Jump to content

Women in comedy: Difference between revisions

From Wikipedia, the free encyclopedia
Browse history interactively
← Previous editNext edit →
Content deleted Content added
VisualWikitext
Akweaver32 (talk | contribs)
191 edits
conformed to format
Line 1: Line 1:
<nowiki/>{{Women in society sidebar}}
<nowiki/>{{Women in society sidebar}}


While primarily dominated by men throughout history, women have been represented in the field of comedy since the mid 1700s.<ref name=":0">{{cite book|url=http://www.wsupress.wayne.edu/books/detail/laughing-feminism|title=Laughing Feminism Subversive Comedy in Frances Burney, Maria Edgeworth, and Jane Austen|date=2002|publisher=Wayne State University Press|last1=Bilger|first1=Audrey|accessdate=1 March 2017}}</ref><ref name=":1">{{cite book|title=We Killed: The Rise of Women in American Comedy|date=2002|publisher=Sarah Crichton Books|last1=Kohen|first1=Yael}}</ref> [[Comedy]], or creative works with the intention of humor, is thought to have originated in ancient Greek theatre in 425 BCE.<ref>{{Cite book|url=https://books.google.com/books?id=YhaawA_m9SEC&pg=PR9|title=Lysistrata|last=Aristophanes|date=1996-01-01|publisher=Nick Hern Books|isbn=978-1-85459-325-2|language=en}}</ref> Some of the first figures to enter the field, however, were faced with resistance and discrimination.<ref name=":3">{{Cite news|url=http://www.makers.com/documentary/womenincomedy|title=Women in Comedy|work=MAKERS|access-date=2017-03-02|language=en}}</ref><ref name=":4">{{Cite news|url=http://www.vanityfair.com/culture/2007/01/hitchens200701|title=Why Women Aren't Funny|last=Hitchens|first=Christopher|access-date=2017-02-25|language=en|newspaper=Vanity Fair}}</ref> A sense of humor in women was previously thought to have meant the ability to laugh at a man's joke, rather than tell the joke herself.<ref name=":3" /> When women did finally enter comedy, it was seen as niche, thus making bookings hard to come by.
'''Women in comedy''' refers to female who participate in comedic works as well as their experience within the social environment. While primarily dominated by men throughout history, women have been represented in the field of comedy since the mid 1700s.<ref name=":0">{{cite book|url=http://www.wsupress.wayne.edu/books/detail/laughing-feminism|title=Laughing Feminism Subversive Comedy in Frances Burney, Maria Edgeworth, and Jane Austen|date=2002|publisher=Wayne State University Press|last1=Bilger|first1=Audrey|accessdate=1 March 2017}}</ref><ref name=":1">{{cite book|title=We Killed: The Rise of Women in American Comedy|date=2002|publisher=Sarah Crichton Books|last1=Kohen|first1=Yael}}</ref> [[Comedy]], or creative works with the intention of humor, is thought to have originated in ancient Greek theatre in 425 BCE.<ref>{{Cite book|url=https://books.google.com/books?id=YhaawA_m9SEC&pg=PR9|title=Lysistrata|last=Aristophanes|date=1996-01-01|publisher=Nick Hern Books|isbn=978-1-85459-325-2|language=en}}</ref> Some of the first figures to enter the field, however, were faced with resistance and discrimination.<ref name=":3">{{Cite news|url=http://www.makers.com/documentary/womenincomedy|title=Women in Comedy|work=MAKERS|access-date=2017-03-02|language=en}}</ref><ref name=":4">{{Cite news|url=http://www.vanityfair.com/culture/2007/01/hitchens200701|title=Why Women Aren't Funny|last=Hitchens|first=Christopher|access-date=2017-02-25|language=en|newspaper=Vanity Fair}}</ref> A sense of humor in women was previously thought to have meant the ability to laugh at a man's joke, rather than tell the joke herself.<ref name=":3" /> When women did finally enter comedy, it was seen as niche, thus making bookings hard to come by.


