Black comedy, also known as black humor, bleak comedy, dark comedy, dark humor, gallows humor or morbid humor, is a style of comedy that makes light of subject matter that is generally considered taboo, particularly subjects that are normally considered serious or painful to discuss. Writers and comedians often use it as a tool for exploring vulgar issues by provoking discomfort, serious thought, and amusement for their audience. Thus, in fiction, for example, the term black comedy can also refer to a genre in which dark humor is a core component. Cartoonist Charles Addams was famous for such humor, e.g. depicting a boy decorating his bedroom with stolen warning signs including "NO DIVING – POOL EMPTY", "STOP – BRIDGE OUT" and "SPRING CONDEMNED."
Black comedy differs from both blue comedy—which focuses more on crude topics such as nudity, sex, and body fluids—and from straightforward obscenity. Whereas the term black comedy is a relatively broad term covering humour relating to many serious subjects, gallows humor tends to be used more specifically in relation to death, or situations that are reminiscent of dying. Black humour can occasionally be related to the grotesque genre. [1] Literary critics have associated black comedy and black humour with authors as early as the ancient Greeks with Aristophanes. [2] [3] [4] [5] [6] [7] [ excessive citations ]
The term black humour (from the French humour noir) was coined by the Surrealist theorist André Breton in 1935 while interpreting the writings of Jonathan Swift. [8] [9] Breton's preference was to identify some of Swift's writings as a subgenre of comedy and satire [10] [11] in which laughter arises from cynicism and skepticism, [8] [12] often relying on topics such as death. [13] [14]
Breton coined the term for his 1940 book Anthology of Black Humor (Anthologie de l'humour noir), in which he credited Jonathan Swift as the originator of black humor and gallows humor (particularly in his pieces Directions to Servants (1731), A Modest Proposal (1729), Meditation Upon a Broomstick (1710), and in a few aphorisms). [9] [12] In his book, Breton also included excerpts from 45 other writers, including both examples in which the wit arises from a victim with which the audience empathizes, as is more typical in the tradition of gallows humor, and examples in which the comedy is used to mock the victim. In the last cases, the victim's suffering is trivialized, which leads to sympathizing with the victimizer, as analogously found in the social commentary and social criticism of the writings of (for instance) Sade.
The examples and perspective in this section deal primarily with US and do not represent a worldwide view of the subject.(February 2023) |
Among the first American writers who employed black comedy in their works were Nathanael West and Vladimir Nabokov. [15] The concept of black humor first came to nationwide attention after the publication of a 1965 mass-market paperback titled Black Humor, edited by Bruce Jay Friedman. [7] [16] The paperback was one of the first American anthologies devoted to the concept of black humor as a literary genre. With the paperback, Friedman labeled as "black humorists" a variety of authors, such as J. P. Donleavy, Edward Albee, Joseph Heller, Thomas Pynchon, John Barth, Vladimir Nabokov, Bruce Jay Friedman himself, and Louis-Ferdinand Céline. [7] Among the recent writers suggested as black humorists by journalists and literary critics are Roald Dahl, [17] Kurt Vonnegut, [10] Warren Zevon, Christopher Durang, Philip Roth, [10] and Veikko Huovinen. [18] Evelyn Waugh has been called "the first contemporary writer to produce the sustained black comic novel." [19] The motive for applying the label black humorist to the writers cited above is that they have written novels, poems, stories, plays, and songs in which profound or horrific events were portrayed in a comic manner. Comedians like Lenny Bruce, [11] who since the late 1950s have been labeled as using "sick comedy" by mainstream journalists, have also been labeled with "black comedy".
