Chapter 5. Laughing at you or laughing with you?

Dore, Margherita

doi:10.1075/thr.7.05dor

Cited by 11 publications

(2 citation statements)

References 20 publications

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“…Stand-up comedy and humorous YouTube sketches have been attracting scholarly attention at least since mid-80s (Mintz, 1985;Rutter, 1997Rutter, , 2001; if the first studies analysed (American and British) mainstream performers, in the last 10 years attention starts to be also given to female stand-upers (Ruiz-Gurillo & Linares-Bernabéu, 2020), to first-and secondgeneration migrant performers (Chun, 2004;Da Silva, 2015;Koven & Simões Marques, 2015;Vigouroux, 2015), to humour targeted at migrants (Perrino, 2015), to expats' stand-up (Dore, 2018) etc.…”

Section: Humorous Patternsmentioning

confidence: 99%

Identity investment in stand-up comedy and online sketches

Constantinescu

2023

EJHR

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The article focuses on identity investment in stand-up comedy and online sketches performed by Romanian (or of Romanian descent) comedians acting abroad (France and United Kingdom). It aims at highlighting various humorous strategies that could be construed around a shared feature: the importance of the performer’s stage identity (persona). The analysis is based on a theoretical framework which combines stance(taking) studies and discourse approaches to humour. Immigrant’s (as marginal performers) humour reveals subversive humour: a means of coping with reality, aimed to expose and challenge power structures. The comedians explore stereotypes regarding Romanian or Eastern European immigrants in France and the UK. The differences in staging the stereotypes depend on the comedian’s identity investment in the persona he creates during the humorous performance, as well as on the degree of marginality he assumes for that persona.

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Section: Humorous Patternsmentioning

confidence: 99%

Identity investment in stand-up comedy and online sketches

Constantinescu

2023

EJHR

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“…The studies that address the interrelation between comedians' public humour and their private family circumstances are scarcer. This topic was generally raised in the general discussions of stand-up comedians' socio-demographic background (Stebbins 1990: 60-68), the effect of family life on the comedians' personae, repertoire and skills (see, for example, Double 2005) and the ways families feature in their routines (Dore 2018). However, little has been said about the multiple ways comedians' public and family humour can influence each other.…”

Section: T H E O R E T I C a L B A C K G R O U N D A N D L I T E R A T U R E O V E R V I E Wmentioning

confidence: 99%

“The Path of the Comedian is Always Going to be a Lonely One”: Comedians’ Mediation Between Family Humour and Public Performance

Fiadotava

2020

Journal of Ethnology and Folkloristics

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The article* presents a study of the use of family humour in public comedy and the mutual influence of family humour and public humour on comedians’ performances and everyday life. The interrelations between these domains lie at the level of the content of humour, its format, its performance and the interaction between humour producers and their audience. Family and public humour often overlap and interweave in various ways, especially in the experience of those who engage in humour production both in public and in private spheres.The study is informed by interviews with UK-based comedians on their family humorous folklore and its interrelation with their public humour performances. The interconnection between public and family humour was identified on several levels: textual, communicative, personal and conceptual.This multidimensional interplay indicates that family humour is contingent on the context, but at the same time is often conditioned by comedians’ public personae and cannot be fully separated from the humour they perform publicly. The study illustrates the vagueness of the dichotomy between public comic performances and family humour and points to multiple ways in which the boundaries between these domains can become blurry.

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Co-constructing humour and gender identity in live stand-up comedy

Bernabéu

2023

Pragmatics &Amp; Beyond New Series

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This chapter explores the role of kairos in female stand-up comedy, looking specifically at the co-construction of humour between performer and audience. Stand-up performers adapt their routines depending on their audiences, trying to draw these into the performance through the use of kairos, understood as the opportune and unpredictable moments of persuasion in which comedians choose to respond to and interact with their audience with the aim of promoting a humorous effect (Greenbaum 1999; Medjesky 2017). In order to verify this claim, the present study is an analysis of the FEMMES-UP corpus (Linares-Bernabéu, 2020), which comprises 15 humorous stand-up comedy performances by 15 female Spanish comedians. The corpus has been transcribed and segmented into 504 sequences, and we focus here on 113 of these, in all of which there is direct dialogue between the comedian and one or more members of the audience. The findings show that humour facilitates friendly interaction and helps comedians to negotiate their identity. In fact, the stand-ups in these data use kairos to adapt their speech in light of how audiences respond. Overall, the research reported here confirms that female stand-up comedy is a type of planned discourse, and that it is used by comedians as a cultural and social tool in terms of confrontation and resistance.

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Chapter 5. Laughing at you or laughing with you?

Cited by 11 publications

References 20 publications

Identity investment in stand-up comedy and online sketches

Identity investment in stand-up comedy and online sketches

“The Path of the Comedian is Always Going to be a Lonely One”: Comedians’ Mediation Between Family Humour and Public Performance

Co-constructing humour and gender identity in live stand-up comedy

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