scholarly journals Examining the hedonic and eudaimonic entertainment experiences of the combination of stand-up comedy and human-interest

Poetics ◽  
2021 ◽  
pp. 101601
Author(s):  
Anouk De Ridder ◽  
Prof. Dr Heidi Vandebosch ◽  
Prof. Dr Alexander Dhoest
Keyword(s):  
Human Interest ◽  
Stand Up Comedy

Funny How? The Effects of Ethnic Humor in Stand-Up Comedy

2008 ◽  
Author(s):  
Kristin E. Henkel ◽  
John F. Dovidio ◽  
Alexander Zavras
Keyword(s):  
Stand Up Comedy

Open Mic?

2020 ◽  
Vol 6 (4) ◽  
pp. 42-67
Author(s):  
Stephanie Brown
Keyword(s):  
Fan Studies ◽  
Production Studies ◽  
Gender Expression ◽  
Ethnographic Interviews ◽  
Stand Up Comedy ◽  
The Ideal

This article draws on ethnographic interviews conducted between May 2016 and May 2017 with stand-up comics in Chicago and Urbana-Champaign, Illinois, all of whom described the experience of being marked as, or associated with, women within the historically masculine comedic space. Drawing on feminist comedy studies, production studies, and fan studies, the article explores the cultural logics of comedic authenticity and their material effects on embodied performances of marked comics in local live comedy. It argues that marked bodies are rarely able to achieve the ideal performance of “authenticity.” While stand-up comedy is often theorized optimistically as a fruitful site from which to subvert assumptions about identity, gendered or otherwise, comics paradoxically feel pressure to conform to appropriate gender expression on stage in order to be legible to audiences and other comics historically influenced by masculine comedic taste.

ANALISIS TINDAK TUTUR EKSPRESIF DALAM WACANA STAND UP COMEDY INDONESIA SESI 3 BABE CABITA DI KOMPAS TV

Caraka ◽  
2020 ◽  
Vol 6 (2) ◽  
pp. 90
Author(s):  
Risang Krista Pratama ◽  
Asep Purwo Yudi Utomo
Keyword(s):  
Stand Up Comedy

Intervention

2017 ◽  
Author(s):  
Loré Lixenberg
Keyword(s):  
Mezzo Soprano ◽  
Stand Up Comedy

Mezzo soprano Loré Lixenberg looks back at the delights and dangers of collaborative projects, and of working with improvisation in contexts ranging from stand-up comedy to opera. The Intervention reflects on the particular opportunities and challenges that singers face in working with their bodies, and with their personal and dramatic identities.

Impersonated personae – paralanguage, dialogism and affiliation in stand-up comedy

2021 ◽  
Vol 0 (0) ◽  
Author(s):  
Lorenzo Logi ◽  
Michele Zappavigna
Keyword(s):  
Social Values ◽  
Voice Quality ◽  
Substantial Contribution ◽  
Cultural Stereotypes ◽  
Stand Up Comedy ◽  
Semiotic Resources ◽  
The Creation

Abstract This paper argues that paralinguistic resources employed by stand-up comedians to construe textual personae (impersonated characters) make a substantial contribution to the creation of humor by allowing the comedian to distance themselves from particular social values and by referencing shared cultural stereotypes. A stretch of stand-up comedy discourse is analyzed to explore how gesture and voice quality contribute to the construal of projected personae. These are mapped in relation to the interaction between comedian and audience to discern how they evoke specific social values. The results suggest that textual personae are deployed by the comedian to embody stereotypes that connote particular value positions, and that the comedian can construe blended or hybrid personae through the use of multiple semiotic resources. Impersonation thus constitutes a powerful resource for negotiating social values in order to generate tension and create humor.

The stand-up comedian as an egocentric communicator

2021 ◽  
Vol 18 (1) ◽  
pp. 1-23
Author(s):  
Ibukun Filani
Keyword(s):  
Concept Formation ◽  
Common Ground ◽  
Ad Hoc ◽  
Propositional Content ◽  
Communicative Behavior ◽  
Stand Up Comedy ◽  
General Perspective

Abstract The general perspective in pragmatics research on stand-up comedy is that the comedian co-produces humor with the audience. In this paper, I argue that the stand-up comedian’s communicative behavior is also partly rooted in egocentrism. To achieve this, I adopted a sociocognitive approach to intention and egocentrism in analyzing a routine that was performed in Chicago by Okey Bakassi, a Nigerian stand-up comedian. I operationalize egocentrism as one of the humor strategies of the comedian. While focusing on the propositional content of the comedian’s utterances, the analysis revealed strategies like privatization, ad hoc concept formation and ad hoc coherence, which the comedian used in individualizing the prior common ground to generate the needed incongruity for humor in the performance sphere.

Sign in / Sign up

Export Citation Format

Share Document