Sigmund Freud, in his 1927 essay Humour (Der Humor), although not mentioning 'black humour' specifically, cites a literal instance of gallows humour before going on to write: "The ego refuses to be distressed by the provocations of reality, to let itself be compelled to suffer. It insists that it cannot be affected by the traumas of the external world; it shows, in fact, that such traumas are no more than occasions for it to gain pleasure." [21] Some other sociologists elaborated this concept further. At the same time, Paul Lewis warns that this "relieving" aspect of gallows jokes depends on the context of the joke: whether the joke is being told by the threatened person themselves or by someone else. [22]
Black comedy has the social effect of strengthening the morale of the oppressed and undermines the morale of the oppressors. [23] [24] According to Wylie Sypher, "to be able to laugh at evil and error means we have surmounted them." [25]
Black comedy is a natural human instinct and examples of it can be found in stories from antiquity. Its use was widespread in middle Europe, from where it was imported to the United States. [6] [ verification needed ] It is rendered with the German expression Galgenhumor (cynical last words before getting hanged [26] ). The concept of gallows humor is comparable to the French expression rire jaune (lit. yellow laughing), [27] [28] [29] which also has a Germanic equivalent in the Belgian Dutch expression groen lachen (lit. green laughing). [30] [31] [32] [33]
Italian comedian Daniele Luttazzi discussed gallows humour focusing on the particular type of laughter that it arouses (risata verde or groen lachen), and said that grotesque satire, as opposed to ironic satire, is the one that most often arouses this kind of laughter. [34] [35] [36] In the Weimar era Kabaretts , this genre was particularly common, and according to Luttazzi, Karl Valentin and Karl Kraus were the major masters of it. [36]
Black comedy is common in professions and environments where workers routinely have to deal with dark subject matter. This includes police officers, [37] firefighters, [38] ambulance crews, [39] military personnel, journalists, lawyers, and funeral directors, [40] where it is an acknowledged coping mechanism. It has been encouraged within these professions to make note of the context in which these jokes are told, as outsiders may not react the way that those with mutual knowledge do. [38] [39]
A 2017 study published in the journal Cognitive Processing [41] concludes that people who appreciate dark humor "may have higher IQs, show lower aggression, and resist negative feelings more effectively than people who turn up their noses at it." [42]
The examples and perspective in this section may not represent a worldwide view of the subject. The specific issue is: Almost all of the film and television examples are American or British.(April 2024) |
The Boondocks (2005–2014) – Based on the manga-influenced comic strip of the same name, [43] the show focuses on a Black American family, the Freemans, settling into the fictional and predominantly White suburb of Woodcrest.
Examples of gallows speeches include:
This section needs additional citations for verification .(June 2021) |
Military life is full of gallows humor, as those in the services continuously live in the danger of being killed, especially in wartime. For example:
Workers in the emergency services are also known for using black comedy:
There are several titles such as It Only Hurts When I Laugh and Only When I Laugh , which allude to the punch line of a joke which exists in numerous versions since at least the 19th century. A typical setup is that someone badly hurt is asked "Does it hurt?" – "I am fine; it only hurts when I laugh." [60] [61]
A joke is a display of humour in which words are used within a specific and well-defined narrative structure to make people laugh and is usually not meant to be interpreted literally. It usually takes the form of a story, often with dialogue, and ends in a punch line, whereby the humorous element of the story is revealed; this can be done using a pun or other type of word play, irony or sarcasm, logical incompatibility, hyperbole, or other means. Linguist Robert Hetzron offers the definition:
A joke is a short humorous piece of oral literature in which the funniness culminates in the final sentence, called the punchline… In fact, the main condition is that the tension should reach its highest level at the very end. No continuation relieving the tension should be added. As for its being "oral," it is true that jokes may appear printed, but when further transferred, there is no obligation to reproduce the text verbatim, as in the case of poetry.
Satire is a genre of the visual, literary, and performing arts, usually in the form of fiction and less frequently non-fiction, in which vices, follies, abuses, and shortcomings are held up to ridicule, often with the intent of exposing or shaming the perceived flaws of individuals, corporations, government, or society itself into improvement. Although satire is usually meant to be humorous, its greater purpose is often constructive social criticism, using wit to draw attention to both particular and wider issues in society.
Humour or humor is the tendency of experiences to provoke laughter and provide amusement. The term derives from the humoral medicine of the ancient Greeks, which taught that the balance of fluids in the human body, known as humours, controlled human health and emotion.
Karl Kraus was an Austrian writer and journalist, known as a satirist, essayist, aphorist, playwright and poet. He directed his satire at the press, German culture, and German and Austrian politics. He was nominated for the Nobel Prize in Literature three times.
Russian humour gains much of its wit from the inflection of the Russian language, allowing for plays on words and unexpected associations. As with any other culture's humour, its vast scope ranges from lewd jokes and wordplay to political satire.
Self-referential humor, also known as self-reflexive humor, self-aware humor, or meta humor, is a type of comedic expression that—either directed toward some other subject, or openly directed toward itself—is self-referential in some way, intentionally alluding to the very person who is expressing the humor in a comedic fashion, or to some specific aspect of that same comedic expression. Here, meta is used to describe that the joke explicitly talks about other jokes, a usage similar to the words metadata, metatheatrics and metafiction. Self-referential humor expressed discreetly and surrealistically is a form of bathos. In general, self-referential humor often uses hypocrisy, oxymoron, or paradox to create a contradictory or otherwise absurd situation that is humorous to the audience.
