Lens of Audre Lorde

ABSTRACT Violent metaphors are common in the description of stand-up comedy. If a comedian is successful, she “kills”—vaudeville slang that hardened in the twentieth century into an aggressive, hierarchical ethos this article refers to as the dominance model that is problematic because it reproduces systems of oppression that disadvantage comedians of marginalized identities, especially women and LGBTQIA+ performers. While pervasive in the stand-up industry, the dominance model is not inherent to the art form itself but is rather a by-product of the white, heteropatriarchal culture in which stand-up was forged. A more inclusive model frames stand-up comedy as an erotic art as defined by Audre Lorde in “Uses of the Erotic.” Lorde argues that erotic knowledge is deeply felt in the body, joyful, and shared, a description that neatly encapsulates the experience of stand-up comedy for both performer and audience and offers a fresh, feminist approach to understanding stand-up comedy performance.

Stand-up comedy to the screen: A satirical autoethnographic approach

Stand-up comedy to the screen: A satirical autoethnographic approach

Copyright Is a Joke: Perspectives on Joke Theft in Stand-Up Comedy, and How To Save the Punchline

It seems that while comics are interested in using the law to enforce joke theft, no legal mechanism currently exists that would apply in a meaningful way to the intangible and ever-changing nature of performed comedic material. Perhaps the realities of the stand-up comedy industry are incompatible with a purely legal solution, and it would be better to get creative, break down the norms-based system, and determine how best to import components of legal redress in a way that not only preserves the efficacy of the current approach but also addresses some of the pitfalls leading to inconsistent enforcement. In attempting to bolster the protections against joke theft while respecting the preferences of comedians, learning from the law might be better than leaning on the law.

Examining Sexist Inferences on The Churchill Show's Stand-Up Comedy

Examining Sexist Inferences on The Churchill Show's Stand-Up Comedy

Scripted stand-up Comedy in Translation:The Marvelous Mrs Maisel dubbed in Italian

Scripted stand-up Comedy in Translation:The Marvelous Mrs Maisel dubbed in Italian

The impact of verbal behavior on audience engagement in Chinese talk shows: Based on a novel mediation model

This study employs the Stimulus-Organism-Response (SOR) model to construct a new mediation framework, examining the impact of Chinese stand-up comedians' language on audience engagement from both quantitative and qualitative perspectives. Statistical analysis of data from 415 online viewers of stand-up comedy shows revealed that comedians' humorous language significantly enhanced audience engagement by positively influencing their enjoyment. Based on this, in-depth interviews were conducted with 8 viewers to understand their specific perceptions of different types of humor. The analysis results showed that Chinese audiences had a higher acceptance of affiliative humor, self-deprecating humor, and humor incorporating traditional cultural elements, while they had lower acceptance or even rejection of aggressive humor, political satire, and vulgar humor. This study enriches the research on the relationship between Chinese stand-up comedy shows and audience engagement, providing insights for improving the production of Chinese stand-up comedy shows and for Western entertainment programs entering the Chinese market.

Lanita Jacobs (2022). To be real: Truth and racial authenticity in African American standup comedy

Lanita Jacobs (2022). <i>To be real: Truth and racial authenticity in African American standup comedy</i>

Engaging Vernacular Languages and Cultural Diversity in Producing Laughter in Standup Comedy Shows: Translations of Punchlines in the Subtitles of Jo Koy's Netflix

This study explores the engagement of vernacular languages and the nuances of cultural diversity in the translation of punchlines in standup comedy shows. It examines Jo Koy's Netflix. Jo Koy, an American comedian with a Filipino mother, often associates Filipino English and culturally specific references into his routine and makes humor by relating his cultural background. However, translating humor for a global audience is not easy, especially while keeping the humor impact of vernacular languages. This research focuses on the cultural diversity issues in translating punchlines, and interactions between two different elements: English and Indonesian. It examines subtitles from Jo Koy's comedy show ‘Comin' In Hot’, broadcast on Netflix, and the context: the Hawaiian and Indonesian audience, and the American comedian. The study demonstrates that standup comedy shows address cultural diversity. Hawaii, the similarities between Mexicans and Filipinos, Asian English accents, Jo Koy's mother, Filipino culture, and the father-son relationship are all referred to in the punchlines. Delivery of the punchlines articulates the notion of 'difference' and personal connection. In them, cultural issues rise through place names, customs, beliefs, linguistic culture, characters, and objects. Translation techniques such as compressing, shifting, borrowing and adding are used to reach the audience. When employing these techniques, space limitations, duration, understanding of the audience, and cultural issues play a role. The study suggests that the intersection of language, culture, and translation in global media contribute to a broader understanding of how comedy can transcend linguistic boundaries while retaining its original comedic intent.

