In meiner Arbeit gehe ich der Frage nach, wie und warum self-deprecating humor von Stand-up-Comedians eingesetzt wird und welchen Effekt er auf das Publikum hat. Außerdem untersuche ich die Gemeinsamkeiten mit und die Unterschiede zum Gegenpol des self-depricating humor, disparaging beziehungsweise other-deprecating humor, da die Unterschiede in der Stand-up Comedy in der Wirkung manchmal gering und die Übergänge teilweise fließend sind.
Darüber hinaus gebe ich einen kurzen, zusammenfassenden Überblick über die Geschichte der Stand-up Comedy in Nordamerika und bespreche anschließend drei gängige Humortheorien ( Superiority, Relief und lncongruity theory), um den Einsatz von self-deprecating humor zu kontextualisieren. Zur Veranschaulichung habe ich exemplarisch zwei sogenannte skits (Teile einer Stand-up show) des Komikers Jim Jefferies herangezogen, durch die der Einsatz von self-deprecating humor verdeutlicht wird.
Table of Contents
1 INTRODUCTION
2 A SHORT HISTORY OF STAND-UP COMEDY
3 HUMOR THEORIES
3.1 SUPERIORITY THEORY
3.2 RELIEF THEORY
3.3 INCONGRUITY THEORY
4 TYPES OF HUMOR
4.1 SELF-DEPRECATING HUMOR
4.2 OTHER-DEPRECATING HUMOR
5 EXAMPLES OF SELF-DEPRECATING HUMOR IN STAND-UP COMEDY
5.1 JIM JEFFERIES, "LETTER TO MY SON"
5.2 JIM JEFFERIES, "MARIAH CAREY'S PARTY"
6 CONCLUSION
Objectives & Research Topics
This thesis explores how and why stand-up comedians utilize self-deprecating humor and analyzes its psychological and social effects on the audience. It investigates the distinction between self-deprecating and other-deprecating (disparaging) humor within the context of American stand-up comedy, while contextually grounding these practices in traditional humor theories and historical developments.
- Historical evolution of stand-up comedy in North America.
- Application of Superiority, Relief, and Incongruity theories to stand-up performance.
- Strategic use of self-deprecation as a tool for audience connection and subversive messaging.
- Comparative analysis of self-deprecating vs. other-deprecating humor styles.
- Case studies of Jim Jefferies’ performances to illustrate practical humor implementation.
Excerpt from the Book
1 INTRODUCTION
Entertainment cannot be more reduced than to a woman or a man telling a story. Storytelling is the simplest and purest form of entertainment, expecting nothing of the audience apart from their attention. Stand-up comedy, in its beautiful simplicity, is just a notch above storytelling in that it needs a certain reaction from the audience to work: their laughter. In theory, this is achieved by telling funny stories. The question is, then, what qualifies as being funny? The answer to that question is the most complex and difficult one can give: It depends. Among many other things, it depends on the native language one speaks; it depends on one’s culture, with all its taboos and unwritten rules; it certainly depends on how far a stand-up comedian is willing to take the audience by trespassing these cultural boundaries; it also depends on the willingness of the audience to follow the performer; and of course, it also depends on an individual sense of humor. Put in other words: There is no (definitive) answer to this question, and perhaps somewhat paradoxically, this is what draws so many people (as performers and as spectators) towards stand-up comedy: One cannot know whether or not their jokes will bomb (fail) or kill (succeed) until the jokes have been told. To the performer, it is a gamble in the sense that they have to put themselves out to earn laughter: “By performing in a public space, the comic is exposed, made vulnerable before the audience. With every action, every utterance, [they] call attention to [themselves] – as art, as entertainment, as commodity” (Gilbert 1997:323). Like all professional gamblers, however, stand-up comedians do employ techniques and styles that raise the odds of earning laughter, and in this thesis, I will single out and analyze one particular approach to stand-up comedy – self-deprecating humor.
Summary of Chapters
1 INTRODUCTION: This chapter defines the scope of the thesis, establishing stand-up comedy as a form of storytelling and introducing self-deprecating humor as the primary subject of investigation.
2 A SHORT HISTORY OF STAND-UP COMEDY: This section provides a historical overview of American stand-up comedy, tracing its roots from minstrelsy and vaudeville to its modern status as a platform for social critique.
3 HUMOR THEORIES: This chapter introduces the three fundamental humor theories—Superiority, Relief, and Incongruity—to provide a theoretical framework for analyzing stand-up routines.
4 TYPES OF HUMOR: This chapter categorizes humor styles, specifically examining the nuances and strategic differences between self-deprecating and other-deprecating humor.
5 EXAMPLES OF SELF-DEPRECATING HUMOR IN STAND-UP COMEDY: This chapter analyzes two specific sketches by Jim Jefferies to demonstrate how self-deprecation is strategically employed in professional stand-up performances.
6 CONCLUSION: This chapter summarizes the findings, emphasizing how self-deprecating humor serves as an effective tool for comedians to build rapport and deliver subversive social commentary.
Keywords
Stand-up comedy, self-deprecating humor, other-deprecating humor, disparaging humor, superiority theory, relief theory, incongruity theory, Jim Jefferies, social critique, stage persona, audience interaction, humor styles, subversion, cultural boundaries, performance strategies.
Frequently Asked Questions
What is the core focus of this thesis?
The thesis focuses on the role and function of self-deprecating humor within American stand-up comedy, examining how it is used to engage audiences and deliver deeper social messages.
What are the central thematic fields explored?
The work explores the intersection of comedy history, psychological humor theories, and the performative strategies used by comedians to manage audience perception.
What is the primary research question?
The research explores how and why comedians employ self-deprecating humor and what specific effects this choice has on the audience's receptiveness.
Which scientific methods are applied?
The author uses a qualitative approach, combining existing academic literature on humor theory with an analytical study of specific stand-up performance sketches.
What topics are covered in the main section?
The main sections cover the history of the genre, the analysis of Superiority, Relief, and Incongruity theories, and the practical application of these concepts through case studies of Jim Jefferies.
Which keywords characterize the work?
Key terms include stand-up comedy, self-deprecating humor, social critique, performance strategies, and the specific humor theories analyzed in the text.
Why is the "Letter to my son" sketch significant for this study?
This sketch serves as a primary example of how a comedian can masterfully use self-deprecation to lure the audience in, only to pivot and deliver a more profound or subversive punchline.
How does the author define the relationship between self-deprecating and other-deprecating humor?
The author argues that while they can be conceptually distinguished as "lubricant" vs. "spanner," they are often fluidly combined by comedians to create complex stage personas.
What role does the comedian's "stage persona" play in this analysis?
The persona is central; the author notes that the audience forms perceptions based on the character the comedian plays, which allows for the strategic use of humor to either build affinity or challenge social norms.
- Quote paper
- Mirco Steder (Author), 2019, Self-deprecating humor in stand-up comedy, Munich, GRIN Verlag, https://www.grin.com/document/1223174