Daniele Luttazzi is an Italian theater actor, writer, satirist, illustrator and singer. His stage name is an homage to musician and actor Lelio Luttazzi. His favourite topics are politics, religion, sex and death.
Karl Valentin was a Bavarian comedian. He had significant influence on German Weimar culture. Valentin starred in many silent films in the 1920s, and was sometimes called the "Charlie Chaplin of Germany". His work has an essential influence on artists like Bertolt Brecht, Samuel Beckett, Loriot and Helge Schneider.
Comedy horror is a literary, television, and film genre that combines elements of comedy and horror fiction. Comedy horror has been described as having three types: "black comedy, parody and spoof." Comedy horror can also parody or subtly spoof horror clichés as its main source of humour or use those elements to take a story in a different direction. Examples of comedy horror films include Abbott and Costello Meet Frankenstein (1948), An American Werewolf in London (1981), the Evil Dead franchise (1981–present), Gremlins (1984), Shaun of the Dead (2004), and The Cabin in the Woods (2011).
Argentine humour is exemplified by a number of humorous television programmes, film productions, comic strips and other types of media. Everyday humour includes jokes related to recurrent themes, such as xenophobic jokes at the expense of Galicians (Spaniards) called chistes de gallegos, often obscene sex-related jokes, jokes about the English, the Americans, blonde women, dark humour, word and pronunciation games, jokes about Argentines themselves, etc.
Hack is a term used primarily in stand-up comedy, but also sketch comedy, improv comedy, and comedy writing to refer to a joke or premise for a joke that is considered obvious, has been frequently used by comedians in the past and/or is blatantly copied from its original author. Alternatively, it may refer to a comedian or performance group that uses hack material or similarly unoriginal devices in their act. Since comedians and people who work with comedians are typically exposed to many more jokes than the general public, they may recognize a topic, joke or performer as hack before the general public does; as a result, even performers who do well on stage may be considered hacks by their peers.
Humour in Islam refers to the act of doing things that are considered humorous under the guidelines set by the Quran and the Islamic prophet Muhammad.
Computational humor is a branch of computational linguistics and artificial intelligence which uses computers in humor research. It is a relatively new area, with the first dedicated conference organized in 1996.
Although humor is a phenomenon experienced by most humans, its exact cause is a topic of heavy debate. There are many theories of humor which attempt to explain what it is, what social functions it serves, and what would be considered humorous. Although various classical theories of humor and laughter may be found, in contemporary academic literature, three theories of humor appear repeatedly: relief theory, superiority theory, and incongruity theory. These theories are used as building blocks for the rest of the theories. Among current humor researchers, there has yet to be a consensus about which of these three theories of humor is most viable. Some proponents of each theory originally claimed that theirs, and theirs alone, explained all cases of humor. However, they now acknowledge that although each theory generally covers its area of focus, many instances of humor can be explained by more than one theory. Similarly, one view holds that theories have a combinative effect; Jeroen Vandaele claims that incongruity and superiority theories describe complementary mechanisms that together create humor.
Comedy is a genre that consists of discourses or works intended to be humorous or amusing by inducing laughter, especially in theatre, film, stand-up comedy, television, radio, books, or any other entertainment medium. The term originated in ancient Greece: In Athenian democracy, the public opinion of voters was influenced by political satire performed by comic poets in theaters. The theatrical genre of Greek comedy can be described as a dramatic performance pitting two groups, ages, genders, or societies against each other in an amusing agon or conflict. Northrop Frye depicted these two opposing sides as a "Society of Youth" and a "Society of the Old". A revised view characterizes the essential agon of comedy as a struggle between a relatively powerless youth and the societal conventions posing obstacles to his hopes. In this struggle, the youth then becomes constrained by his lack of social authority, and is left with little choice but to resort to ruses which engender dramatic irony, which provokes laughter.
Il Becco Giallo was an antifascist satirical magazine in the 1920s in Italy. The magazine existed between 1924 and 1926.
Rire & Chansons is a French Category C and D radio station owned by NRJ Group, based at Paris and created in 1981. Rire & Chansons has a unique format in France, offering round-the-clock sketch comedy alternated with a mixed music programming consisted of mainly Pop-Rock.
Lercio is an Italian site of news satire providing humorous and grotesque articles, headlines, polls and other columns to satirize the tone and format of sensationalistic press, in the style of The Onion.
There are several major aspects of humor related to the Holocaust: humor of the Jews in Nazi Germany and in Nazi concentration and extermination camps, a specific kind of "gallows humor"; German humor on the subject during the Nazi era; the appropriateness of this kind of off-color humor in modern times; modern anti-Semitic sick humor.