PELANGGARAN TERHADAP KARYA CIPTA MATERI STAND UP KOMEDI RIDWAN REMIN

Content relating to stand-up comedy is protected by copyright. The use of stand-up comedy content is basically protected by law, namely law number 28 of 2014 which regulates copyright, as shown by Ridwan Remin's use of stand-up comedy material by Vicky Prasetyo. The problem is, does the use of stand-up comedy material by Vicky Prasetyo belonging to Ridwan Remin violate Law Number 28 of 2014 concerning Copyright? and whether Vicky Prasetyo's actions using Ridwan Remin's material without permission include acts of violating copyright regulations. This type of normative research uses case and regulatory approaches, the type of research uses descriptive analysis, qualitatively analysed. The results and conclusions of the research are that stand-up comedy content is protected by copyright under Article 40 of Law Number 29 of 2014, and the use of Ridwan Remin's stand-up comedy content is unlawful under Article 44 of Law Number 28 of 2014 concerning Copyright.

Discursive Tropes of Aggression Against Queer-Sexuality in Nigerian Standup Comedy

Discursive Tropes of Aggression Against Queer-Sexuality in Nigerian Standup Comedy

Dismantling Colonial Laughter: Tracing Emergent African Diaspora Stand-Up Comedy in French and German

This study redirects attention from English-speaking African diaspora stand-up productions to French and German language expressions of purposively selected comedians with recent immigration history from Africa performing within mainland Europe. Through a socio-historical interrogation of specific colonial histories and joke themes, the paper comparatively explores the French language stage acts of Fary Lopez, Samia Orosemane (France) and Cécile Djunga (Belgium and France) and the German language works of Dave Davis (Germany), Charles Nguela (Switzerland), and Soso Mugiraneza (Austria). The aim is to show how the individuated colonial histories of the nations in which these comics reside and the chronicles of their relations with Africa(ns) and Black peoples feature in joke formulations and satiric jibes of the jokesters. Through these explorations, this essay studies how stand-up comedy’s transformative power challenges societal norms and attitudes using the backdrop of the concurrently heterogeneous and dissimilar colonial histories of the African continent and its diasporas. Moreover, through its focus on non-English expressions, it presents the unique intersections of language, “race,” ethnicity and colonial histories, as well as the geographic and linguistic spread of the African diaspora beyond European nations with direct colonial contact with the continent. Thus, the enquiry posits joke performances as platforms for cultural expression and critique as well as a site within which African peoples negotiate their presence in non-African environments.

Concept of PRIDE in Comic Discourse: Axiological Approach

This article examines the peculiarities of the actualization of the concept of PRIDE within comic discourse from the perspective of axiological linguistics. It determines the value status of the phenomenon under consideration based on an analysis of definitions from dictionaries spanning various years and relevant literature. The study demonstrates the evolution of attitudes toward pride and arrogance within English-speaking linguistic culture. It explores the concept’s connections with related phenomena such as arrogance, vanity, and snobbery. A four-step axiological analysis is conducted to investigate the features of the actualization of the concept of PRIDE in comic discourse. The research material comprises over 70 stand-up comedy performances and 700 episodes of situational comedies. It is established that the textual actualization of the category of pride or arrogance is typically accompanied by audience laughter or off-screen laughter. The study reveals that ridicule is directed at an inflated or unwarranted self-assessment of greatness and a sense of superiority over others. Three primary types of superiority are distinguished: intellectual, physical, and social. Furthermore, it is noted that pride/arrogance is evaluated negatively either through the outcomes it produces or through the demonstration of its unwarranted manifestations. The main linguistic means for actualizing the concept of PRIDE are identified. Thus, self-assessment of greatness is realized through hyperbolization of one’s abilities, while the sense of superiority over others is represented through various linguistic devices.

