b'T3 Journal - Student Writing in Drama, University of Exeter 2020-21 Rebecca Taylor 2004: 27). Whilst undermining a mans power and using ityours. I am not helping you anymore she asserts. Her voiceAston, E. (1996) Gender as a sign-system: the feminist spectator as subject in against them is a satisfying thing to do in that it providesis thick with frustration as she addresses the audience:Campbell, P. (ed.) Analysing Performance: A Critical Reader, Manchester University Press, pp. 56-69. relief-laughter for feminist spectators, it also keeps men atyou need to learn what this feels like, because this tension the centre of much of Gadsbys feminist-comedys atten- is what not-normals carry inside of them all of the time,Bing, J. M. (2004) Is Feminist Humour an Oxymoron? in Women and tion causing me to wonder: does this undermine mensbecause it is dangerous to be different (01:00:17).Language, vol. 21: 1. Pp. 22-33. power, or reaffirm it? Additionally, as suggested by Rich- Brescoll, V. (2016) Leading with their hearts? How gender stereotypes of emotion mond and Richmond, by telling jokes that attack men, thisMcConachie explains that laughter is a bodily functionlead to biased evaluations of female leaders in The Leadership Quarterly. vol. 27. Pp 415-428. can make situations more toxic due to the way that men,that occurs after a break in tension, regulating our sense of when their masculinity is questioned, tend to respond withwell-being (McConachie, 2008: 107). Earlier in the show,Bryson, V. (2021) The Futures of Feminism. Manchester: Manchester more sexism (Rich-mond and Richmond, 2019: 163). Theywhen Gadsby told this same story, she had eased the ten- University Press. mention Nanette, suggesting its threat to men may resultsion, encouraging laughter by providing the audience withChattoo, K. B. and Feldman, L. (2020) A Comedian and an Activist Walk in some male viewers acting to restore the status quoa punchline. So, this time, when Gadsby doesnt provideinto a Bar: The Serious Role of Comedy in Social Justice. 1st ed. vol 1, University of California Press, 2020. (Richmond and Richmond, 2019: 164). I contend that thisa punchline, the tension resides and becomes powerful in laughter doesnt create enough positive social change to beits reign. In saying I am not helping you anymore, GadsbyFrey, A. (2021a) Introduction in Frey, A. (ed.) Whos Laughing Now?: worth it. This laughter is paradoxical, because this humoursuggests she knows she offers a sense of well-being whenFeminist Perspectives on Humour and Laughter, Bradford, Ontario: Demeter Press, pp. 7-12. does allow the female/marginalised spectators the relief ofshe makes her audience laugh; so, by removing laughter, laughing at a frustrating situation, which is influential inshe knowingly removes her audiences ability to tolerateGilbert, J. R. (1997) Performing marginality: Comedy, identity, and cultural critique in Text and Performance Quarterly, Vol. 17:4. Pp. 317-330. the way it provides them with catharsis. But research showsthe discussion of these issues. By giving the audience this that by laughing at something spiteful, it can influence antension, something Gadsby asserts all minorities feel,Hannah Gadsby: Nanette (2018). [Online]. Directed by Madeleine Perry oppressed subject to better tolerate an intolerable sit- she makes it their problem, giving them motivation toand John Olb. Australia: Guesswork Television [Viewed 28 April 2021]. Available from Netflix. ua-tion (Bing, 2004: 24), enabling them to live with it.act. Warner writes that acts of gaiety make worlds, albeit illusory and fleeting ones (Warner, 2012: 9). By structuringHanich, J. (2018) Chuckle, Chortle, Cackle: A Phenomenology of Cinematic Laughter in The Audience Effect: On the Collective Cinema Experience (pp. 189-I wonder whether Warners point about acts of gaietyher show so that self-loving, authority-attacking laughter216). Edinburgh: Edinburgh University Press. creating pleasure out of something hateful (Warner, 2012:reigns to begin with, Gadsby presents a world of better-11) - whilst stopping feminists from residing in pain - isment. By ending with tension when she discusses her truth,Krefting, R. (2014) All Joking Aside: American Humor and Its Discontents, Johns Hopkins University Press, Baltimore. allowing them to simply reside in a patriarchalasserting that homophobia and misogyny hate-crimes still system. Moreover, I argue this laughter may drive awayoccur, Gadsby shatters this world; showing the audienceMcConachie, B. (2008) Social Cognition in Spectating in Engaging Audiences. New York: Palgrave MacMillan. Pp. 65-120. potential or current straight, white, male supporters.instead the reality we are living inthere is feminist work Gadsby uses laughter structurally in Nanette. She initiallyto be done, and men are still considered the automaticMerrill, L. (1988) Feminist humour: Rebellious and self-affirming in Womens captures the audiences attention with her amusing tales,standard. The audiences laughter at the start built a rela- Studies, vol. 15, 1-3. Pp. 271-280. laughing up and political jiu-jitsu, so later, when shetionship with Gadsby and captured their attention so thatRappaport, J. and Quilty-Dunn, J. (2020) Stand-Up Comedy, Assertation, removes comedy from the performance when telling herin the end, Gadsbys true story and message was impactfuland Authenticity in The Journal of Aesthetics and Art Criticism, Vol. 78. pp. 477-490. truth, they are listening. The rapport created in stand-upand heard. comedy sets can allow for comics to push boundariesRichmond, J. C. and Richmond, K. (2019) Laughter: Feminist Friend or (Chattoo and Feldman, 2020: 70); in the end Gadsby takesLaughter in Nanette works to value marginalised peoplesFoe? in Womens Reproductive Health, vol. 6:3. Pp. 161-165. advantage of this rapport. She says: do you remember thatexperience in the refusal to self-deprecate and the use ofSorensen, M. J. (2008) Humour as a Serious Strategy of Nonviolent Resistance story about a young man who almost beat me up? It wasself-affirming humour which lead to Gadsbys story. Itto Oppression in Peace & Change, vol. 33. Pp. 167-190. a very funny story, referring to the opening story of thisprovides feminist spectators with relief when ridiculingWarner, S. (2012) Introduction in Acts of Gaiety: LGBT Performance and the section. She then explains that she twisted it. She soundsmen and their oppressive attitudes. However, it paradoxi- Politics of Pleasure, University of Michigan Press. Pp. 1-30. strained as she continues: [.] I couldnt tell the part of thecally has the potential to anger male spectators who mightWillett, C. Willett, J. and Sherman, Y. (2012) The Seriously Erotic Politics of story where that man realised his mistake, and he camerespond with sexism, distancing themselves from the femi- Feminist Laughter in Social Research, vol. 79: 1. Pp. 217-246.back and he said- she imitates him again, this time per- nist cause, whilst allowing feminist spectators to sit within formed with more hostility - oh, no. I get it. Youre a ladymisogyny more easefully. faggot. Im allowed to beat the shit out of you. The audi-torium is silent. Gadsby, now as herself, states passionately, despairingly: and he did! He beat the shit out of me, and nobody stopped him. And I didnt report that to the police, and I did not take myself to the hospital and I should have she stresses (00:58:51). The audience remains tense and silent as she speaks with gritted teeth: this tension, its 50 51'