Stand-up Comedy Research Articles

Punching Up in Stand-up Comedy: Speaking Truth to Power

Punching Up in Stand-up Comedy: Speaking Truth to Power

‘There is Beauty in the Way that I Think.’ Exploring Autistic Life Narrative in Cultural Texts of Hannah Gadsby

ABSTRACT Representations of autism in popular culture usually rely on stereotypes about autistic people rooted in clinical discourse of pathology, reproducing gendered, racialized and classed images of white, cis male exceptionalism. The dominant circulating narratives often ignore lived autistic experience and position autism either as a spectacle or as the unknowable other. Personal narrative allows autistic people to ‘story’ autism in its many different forms and create a space of critical interrogation. This article examines two cultural texts of Tasmanian comedian and author Hannah Gadsby, who addresses their late-life diagnosis of autism in their stand-up comedy show Douglas and their memoir Ten Steps to Nanette. By drawing on queer and feminist disability studies, critical autism studies and theories of life writing, this article analyses how Gadsby employs autistic life narrative as a form of ‘diversity work’ [Ahmed, Sara. 2017. Living a Feminist Life. Durham: Duke University Press] and tells their story in its tense relation to social and medical notions of normality as well as medical discourse of diagnosis. By doing so, this article argues that Gadsby’s use of life narrative contributes to a more diverse representation of autistic lives and offers a critical interrogation of what is considered social normality.

HUMOR IN DEDDY’S CORBUZIER “SOMASI”

The purpose of this study was to find out the forms of humor in a stand-up comedy video titled "Somasi". It used the humor theory proposed by Martin to support this analysis. This study used the descriptive-qualitative method. The results of this study showed that the comics' utterances contain several forms of humor. These types include jokes, spontaneous conversational humor consisting of sarcasm, satire, overstatement and understatement, self-deprecation, ridicule, answers to rhetorical questions, and clever answers to serious statements.

The semiotics of humor in cultural trauma: a pilot study on digital methodology concerning the evolution and overcoming of trauma through humor on the example of Rick and Morty

Abstract This pilot study on humor in cultural trauma uses innovative digital methodologies in speech recognition and social media analysis via Postman and Python in the Twitter API v2 to propose different forms to gather and analyze empirical data on semiotics and humor to be used in a broader context. The given example of humorous instances on the cultural trauma of 9/11 in the fictional sitcom Rick and Morty is limited but corroborated by a second example that is structurally different from the first: humor about 9/11 in stand-up comedy by Louis C.K. Based on the data, humor in trauma seems to undergo a 5-phase-typology related to the Kübler-Ross model of grief, which is mended by the (digital) participation of society. Society, we argue, both shapes the discourse on humor in trauma and overcomes the traumatic effects through humorous discourse.

Political In Between: Streaming Stand-Up Comedy and Feminist Reckoning in Contemporary Mainland China

China’s strict censorship not only depoliticizes stand-up comedy but creates obstacles for feminist activities. With an experimental approach that compares comedy shows online and offline, this paper asks in which ways comedy and feminism can gesture the political critique and resistance around public culture. Based on seven-month participant observation in comedy clubs in mainland China, I analyze comments and criticism toward women stand-up comedians and offer textual analyses of comedians’ performances in a popular online variety show, Roast & Rock. Beginning with an issue that a woman professional comedian’s performances received laughter and applause offline but criticisms online, I reveal the twisted joking and laughing relationships in women’s stand-up comedy and in turn argue that the debates over “what is the proper women’s voice in public culture,” or what I call feminist reckoning, have become politicized feminist expression that is performed and embodied in-between online streaming and live club comedies. Revealing the (re)politicization of stand-up comedy, I envision possibilities that make feminist media practices visible in mainland China’s public culture.