Early acts were often based in the standard roles of women as a housewife and mother.<ref name=":3" /><ref name=":1" /> Comedy was tailored to what men would find to be both funny and non-threatening.<ref name=":3" /> As women gained slow acceptance to their presence in comedy, they were able to expand the topics that they covered.<ref name=":3" /> Since then, women have made significant gains in the field, having found fame through stand-up, television, movies, and writing.<ref name=":3" /> Women such as [[Jane Austen]], [[Amy Schumer]], [[Phyllis Diller]], [[Wanda Sykes]], and many others have contributed to the world of comedy, spanning both time and medium.<ref name=":1" /><ref name=":0" />
Early acts were often based in the standard roles of women as a housewife and mother.<ref name=":3" /><ref name=":1" /> Comedy was tailored to what men would find to be both funny and non-threatening.<ref name=":3" /> As women gained slow acceptance to their presence in comedy, they were able to expand the topics that they covered.<ref name=":3" /> Since then, women have made significant gains in the field, having found fame through stand-up, television, movies, and writing.<ref name=":3" /> Women such as [[Jane Austen]], [[Amy Schumer]], [[Phyllis Diller]], [[Wanda Sykes]], and many others have contributed to the world of comedy, spanning both time and medium.<ref name=":1" /><ref name=":0" />

Revision as of 03:06, 7 April 2017

Part of a series on
Women in society
Venus symbol
Society
Popular culture
Sports
See also: List of sports
By country

Women in comedy refers to female who participate in comedic works as well as their experience within the social environment. While primarily dominated by men throughout history, women have been represented in the field of comedy since the mid 1700s.[1][2] Comedy, or creative works with the intention of humor, is thought to have originated in ancient Greek theatre in 425 BCE.[3] Some of the first figures to enter the field, however, were faced with resistance and discrimination.[4][5] A sense of humor in women was previously thought to have meant the ability to laugh at a man's joke, rather than tell the joke herself.[4] When women did finally enter comedy, it was seen as niche, thus making bookings hard to come by.

Early acts were often based in the standard roles of women as a housewife and mother.[4][2] Comedy was tailored to what men would find to be both funny and non-threatening.[4] As women gained slow acceptance to their presence in comedy, they were able to expand the topics that they covered.[4] Since then, women have made significant gains in the field, having found fame through stand-up, television, movies, and writing.[4] Women such as Jane Austen, Amy Schumer, Phyllis Diller, Wanda Sykes, and many others have contributed to the world of comedy, spanning both time and medium.[2][1]

As comedic license has grown, comedy has become a tool within the scope of feminism.[6][7] By reclaiming a previously male-exclusive art form, female comedians are able to use patriarchal structure against itself.[6] Today, feminist comedy draws attention to female issues such as menstruation, rape, gender inequality, beauty norms, and machismo.[6][7] As a readily acceptable and understandable medium of communication, comedy lends itself to the feminist movement, allowing women's issues to be more wide-spread in general society.[6]

Comedic Forms

Stand-Up

Stand-up comedy is a form of comedy in which performers act in front of a live audience, creating an interactive dependancy.[8] Jokes range from short one-liners to longer monologues. The comedic form requires a takeover the stage, in order for the comedian's material to "kill."[4] For women, the direct contact with the audience puts their womanhood on display. Many female comedians choose to wear loose-fitting clothing to take their femininity out of the spotlight.[9]

Late Night Television

Samantha Bee at a Marxist Union Society event in February 2011.

American late night television (The Tonight Show, The Daily Show etc...) has been dominated by white men for almost its entire existence. With the exception of Full Frontal with Samantha Bee, no women has had a late night show on a major network of her own. The platform allows a variety of comedic (monologues and shorts) and political (interviews and exposés) opportunities.[10][11]

Film

Film in general, as well as comedic film, continues to show the gender imbalance of other forms of comedy. In 2014, a study found that there were 2.24 male characters for every one female character. Of the movies surveyed, only 30.9% of the speaking characters were female.[12] Additionally, one of the major storylines in the film industry (the romantic comedy), consistently follows traditional female roles, relegating women to simply searching for a male partner.[13]

