Winning Over the Audience: Trust and Humor in Stand-Up Comedy

IF 1 2区 艺术学 0 ART
DANIEL ABRAHAMS
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引用次数: 3

Abstract

This article advances a novel way of understanding humor and stand-up comedy. I propose that the relationship between the comedian and her audience is understood by way of trust, where the comedian requires the trust of her audience for her humor to succeed. The comedian may hold (or fail to hold) the trust of the audience in two domains. She may be trusted as to the form of the humor, such as whether she is joking. She may also be trusted as to the content of the joke. This approach has two distinct virtues. The first is that it makes sense of partial successes. These are cases where the humor neither completely succeeds nor fails because the audience does not fully trust the comedian. The second is that it explains intuitions about ethically dubious humor and why certain classes of humor, especially those dealing in racialized and gendered identities, are more readily (but not necessarily) accepted from humorists of those identities.

赢得观众:单口喜剧中的信任和幽默
本文提出了一种理解幽默和单口喜剧的新方法。我建议通过信任来理解喜剧演员和观众之间的关系,喜剧演员需要观众的信任才能使她的幽默成功。喜剧演员可能在两个方面赢得(或失去)观众的信任。就幽默的形式而言,她是可以信任的,比如她是不是在开玩笑。对于笑话的内容,她也可以信任。这种方法有两个明显的优点。首先,部分成功是有道理的。在这些情况下,幽默既不能完全成功,也不能完全失败,因为观众并不完全信任喜剧演员。第二,它解释了人们对道德上可疑的幽默的直觉,以及为什么某些类型的幽默,尤其是那些涉及种族化和性别身份的幽默,更容易(但不一定)被具有这些身份的幽默作家所接受。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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来源期刊
CiteScore
1.50
自引率
25.00%
发文量
54
期刊介绍: The Journal of Aesthetics and Art Criticism publishes current research articles, symposia, special issues, and timely book reviews in aesthetics and the arts. The term aesthetics, in this connection, is understood to include all studies of the arts and related types of experience from a philosophic, scientific, or other theoretical standpoint. The arts are taken to include not only the traditional forms such as music, literature, landscape architecture, dance, painting, architecture, sculpture, and other visual arts, but also more recent additions such as photography, film, earthworks, performance and conceptual art, the crafts and decorative arts, contemporary digital innovations, and other cultural practices, including work and activities in the field of popular culture.
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