An Overview Concerning the Monologue and Stand-up Comedy

A theatrical production is usually seen as a blending of acting, dancing, singing, and spoken conversation, known as musical theatre. Furthermore, a musical’s storyline and emotional elements, which include humour, sorrow, love, and wrath, are communicated through words, music, dance, and technical aspects of the performance. ‎This paper explores the similarities and differences between two dramatic performances: stand-up comedy and monologue. The significance of this paper is to examine the gap in dramaturgical history to link between different forms of performances concerning the past and the present time, such as the link between stand-up comedy and a monologue. The quest has provided a vibrant resemblance to say that stand-up comedy is a natural evolution of a monologue presented with modern styles and ideas. The performer, whether a comedian or monologist, is mostly perceived to express a performer’s thoughts clearly, though occasionally directly addressing another character or spectators. The show in both performances requires a rhetorical act, where a crowd interface is used as part of their set or practice. Finally, a solo performer can be called a monologist or stand-up comedian, whether found on stage, television, or written verse, who presents their art to entertain or deliver a definite message to an active or passive spectator. The content usually takes the shape of a song or sarcastic speech that may start with a personal memory of the presenter, considered a public or common issue in society.

Book Review: To be Real: Truth and Racial Authenticity in African American Standup Comedy by

Book Review: To be Real: Truth and Racial Authenticity in African American Standup Comedy by

Transformasi Komunitas Stand Up Comedy Jogja di Era Digital

This research aims to delve into the changes occurring within the stand-up comedy community in the face of the digital transformation that has permeated various aspects of life. Through in-depth interviews with comedians and observations on various social media platforms, this study demonstrates that digital technology has become a crucial space for the development of the stand-up comedy community. Additionally, utilizing a qualitative approach, the research explores the perspectives of performers and stand-up comedy practitioners on how digital technology affects interactive processes within this community. The findings highlight the need for alignment between the use of technology and the preservation of the essence of stand-up comedy as an art form. Key factors in ensuring the success of the stand-up comedy community in the digital era include building a strong collaborative network from within the community, aligning technology with stand-up comedy, and adapting to technological changes. This research hopes to contribute to a comprehensive understanding of the dynamics of the stand-up comedy community in the digital era while providing guidelines for comedians and community managers to maximize the potential of technology in enriching the expression of stand-up comedy as an art form.

Comic Objectification of Concept of UGLINESS: Axiological Approach

The article examines the features of the comic objectification of the aesthetic concept of UGLINESS from the perspective of axiological linguistics. The author applies an algorithm of axiological analysis, which includes the following stages: evaluating the audience’s reaction to relevant comic statements; identifying the ridiculed characteristics of the analyzed concept; analyzing remarks aimed at evaluating these characteristics; studying the linguistic features of concept actualization. As practical material, over 70 stand-up comedy shows and 700 episodes of various sitcoms were used. It is proposed to divide physical flaws into two groups: acquired and congenital. The main ridiculed acquired physical flaws of a person include excess weight, poor memory, and missing / deforming body parts / organs. Common ridiculed congenital physical flaws include non-standard shapes and sizes of human organs, short or tall stature, and speech defects. The main linguistic means of actualizing the concept of UGLINESS include direct designation, euphemisms, comparison, and hyperbole. It has been established that in English-language stand-up comedies and sitcoms, the gender characteristics of the comic object are primarily subjected to ridicule when actualizing the concept of UGLINESS.

Cringe witnessing in post-millennial stand-up comedy performances by Ali Wong and Ali Quandil

Abstract Cringe comedy, wittily disseminating truth through the interplay between the verbal and contextual, centralizes vicarious/embarrassment as its endpoint through levels of para/linguistic incongruity and social superiority. This paper focuses on the stand-up comedian presentation along with paratextual elements that document the sociopolitical situation in two different cultures contributing to the process of perception on the part of the gazing audience. The paper questions the spectatorial gaze through post-millennial media practices that pertain to the visual among other visceral affects thus diminishing the role of the active witness whose role is beyond watching. The act of witnessing, globally foregrounded and requested by the turn of the twenty-first century, is investigated within the structure of stand-up comedy to figure out whether or not the spectator is an active witness or a by-stander. For this purpose, the study applies Andy Lavender’s model of performance modalities to stand-up comedy performances by the American Ali Wong and the Egyptian Ali Quandil; Don Wong and Mawdoa Hareemi Shweya (Some Feminine Stuff) in 2022 and 2021 respectively. Lavender’s model proposes that four modalities (the emotional, physical, discursive, contextual) turn the actor/performer into the physical medium of communication to the audience.

Deconstructing the Sublime Kills Free Speech?

