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- Kurzbeschreibung<p>This piece investigates the perception and representation of female comics on the stand-up circuit and their audiences. It begins with a review of various theories of humour examining three major strands of thought: theories on repression, release and incongruity. <br>It goes on to give an historical overview of British stand-up comedy, covering the Music Hall/Variety tradition, the Working Men's Club tradition and the Alternative Comedy tradition examining the cultural attitudes of the time alongside these various stages of British comedy and the place women found within them. <br>Concluding with a case study on Bridget Christie and her success at navigating the patriarchal world of comedy, an investigation of current panel shows figures and their representation of female comics and interview responses from current women stand-ups on the circuit. Illustrating that audiences may no longer perpetuate these long held stereotypes, but instead the industry 'gatekeepers', the bookers, promoters and producers within the comedy business, are limiting aspiring female comedians from garnering mass exposure.</p>
- AutorLeah Dennison
- VerlagAnchor Academic Publishing
- Seiten56 Seiten
- Gewicht104 g
- LeseprobeKapitel 2.1 A History of Women in Comedy:<br>To analyse the current attitudes towards women in comedy, we must first contextualise the roles women have played within comedic platforms throughout history to realise the social and cultural influences that have aided their gradual rise into the public domain.<br>The rise of music halls aided women s introduction into the world of professional comedy. The Victoria and Albert Museum (2014) cite that music halls can be traced back to the taverns of 18th century London where men met to eat, carry out business and drink. Performers sang songs whilst the audience enjoyed their meals and by the 1830s taverns had specific rooms devoted to musical clubs. While women were not allowed in the middle-class song and supper rooms, working-class women frequented taverns, accompanying their husbands and often bringing along their children and babies. However, when Mr. Charles Morton (1819-1904) erected the first purpose-built music hall in Lambeth in 1852, he encouraged women into the establishment, introducing Ladies Thursdays, where a gentleman could escort a woman to the hall for the evening. Although gentlemen did not necessarily take up this opportunity - the halls having developed a somewhat vulgar reputation as prostitutes would walk up and down the aisles of the auditorium touting for customers. (Ibid.) Although women were allowed in to watch these male acts, it wasn t until the latter part of the 19th century that women actually began to feature in music hall programmes themselves.<br>The 19th century saw women work their way, painfully, towards social, political and sexual liberation and these changing times meant humour took on an increasingly important role within their lives. In John Major s book My Old Man: A Personal History of Music Hall (2012) he writes movingly of Jenny Hill (1848-96), a popular British music hall performer of the Victorian era, known as the Queen of the Halls . Major writes: She was more than a great performer she was a feminist trail-blazer, a pro-fessional success, at a time when women could neither vote nor borrow money without a male guarantor; when the professions were closed to them and their only employment choices were low-paid factory or shop-work, or domes-tic service. Jenny Hill not only earned success on her own merits, she re-mained in control of her career: there were no Svengalis for her. She did it her way, and took the knocks.<br>(2012:132)<br>Female acts like Jenny Hill were finally given a platform that allowed them to show their talents, although they were confined to singing popular songs and the comic aspects of their material were typically mere segues of patter to lead into the next song
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