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All joking aside : American humor and its discontents
A professor of American Studies—and stand-up comic—examines sharply focused comedy and its cultural utility in contemporary society.
Outstanding Academic Title, Choice
In this examination of stand-up comedy, Rebecca Krefting establishes a new genre of comedic production, \"charged humor, \" and charts its pathways from production to consumption. Some jokes are tears in the fabric of our beliefs—they challenge myths about how fair and democratic our society is and the behaviors and practices we enact to maintain those fictions. Jokes loaded with vitriol and delivered with verve, charged humor compels audiences to action, artfully summoning political critique.
Since the institutionalization of stand-up comedy as a distinct cultural form, stand-up comics have leveraged charged humor to reveal social, political, and economic stratifications. All Joking Aside offers a history of charged comedy from the mid-twentieth century to the early aughts, highlighting dozens of talented comics from Dick Gregory and Robin Tyler to Micia Mosely and Hari Kondabolu.
The popularity of charged humor has waxed and waned over the past sixty years. Indeed, the history of charged humor is a tale of intrigue and subversion featuring dive bars, public remonstrations, fickle audiences, movie stars turned politicians, commercial airlines, emergent technologies, neoliberal mind-sets, and a cavalcade of comic misfits with an ax to grind. Along the way, Krefting explores the fault lines in the modern economy of humor, why men are perceived to be funnier than women, the perplexing popularity of modern-day minstrelsy, and the way identities are packaged and sold in the marketplace.
Appealing to anyone interested in the politics of humor and generating implications for the study of any form of popular entertainment, this history reflects on why we make the choices we do and the collective power of our consumptive practices. Readers will be delighted by the broad array of comic talent spotlighted in this book, and for those interested in comedy with substance, it will offer an alternative punchline.
eBook
Are We There Yet?
Are We There Yet?, a play for teens, is a dynamic, interactive, frank and funny theatrical investigation of sexual decision making and sexual health.
eBook
Reframing immersive theatre : the politics and pragmatics of participatory performance
This diverse collection of essays and testimonies challenges critical orthodoxies about the twenty-first century boom in immersive theatre and performance. A culturally and institutionally eclectic range of producers and critics comprehensively reconsider the term 'immersive' and the practices it has been used to describe. Applying ecological, phenomenological and political ideas to both renowned and lesser-known performances, contributing scholars and artists offers fresh ideas on the ethics and practicalities of participatory performance. These ideas interrogate claims that have frequently been made by producers and by critics that participatory performance extends engagement. These claims are interrogated across nine dimensions of engagement: bodily, technological, spatial, temporal, spiritual, performative, pedagogical, textual, social. Enquiry is focussed along the following seams of analysis: the participant as co-designer; the challenges facing the facilitator of immersive/participatory performance; the challenges facing the critic of immersive/participatory performance; how and why immersion troubles boundaries between the material and the magical.
Book
Theatre, Teens, Sex Ed
Fear and embarrassment prevent frank and meaningful communication on the topic of sex. Participatory theatre can break the uncomfortable silence, and with over 700 performances across Canada, Jane Heather's award-winning play Are We There Yet? has been an effective tool for teaching teen sexuality since 1998. The play and accompanying educational program were the subject of a major impact assessment where researchers from many disciplines examined how and why theatre can make change. This comprehensive, well-organized volume by two leading experts in community-based theatre offers a rich diversity of material and analysis. Theatre, Teens, Sex Ed will be a valuable resource for academics, practitioners, and specialist readerships in the fields of theatre, sex education, sociology, and public health. The play appears in the volume and is available separately as a reproducible PDF. A video production of examples of theatrical participation is included on a pocketed DVD. Contributors: Shaniff Esmail, Brenda Munro, Tracy L. Bear, James McKinnon, and the Are We There Yet? Community-University Research Alliance. Jan Selman is Professor in the Department of Drama at the University of Alberta in Edmonton. She directs contemporary and original theatrical work. Jane Heather is a playwright and Associate Professor in the Department of Drama at the University of Alberta. Both have worked extensively creating theatre for change in collaboration with communities.
eBook
Juxtaposing teacher voices to explore upper primary school music teaching and learning
Duoethnography and narrative inquiry are used to investigate the perspectives of two experienced teachers from contrasting curriculum specialities, one in music and the other in mathematics within a primary school setting. Initiated by the music teacher, research focuses on the usefulness of embodied and participatory forms of music-making for students in the upper primary school (generally 10-12 year age group). Themes emerge from the research that inform subsequent dialogue including the relationship between accessible participatory experience, minimising tedium for students, self-paced learning and student agency, psycho-social well-being, community of practice and life-long learning. Through a dialogic process, emergent ideas provoke dissonance that leads to re-framed thinking about the teaching and learning of music in the upper primary school context.
Journal Article
Political cyberformance : the Etheatre Project
\"This book examines the use of Internet platforms as theatrical, rehearsal and performance spaces and explores the interactive and political potentials of online theatre, questioning the boundaries of these in-between spaces and the spatial experiences they engender. In particular, this book looks at forms of cyber-adaptation, cyber-ethnotheatre and cyber-collaboration as directing methodologies for producing dialectical forms of political cyberformances (in Brechtian terms), with reference respectively to the productions of Cyberian Chalk Circle (2011), Merry Crisis and a Happy New Fear (2012) and Etheatre Project and Collaborators (2014). Writing from a practice-based perspective, Papagiannouli offers a historical account of online theatre and a detailed analysis of a range of online works, including productions by the National Theatre Wales, NTLive, Dries Verhoeven, Forced Entertainment and Rimini Protokoll.\"--Page [4] of cover.
BOOK
The audience as social collective: The role of intra-audience interaction in the communication of narrative in immersive theatre
Theatre-going comes from a tradition of storytelling, and the communication of narrative is a central goal of many forms of theatrical performance. As immersive and participatory work grows in popularity, practitioners of immersive theatre have long contended with how to communicate narrative while maintaining an active, participatory audience. This article proposes that socialisation among audience members, or 'intra-audience interaction', can be used as a tool in immersive theatre for the communication and progression of narrative. It is through socio-collaborative play that audience members can work together to uncover, share and understand narrative in immersive works, using the social space to bridge the physical and psychological.
Journal Article