Recently, a Chinese stand-up comedian was reported for allegedly insulting the military in his stand-up comedy,which eventually led to the downfall of his acting career, a police investigation, and left significant implications on theentire stand-up comedy industry. To understand the gravity of the situation, it is necessary to go back to the roots ofChinese history and culture. In China, the military holds significant importance as a constitutional institution, a statusdeeply rooted in the country’s historical context. This importance is reinforced by the contemporary political structureknown as the Party-Government-Military Trinity. Within this framework, the Communist Party’s mass line plays a crucialrole in establishing a strong foundation for the party’s acquisition and legitimacy of political power. Additionally, themilitary’s image serves as a symbol of political authority and national security.

Manipulation of Lexical Relations in Cultural Humor of Stand-up Comedy on YouTube Shorts

This research attempts to uncover the manipulation of lexical relations in building cultural humor by applying embedded case study that uses qualitative methods to analyze data from the YouTube Shorts of the ISMO account. The data was purposively collected from popular videos on the channel. The analysis reveals that stand-up comedians use lexical relations, such as hyponymy, meronymy, antonymy, and homonymy, to create cultural humor through hook and punchline. Unlike previous studies, this research explains how lexical relations are constructed in humor with a hook-punchline structure. It also shows how certain types of lexical relations can be utilized by breaking them down into hook and punchline keywords or by combining them directly through stories or narratives. This information can serve as a reference not only for the audience but also for comedians to develop more creative methods of building humor.

Rashi Bhargava and Richa Chilana: Punching up in stand-up comedy: speaking truth to power

Rashi Bhargava and Richa Chilana: <i>Punching up in stand-up comedy: speaking truth to power</i>

“Finding light in the darkness”: exploring comedy as an intervention for eating disorder recovery

PurposeEating disorders (EDs) remain a major health concern, and their incidence has further increased since the COVID-19 pandemic. Given the equally increasing demands on treatments and service provision and the high levels of relapse post-treatment, it is important that research explore novel and innovative interventions that can further support recovery for individuals with EDs. There is growing evidence that arts interventions are beneficial for recovery from EDs. This study aims to evaluate the feasibility of conducting a stand-up comedy course to support ED recovery.Design/methodology/approachThe study used a qualitative interview study design to evaluate the recovery benefits of participating in stand-up comedy workshops for a pilot group of people in recovery from EDs (n = 10).FindingsThe comedy intervention was well-attended and had high acceptability and feasibility. For most individuals, participating in the course had a positive impact, including promoting personal recovery (PR) outcomes across all five elements of the CHIME framework. Unique assets of the course included providing participants with an opportunity to distance themselves from everyday worries of living with an ED; the opportunity to cognitively reframe situations by making them the object of humour; and providing a safe space to (re-)build a positive sense of self.Originality/valueThis is the first study, to the best of the authors’ knowledge, that evaluates stand-up comedy workshops for ED recovery and further demonstrates the potential of arts interventions and the relevance of PR frameworks in this field.

Stand-up for integration: stand-up comedy and its effects on social integration of expats and other migrants

Abstract This paper explores the effects that stand-up comedy performed by expats and other migrants can have on social integration of migrants. The study is situated in the Czech Republic where migrant population is growing fast and the necessity for exploring successful integration strategies increases. The study is designed as ethnographic research which relies on participant observations – attending and recording stand-up performances; semi-structured qualitative interviews with comedians; and informal interviews with audience members. The main findings identify three key aspects through which stand-up comedy can foster social integration of migrants: community-building and a nurturing a sense of belonging; acquiring cultural competencies of the host culture; and enabling inter-cultural understanding through cultural exchange.