Figurative Language in Sticks and Stones Standup Comedy by Dave Chappelle

This research analyzes the use of figurative language in Dave Chappelle's standup comedy special "Sticks &amp; Stones." The issue addressed is how Chappelle employs various forms of figurative. The aim of this study is to identify and evaluate the types of figurative language used and understand how these techniques affect the messages conveyed and the audience's response. The research method used is qualitative text analysis, where transcripts of the comedy special are analyzed to identify metaphors, similes, irony, hyperbole, personification, metonymy. Data were collected through direct observation of the performance and related literature analysis to support the findings. The findings of the study show that Chappelle consistently uses figurative language, as well as to add deeper layers of humor to his material. Metaphors and irony emerge as the main tools used to highlight absurdities and injustices in issues such as cancel culture, identity politics, and freedom of speech. These results indicate that figurative language not only functions as a rhetorical tool but also as a mechanism to invite the audience to think critically about the issues raised. This research contributes to the development of knowledge by adding insights into the role of figurative language in standup comedy. It also expands the understanding of how comedians like Chappelle can use language techniques to influence public perception and encourage social dialogue. Keywords: Figurative language, Stand-up comedy, Dave Chappelle

Qualitative Analysis of Female Texts in Chinese Stand-up Comedy

In the digital era, the rapid development of digital media promotes the widespread transmission of feminist viewpoints within the Chinese social context, despite the stringent regulations imposed on feminist activities by the authorities. Like Rock &amp; Roast, stand-up comedy has become an effective medium for articulating females appeals and critiquing gender inequalities in China. Through methods of textual analysis and critical discourse analysis, this essay explores different kinds of females texts in Chinese stand-up comedy, different genres of feminism that these texts reflected, as well as male audiences attitudes towards those various types of females texts. This paper finds that the females texts offer different perspectives, with YangLi s texts particularly challenging hegemonic masculinity. As a result, her texts elicit strong resistance from male audiences, as they confront and question traditional gender power dynamics and norms. However, as a whole, the females texts created by female comedians in Chinese stand-up comedy show the features of popular feminism, which distinguishes from true feminism due to their failing to unveil the structural inequalities and oppression in social and cultural contexts.

Surviving Parish Ministry: A Rural Vicar’s Reflections on Creative Ways to Cope with the Pressure of the Role

ABSTRACT This article describes how somewhat unusual extra-parochial activities – running a therapeutic programme for survivors of child abuse and performing stand-up comedy – have enhanced the ministry and wellness of a rural priest. Two factors are suggested: these provide an outlet for stress, and they sharpen some key skills and qualities essential to parish ministry. The author focusses on two research themes – marginality and persona – and explores how they play out in his therapeutic work and the comedy world. The life-changing results that occur through the therapeutic programme mitigate ministry marginality, as does meaningful engagement through stand-up comedy with people who would never come to church. Further, he contends that his life-long involvement with therapeutic practice means that there is less distance between his public persona and his true personality and thus less existential tension, a factor that can significantly contribute to break-down.

Jelani Greenidge, Undercover Prophets: Pursuing Stand-Up Comedy to Talk about What Matters Most

Jelani Greenidge, <i>Undercover Prophets: Pursuing Stand-Up Comedy to Talk about What Matters Most</i>

CULTURAL RELATION ON DISCOURSE MARKERS IN PUNCHLINES ON RICKY GERVAIS’ SUPERNATURE STAND-UP COMEDY SHOW

This research investigates the intricate functions of discourse markers (DMs) in Ricky Gervais' stand-up comedy, exploring their alignment with humour theories and their impact on punchline delivery. The purpose of this research is (1) to define the categories and functions of DMs utilised by Ricky Gervais in formulating punchlines and (2) to define the application of DMs in the punchlines within the framework of three theories of humour. The data was obtained from Ricky Gervais’ Stand-up Comedy Show entitled “SuperNature” on Netflix. A qualitative descriptive was applied. The theoretical basis of this research is Brinton’s theory which entails the category and function of DMs and Raskin’s theory regarding the creation of humour. Through examination, the research reveals that Gervais employs a diverse set of DM functions to navigate and enrich his comedic narratives, including the textual and interpersonal categories. The textual category, specifically on DM as an information indicator, indicates the highest overall outcome, with 18%. Moreover, their appearance showcases the dynamic role of DMs in appealing to humour theories. It can be shown that DM commonly appeared in the punchlines on the show, reaching a significant number of 46% in the incongruity category, aiding and amplifying punchlines.