The term was part of the language before Freud wrote an essay on it—'gallows humor.' This is middle European humor, a response to hopeless situations. It's what a man says faced with a perfectly hopeless situation and he still manages to say something funny. Freud gives examples: A man being led out to be hanged at dawn says, 'Well, the day is certainly starting well.' It's generally called Jewish humor in this country. Actually it's humor from the peasants' revolt, the forty years' war, and from the Napoleonic wars. It's small people being pushed this way and that way, enormous armies and plagues and so forth, and still hanging on in the face of hopelessness. Jewish jokes are middle European jokes and the black humorists are gallows humorists, as they try to be funny in the face of situations which they see as just horrible.
At least, Swift's text is preserved, and so is a prefatory note by the French writer André Breton, which emphasizes Swift's importance as the originator of black humor, of laughter that arises from cynicism and scepticism.
When it comes to black humor, everything designates him as the true initiator. In fact, it is impossible to coordinate the fugitive traces of this kind of humor before him, not even in Heraclitus and the Cynics or in the works of Elizabethan dramatic poets. [...] historically justify his being presented as the first black humorist. Contrary to what Voltaire might have said, Swift was in no sense a "perfected Rabelais." He shared to the smallest possible degree Rabelais's taste for innocent, heavy-handed jokes and his constant drunken good humor. [...] a man who grasped things by reason and never by feeling, and who enclosed himself in skepticism; [...] Swift can rightfully be considered the inventor of "savage" or "gallows" humor.
Des termes parents du Galgenhumor sont: : comédie noire, plaisanterie macabre, rire jaune. (J'en offre un autre: gibêtises).
humour macabre, humeur de désespéré, (action de) rire jaune Galgenhumor propos guilleret etwas freie, gewagte Äußerung
Walter Redfern, discussing puns about death, remarks: 'Related terms to gallows humour are: black comedy, sick humour, rire jaune. In all, pain and pleasure are mixed, perhaps the definitive recipe for all punning' (Puns, p. 127).
En français on dit « rire jaune », en flamand « groen lachen »
Les termes jaune, vert, bleu évoquent en français un certain nombre d'idées qui sont différentes de celles que suscitent les mots holandais correspondants geel, groen, blauw. Nous disons : rire jaune, le Hollandais dit : rire vert ( groen lachen ); ce que le Néerlandais appelle un vert (een groentje), c'est ce qu'en français on désigne du nom de bleu (un jeune soldat inexpéribenté)... On voit que des confrontations de ce genre permettent de concevoir une étude de la psychologie des peuples fondée sur les associations d'idées que révèlent les variations de sens (sémantique), les expressions figurées, les proverbes et les dictions.
Q: Critiche feroci, interrogazioni parlamentari: momenti duri per la satira.
A: Satira è far ridere a spese di chi è più ricco e potente di te. Io sono specialista nella risata verde, quella dei cabaret di Berlino degli anni Venti e Trenta. Nasce dalla disperazione. Esempio: l'Italia è un paese dove la commissione di vigilanza parlamentare Rai si comporta come la commissione stragi e viceversa. Oppure: il mistero di Ustica è irrisolto? Sono contento: il sistema funziona.
racconto di satira grottesca [...] L'obiettivo del grottesco è far percepire l'orrore di una vicenda. Non è la satira cui siamo abituati in Italia: la si ritrova nel cabaret degli anni '20 e '30, poi è stata cancellata dal carico di sofferenze della guerra. Aggiungo che io avevo spiegato in apertura di serata che ci sarebbero stati momenti di satira molto diversi. Satira ironica, che fa ridere, e satira grottesca, che può far male. Perché porta alla risata della disperazione, dell'impotenza. La risata verde. Era forte, perché coinvolgeva in un colpo solo tutti i cardini satirici: politica, religione, sesso e morte. Quello che ho fatto è stato accentuare l'interazione tra gli elementi. Non era di buon gusto? Rabelais e Swift, che hanno esplorato questi lati oscuri della nostra personalità, non si sono mai posti il problema del buon gusto.
Quando la satira poi riesce a far ridere su un argomento talmente drammatico di cui si ride perché non c'è altra soluzione possibile, si ha quella che nei cabaret di Berlino degli Anni '20 veniva chiamata la "risata verde". È opportuno distinguere una satira ironica, che lavora per sottrazione, da una satira grottesca, che lavora per addizione. Questo secondo tipo di satira genera più spesso la risata verde. Ne erano maestri Kraus e Valentin.