Persian comedy whispers out loud: a critical discourse analysis of Persian televised stand-up comedy

This paper probes into the Iranian society through the ‘discourse access’ that Persian stand-up comedy provides. It is posited that Persian humorous discourse can be an effective and relatively safe communication toolkit to speak truth to power and address cultural deficits. Hence, it may be an insightful ‘point of entry’ into the below-the-surface construct of various social wrongs (e.g. social class inequality, cultural illiteracy). In particular, Persian stand-up comedy, as a young and burgeoning genre of Persian comedy, seems to be reliably reflecting such concerns in Iran. Within the general framework of critical discourse analysis (CDA), this article inspected into a corpus of stand-up comedy performances by the Iranian participants of the first and largest televised stand-up comedy contest in Iran. The corpus included 11 stand-up comedians and 14 performances from the three seasons of the contest (2016–2022). The reflexive thematic analysis of the stand-up routines unmasked a wealth of social criticism which is discussed under four major themes of ‘economic stress’, ‘social class inequality’, ‘more equal decision-makers’ and, ‘agents of change’. The paper elaborates on Persian stand-up comedy as a potent driving force within the society to effect individual and social changes. It contends that Persian comedy can greatly contribute to discourses of awareness and transformation within the Iranian society.

Pushing the boundaries: an evaluation of the use of profanity and its relevance in Indian stand-up comedy

Stand-up comedy performances in India are undergoing significant changes, marked by transformations in linguistic choices. One noteworthy shift is the inclusion of profane words in the repertoire of Indian stand-up comedians. Given the context that obscene and vulgar content in a public performance may be punishable by imprisonment under Indian laws, this development demonstrates a crucial cultural shift in a conservative society like India’s. This study employed critical discourse analysis to analyse videos (n = 82) of stand-up comedy uploaded on YouTube of Indian stand-up comedians, to understand the content delivery styles and the usage of profanity. The findings revealed that many Indian comedians purposefully incorporated Hindi and English profanity into their stand-up acts, either as an inherent part of their performance style or to amplify the impact of certain portions of their discourse. Interestingly, these videos were also published online without censoring the profanity, indicating a departure from strict self-censorship practices. The results demonstrate the integral role of profanity and its increasing relevance in the discourse of Indian stand-up comedy within the Indian urban subcultural context.

Towards a New Poetics of Comedic Performance in Kenya Following COVID-19

ABSTRACT Stand-up comedy in Kenya before COVID-19 relied on close proximity between comedians and their audiences. However, COVID-19 disrupted this arrangement and subverted the performance space of ‘traditional theatre.’ This article examines alternative comic spaces embraced by selected Kenyan stand-up comedians during COVID-19. The article seeks to answer two fundamental questions: (1) What was the nature of the alternative spaces where the stand-up comedians performed during COVID-19? (2) How did the alternative sites of comic performances redefine how stand-up comedians engage with their audiences? To answer these questions, we conducted research on major stand-up comedians on Facebook, Instagram, TikTok, YouTube and Twitter to obtain primary data, which we analysed and interpreted drawing on theories of humour and of social performance. We argue that the comedians, motivated by the need to maintain the relevance of their work and their audiences, used the digital ecosystem and devised variant alternative comic spaces innovatively to push the threshold of poetics of comedic performances individually and collectively.

Perekhodya granitsy. Rossiyskiy stendap: lokalnye i globalnye smysly

Stand-up comedy is one of the brightest youth scenes of modern Russia, rapidly gaining popularity over the last decade. This genre of modern laugh culture rarely gets the attention of either foreign or domestic scholars and researchers. This article focuses on the career strategies of stand-up comedians, the peculiarities of their communication with audiences in the context of the formation of the stand-up scene in contemporary Russia in comparison with the formats of humor and laugh culture characteristic of the Soviet and post-Soviet times. The uniqueness of the Russian stand-up experience will be revealed through the analysis of characteristic style markers associated with the genre: the liminality / transboundary nature of the emerging culture, the high mobility of stand-up artists, creative collaborations, and touring exchanges within and between cities in their native regions. As a theoretical framework, the construct of youth cultural scene is used as the most adequate to the case under the study. The empirical base of the article is 15 semi-structured interviews with participants in the stand-up scene, non-participant observation of stand-up performances, and the textual analysis of blogs of stand-up comedians. The case study material was collected as part of a large-scale research project aimed at tracing the migration strategies and life plans of talented young people in the Northwestern Federal District of Russia.

Crossing the Border of Stigma: How Indonesian Janda—Divorced Women—Are Finding Their Voices through Stand-Up Comedy

Crossing the Border of Stigma: How Indonesian Janda—Divorced Women—Are Finding Their Voices through Stand-Up Comedy