Playing with the (Gendered) Rules of Stand-Up: Alternative Aesthetics of Power in Kristen Schaal: Live at The Fillmore

IF 0.9 0 HUMANITIES, MULTIDISCIPLINARY Studies in American Humor Pub Date : 2023-03-01 DOI:10.5325/studamerhumor.9.1.0051

Luise Charlotte Noé

引用次数: 0

Abstract

ABSTRACT:Why are female stand-up performers more likely to be viewed favorably if they are designated “alternative” rather than “mainstream”? Herein this article explores answers to this question while adding to the scholarship on alternative comedy in the United States, which emerged in the late 1990s and early aughts. Focusing on stand-up comedian Kristen Schaal, this article explains the connection between aesthetics and gender by arguing that the alternative style aims to subvert previous notions of performative power. By decentering masculine codings of power, alternative comedy evades the gender expectations that alienated mainstream audiences from female performers in the past, allowing female performers further avenues to success.

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玩弄单口相声的(性别)规则:克里斯汀·沙尔的权力的另类美学:现场在菲尔莫尔

摘要:为什么被称为“另类”而非“主流”的女性单口喜剧演员更容易受到青睐?在此，本文探讨了这个问题的答案，同时增加了对20世纪90年代末和80年代初出现的美国另类喜剧的研究。本文以单口相声演员Kristen Schaal为例，阐述了美学与性别之间的联系，认为另类风格旨在颠覆以往关于表演力量的观念。通过去除男性对权力的编码，另类喜剧避开了过去使主流观众与女性表演者疏远的性别期望，为女性表演者提供了更多通往成功的途径。

本文章由计算机程序翻译，如有差异，请以英文原文为准。

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来源期刊

Studies in American Humor HUMANITIES, MULTIDISCIPLINARY-

CiteScore

1.40

自引率

90.00%

发文量

期刊介绍： Welcome to the home of Studies in American Humor, the journal of the American Humor Studies Association. Founded by the American Humor Studies Association in 1974 and published continuously since 1982, StAH specializes in humanistic research on humor in America (loosely defined) because the universal human capacity for humor is always expressed within the specific contexts of time, place, and audience that research methods in the humanities strive to address. Such methods now extend well beyond the literary and film analyses that once formed the core of American humor scholarship to a wide range of critical, biographical, historical, theoretical, archival, ethnographic, and digital studies of humor in performance and public life as well as in print and other media. StAH’s expanded editorial board of specialists marks that growth. On behalf of the editorial board, I invite scholars across the humanities to submit their best work on topics in American humor and join us in advancing knowledge in the field.

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