In Stand-Up Comedy

THE DEVELOPMENT OF COMIC STAGE PERSONA (CSP) IN STAND-UP COMEDY: AN INTERDISCIPLINARY APPROACH TO AN INTERSUBJECTIVE PERFORMANCE PHENOMENON EDWARD DAVID NAESSENS BA, MPHIL (TCD) A THESIS SUBMITTED FOR DOCTOR OF PHILOSOPHY THE SCHOOL OF CREATIVE ARTS THE UNIVERSITY OF DUBLIN, TRINITY COLLEGE 2018 ii DECLARATION I declare that this thesis has not been submitted as an exercise for a degree at this or any other university and it is entirely my own work. I agree to deposit this thesis in the University’s open access institutional repository or allow the library to do so on my behalf, subject to Irish Copyright Legislation and Trinity College Library conditions of use and acknowledgement. Signed: __________________ Edward David Naessens Date: iii iv SUMMARY Given the multifaceted nature of the thesis subject (the formation of comic stage persona in stand-up comedy), the methodological approach taken sets out a circumstantial case for comic stage persona (CSP) formation through the multiple lenses of performance studies, sociology, psychology, humour studies, and cognitive science. This interdisciplinary approach captures and confirms the viability of the concept of CSP and establishes a matrix of coherence and compatibility. Under the umbrella of Daniel Dennett’s Heterophenomenological approach, first-person and theoretical accounts provide support for the central claim that the professional comedian’s CSP is formed through iterative processes and by engaging with the environment of stand-up comedy. It is this bridging of subjective folk theory and objective models that ensures the thesis is well-located in the intersubjective space between subjective/objective and folk/scientific accounts of the phenomena under research. The strength of this approach is demonstrated in how it provides a solution to problems in humour studies. It shows that comic timing is not simply a chronological phenomenon—as suggested by humour researchers—rather, it is better understood as a process of empathically weighing up the right moment in a humour transaction. By taking as seriously as possible what practitioners have to say about their craft, judiciously unpacking their views and insights, and investigating linkages through the multiple lenses set out, the thesis achieves a synthesis between subjective and objective accounts of stand-up comedy that advances current knowledge and understanding. Via critical analysis of compatible accounts of stand-up comedy performance, chapter 3 identifies the most relevant activity for CSP as the predominantly unscripted, dynamic interactions and adjustment between performer and audience. It is shown that comedians tack and adjust in response to an array of feedback from their audience. Further evidence for such adjustment and persona formation are found in discussions of craft in how-to v literature and interviews. At the core of CSP formation is the accumulation by comedian of audience-interaction-intelligence (AII), a model of intuitive learning through practice and observation. Having established the concept of CSP as what emerges through AII— iterative live interaction, engagement, and mentalization of humour performance—the concept is subsequently grounded in the cognitive account of humour set out by Hurley et al. (Inside Jokes). A link is also established to Bruce McConachie’s cognitive account of spectatorship that supports the case that the formation of CSP can be considered as a fundamentally empathic process whereby the comedian observes and engages with audiences. Through repeated iterations the comedian formulates an effective CSP. This final stage of critical analysis establishes a through-line of compatibility that connects CSP with folk theory, sociological, psychological, and cognitive accounts of stand-up comedy. The final chapter brings together the findings of the thesis by showing the explanatory power of CSP in interviews and analysis. The thesis can therefore claim to be unifying, interdisciplinary, and novel in its explanatory power. vi ACKNOWLEDGEMENTS I would like to express my gratitude to: my thesis supervisor Dr Eric Weitz for his professionalism and encouragement throughout the Ph.D. process, external examiner Dr Gil Greengross whose outstanding knowledge of psychology and humour studies has been of enormous benefit, internal examiner Dr Nicholas Johnson whose knowledge of performance studies and eye for detail have improved the final draft, and the staff and faculty members at the School of Creative Arts—in particular Dr Melissa Sihra and Dr Ruth Barton—who provided advice and support. Special thanks are also due to Dr Bernie Grummell (NUI Maynooth) who read several drafts and generously provided prompt and exceptional feedback, Prof David Berman (Department of Philosophy, Trinity College Dublin) for his encouragement and support, Dr Oliver Double who took the time to discuss early versions of the thesis, Prof Rod Martin who generously elucidated on his research findings in the psychology of humour, and the many members of the International Society of Humor Studies who provided valuable feedback during conference sessions at both Boston University and Utrecht University. This thesis was inspired by my years as a stand-up comedian. I have been fortunate to have met and worked within a community of highly-gifted, immensely funny, intelligent, and collegiate individuals. For generous access to live comedy events I am deeply grateful to Bren Berry and staff at Aiken promotions and Vicar Street. The crew at the International Comedy Club and Tony Ferns at The Battle of the Axe have been a constant support. Special thanks to Stewart Lee for agreeing to be interviewed despite a tight schedule, and to Tara Flynn for helping with arrangements. Special thanks to my sons Philip and David for forcing me to explain my thesis to six-year-olds (Feynman and Einstein would be most impressed). And finally, thanks to Eva who knew when I was doing housework I was in fact avoiding work on this thesis. vii viii Table of Contents DECLARATION .......................................................................................................... III SUMMARY ................................................................................................................ V ACKNOWLEDGEMENTS ............................................................................................ VII CHAPTER 1 - SHINING LIGHT ON DARK ROOMS........................................................... 1 INTRODUCTION ............................................................................................................... 1 APPROACH ....................................................................................................................... 4 PERFORMER-AUDIENCE DYNAMIC IN SITU ................................................................11 BEGINNERS AND THE DEVELOPMENT ENVIRONMENT ................................................17 CENTRAL PROBLEMS ....................................................................................................22 PROBLEM OF PERFORMANCE ANALYSIS .......................................................................26 A COGNITIVE APPROACH TO CSP AND INTERACTION .................................................31 LICENCE AND PERSONA................................................................................................39 CONCLUSION .................................................................................................................41 CHAPTER 2 - MIND THE GAP FROM PAGE TO STAGE ................................................. 43 INTRODUCTION .............................................................................................................43 LOUIS CK, BEACON THEATRE 2011 .............................................................................45 THE GENERAL THEORY OF VERBAL HUMOR ..............................................................50 NONCASUAL LANGUAGE...............................................................................................54 SCRIPT OPPOSITION IN STAND-UP COMEDY ...............................................................61 LEVELS OF SCRIPT OPPOSITION ...................................................................................63 ATTARDO’S 5-LEVEL MODEL .......................................................................................64 ACTUAL JOKE PRODUCTION ........................................................................................66 ELLIOTT ORING, SCRIPT OPPOSITION AND TARGET ...................................................68 IN HUMOUR, EXCEPTION MAY BE THE RULE .............................................................72 PROFESSIONAL VS NON-PROFESSIONAL JOKE TELLERS ............................................75 RASKIN’S CSP ................................................................................................................81 CONCLUSION .................................................................................................................84 ix CHAPTER 3 – CSP AS SOCIAL INTERACTION ............................................................... 89 INTRODUCTION.................................................................................................................. 89 RUTTER AND AUDIENCE ...................................................................................................... 92 AUDIENCE AS DYNAMIC ENVIRONMENT ................................................................................ 97 ACCEPTABILITY OF HUMOUR AND THE INTERACTIONAL

Load more