{"title":"尼日利亚单口喜剧中的笑话表演机制","authors":"Izuu Nwankwọ","doi":"10.1080/10137548.2022.2051731","DOIUrl":null,"url":null,"abstract":"Stand-up comedy in Nigeria today has become not only big business but popular entertainment. It is, indubitably, one of the most obvious of the entertainment industry boom the country has recorded since the 1990s. The overwhelming patronage it has received transcends the deep ethnoreligious divisions within Nigeria and has ensured the prosperity of its practitioners. In this paper, through a histo-cultural perspective, I interrogate the performance ‘mechanics’ of the stand-up renditions of select Nigerian jokesters. This inquiry takes the perspective of theatre and performance studies, highlighting similarities and differences, and emphasizing how stand-up comedy straddles the two disciplines. The stage ‘mechanics’ of two Nigerian jokesters, Klint de Drunk and Basketmouth are examined to show how joke contexts and stage personalities are deployed towards laughter evocation.","PeriodicalId":42236,"journal":{"name":"South African Theatre Journal","volume":"34 1","pages":"99 - 112"},"PeriodicalIF":0.2000,"publicationDate":"2021-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Joke performance mechanics in Nigerian stand-up comedy\",\"authors\":\"Izuu Nwankwọ\",\"doi\":\"10.1080/10137548.2022.2051731\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"Stand-up comedy in Nigeria today has become not only big business but popular entertainment. It is, indubitably, one of the most obvious of the entertainment industry boom the country has recorded since the 1990s. The overwhelming patronage it has received transcends the deep ethnoreligious divisions within Nigeria and has ensured the prosperity of its practitioners. In this paper, through a histo-cultural perspective, I interrogate the performance ‘mechanics’ of the stand-up renditions of select Nigerian jokesters. This inquiry takes the perspective of theatre and performance studies, highlighting similarities and differences, and emphasizing how stand-up comedy straddles the two disciplines. The stage ‘mechanics’ of two Nigerian jokesters, Klint de Drunk and Basketmouth are examined to show how joke contexts and stage personalities are deployed towards laughter evocation.\",\"PeriodicalId\":42236,\"journal\":{\"name\":\"South African Theatre Journal\",\"volume\":\"34 1\",\"pages\":\"99 - 112\"},\"PeriodicalIF\":0.2000,\"publicationDate\":\"2021-05-04\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"South African Theatre Journal\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1080/10137548.2022.2051731\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"THEATER\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"South African Theatre Journal","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1080/10137548.2022.2051731","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"THEATER","Score":null,"Total":0}
引用次数: 0
摘要
如今，在尼日利亚，单口相声不仅成为大生意，而且成为受欢迎的娱乐节目。毫无疑问，这是该国自20世纪90年代以来娱乐业最明显的繁荣之一。它获得的压倒性赞助超越了尼日利亚内部根深蒂固的种族宗教分歧，确保了其从业者的繁荣。在这篇论文中，通过历史文化的视角，我质疑了一些尼日利亚小丑单口相声表演的“机制”。这项调查从戏剧和表演研究的角度出发，强调了相似之处和差异，并强调了单口喜剧是如何跨越这两个学科的。研究了两位尼日利亚小丑Klint de Drunk和Basketmouth的舞台“机制”，以展示笑话背景和舞台个性是如何被用于唤起笑声的。
Joke performance mechanics in Nigerian stand-up comedy
Stand-up comedy in Nigeria today has become not only big business but popular entertainment. It is, indubitably, one of the most obvious of the entertainment industry boom the country has recorded since the 1990s. The overwhelming patronage it has received transcends the deep ethnoreligious divisions within Nigeria and has ensured the prosperity of its practitioners. In this paper, through a histo-cultural perspective, I interrogate the performance ‘mechanics’ of the stand-up renditions of select Nigerian jokesters. This inquiry takes the perspective of theatre and performance studies, highlighting similarities and differences, and emphasizing how stand-up comedy straddles the two disciplines. The stage ‘mechanics’ of two Nigerian jokesters, Klint de Drunk and Basketmouth are examined to show how joke contexts and stage personalities are deployed towards laughter evocation.
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