{"title":"单口喜剧是艺术吗?","authors":"IAN BRODIE","doi":"10.1111/jaac.12763","DOIUrl":null,"url":null,"abstract":"<div>\n \n <p>Stand-up so closely resembles—and is meant to resemble—the styles and expectations of everyday speech that the idea of technique and technical mastery we typically associate with art is almost rendered invisible. Technique and technical mastery is as much about the understanding and development of audiences as collaborators as it is the generation of material. Doing so requires encountering audiences in places that by custom or design encourage ludic and vernacular talk—social spaces and third spaces such as bars, coffee houses, and clubs. Cultivating uncultivated speech and cultivating real audiences in found settings form the background of developing the stand-up comedian, neither of which lend themselves to the conservatory tradition we think of when we think of the development of artists. This article addresses two areas of the overall question of stand-up as art, starting with the ontological question of stand-up comedy: if it is an art where is it located, and what we may mean by “artworks” and “artworld” in stand-up comedy? Then I consider whether stand-up comedy as practiced can be reconciled with several recent definitions for art and note some of the special conditions and contexts for stand-up.</p>\n </div>","PeriodicalId":51571,"journal":{"name":"JOURNAL OF AESTHETICS AND ART CRITICISM","volume":"78 4","pages":"401-418"},"PeriodicalIF":1.0000,"publicationDate":"2020-11-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1111/jaac.12763","citationCount":"3","resultStr":"{\"title\":\"Is Stand-Up Comedy Art?\",\"authors\":\"IAN BRODIE\",\"doi\":\"10.1111/jaac.12763\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"<div>\\n \\n <p>Stand-up so closely resembles—and is meant to resemble—the styles and expectations of everyday speech that the idea of technique and technical mastery we typically associate with art is almost rendered invisible. Technique and technical mastery is as much about the understanding and development of audiences as collaborators as it is the generation of material. Doing so requires encountering audiences in places that by custom or design encourage ludic and vernacular talk—social spaces and third spaces such as bars, coffee houses, and clubs. Cultivating uncultivated speech and cultivating real audiences in found settings form the background of developing the stand-up comedian, neither of which lend themselves to the conservatory tradition we think of when we think of the development of artists. This article addresses two areas of the overall question of stand-up as art, starting with the ontological question of stand-up comedy: if it is an art where is it located, and what we may mean by “artworks” and “artworld” in stand-up comedy? Then I consider whether stand-up comedy as practiced can be reconciled with several recent definitions for art and note some of the special conditions and contexts for stand-up.</p>\\n </div>\",\"PeriodicalId\":51571,\"journal\":{\"name\":\"JOURNAL OF AESTHETICS AND ART CRITICISM\",\"volume\":\"78 4\",\"pages\":\"401-418\"},\"PeriodicalIF\":1.0000,\"publicationDate\":\"2020-11-09\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"https://sci-hub-pdf.com/10.1111/jaac.12763\",\"citationCount\":\"3\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"JOURNAL OF AESTHETICS AND ART CRITICISM\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://onlinelibrary.wiley.com/doi/10.1111/jaac.12763\",\"RegionNum\":2,\"RegionCategory\":\"艺术学\",\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"ART\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"JOURNAL OF AESTHETICS AND ART CRITICISM","FirstCategoryId":"1085","ListUrlMain":"https://onlinelibrary.wiley.com/doi/10.1111/jaac.12763","RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"ART","Score":null,"Total":0}
Stand-up so closely resembles—and is meant to resemble—the styles and expectations of everyday speech that the idea of technique and technical mastery we typically associate with art is almost rendered invisible. Technique and technical mastery is as much about the understanding and development of audiences as collaborators as it is the generation of material. Doing so requires encountering audiences in places that by custom or design encourage ludic and vernacular talk—social spaces and third spaces such as bars, coffee houses, and clubs. Cultivating uncultivated speech and cultivating real audiences in found settings form the background of developing the stand-up comedian, neither of which lend themselves to the conservatory tradition we think of when we think of the development of artists. This article addresses two areas of the overall question of stand-up as art, starting with the ontological question of stand-up comedy: if it is an art where is it located, and what we may mean by “artworks” and “artworld” in stand-up comedy? Then I consider whether stand-up comedy as practiced can be reconciled with several recent definitions for art and note some of the special conditions and contexts for stand-up.
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.