Gender Imbalance

In the United States, there is a large gender gap between men and women in comedy with regards to both pay and number.[14] In 2014, all ten of the top ten paid comedians were male, bringing in a total of $173 million.[14] In 2016, one female entered the list: Amy Schumer, at number two.[15] Imbalance can also be seen at the level of the comedy club. For example, the prestigious New York comedy club Carolines featured 20% female performers to 80% male in 2014.[14] Within the writers room, gender imbalance persists. Women made up only 10 percent of writers working on the top 250 domestic grossing films of 2010 and 15 percent of writers and 18 percent of creators in prime-time television during the 2010–2011 season.[7]

A study in 2017 found a large gender imbalance in UK comedic panel shows, with only 31% of the appearances. However, the same study also found marked improvement since 1989, when the statistic was 3%.[16] Additionally, the UK industry website Chortle lists 269 female comedian as compared to 1,279 male comedians.[14]

Gendering of Humor

In many societies around the world, a woman's role has affected her flexibility in comedy.[17] In countries that historically view women as inferior to men, comedy is seen as a masculine discipline.[17] The common perception that women aren't funny pervades all aspects of comedy, including stand-up, television, and movies.[5][17][4][18] The comedy establishment, influenced by patriarchal society, has relegated women to the "side of tears and loss."[19] Women are almost completely excluded from comedic works of literature.[17]

Stand up comedy, in particular, is described as a masculine art form.[20] The words that are used to describe success are often violent, such as killed or annihilated.[20] The performer must take charge of the stage, claiming it as their own via the phallic symbol of the microphone.[20] The structure of joke is often centered on an attack on another party. The aggression that such an art form necessitates is incourgaed in males but discouraged in females.[18] The early female figures in stand up, such as Phyllis Diller, were able to enter the mainstream through their willingness to self-deprecate and declare themselves ugly. In other words, they were able to enter, but on the terms of male comedians.[21] More modern female comedians cite a need to tailor their comedy to what men would find to be funny, with change in this mentality only coming very recently.[20]

Feminist Tool

Humor has been used a tool of feminism both for its ability to point out patriarchy and the structures it creates as well as identify the common female experience.[6] A distinction must be made between female humor and feminist humor. Female humor is self-deprecatory, turning inwards to the performer herself.[7] Feminist humor, by contrast, looks outwards at the societal structures that demean women. It is aggressive and pointed, using comedic language formerly reserved for men only as a tool of liberation.[7] Feminist humor is to be an agent of change for women by drawing attention to their lowered position in society.[19][1][6]

Bing argues that for feminist humor to be most effective at its goal of change, it should be inclusive, rather than divisive.[6] Divisive humor, or jokes that focus on male structures or male-bashing, do not advance feminism, but rather continue to marginalize females.[6] Inclusive humor that riffs off of the shared experience of women, can be subversive without the negative effects of divisive humor.[6] Bing continues to say that when humor falls into this inclusive comedy it contributes to feminism by first, contradicting the age old stereotype that women cannot be funny, and second, by undermining the status quo.[6]

Representation Worldwide

Outside of the United States, women have been having similar experiences in their attempts to enter field of comedy, colored by their own cultural influences. One such women is Farhana Muna, a Bangladeshi Muslim comic.[22] Her material is focused on Bangladeshi life and culture, from parties to relatives commenting on weight loss. According to Muna, she often feels constrained by what is deemed appropriate or not for a Bangladeshi Muslim women. She must watch what she says and wears. Muna reemphasized the sentiment that there is a wider range of comedy acceptable for men. She has also faced criticism for her actions, including her choice to not wear the hijab, with people calling her a bad Muslim. However, she continues her comedic work due to the community of women that she has met through it. Muna sees comedy as a collective platform of expression, a way to share her experiences in a relatable way.[22]

Figures

Phyllis Diller

One of the most prominent early figures in American female comedy, Phyllis Diller made her comedic debut at the Purple Onion Comedy Club in the 1950s.[23] Her stand-up routines focused on the problems of the suburban housewife, a previous unaddressed area by male comics.[2][23] By opening acknowledging her lack of physical attractiveness and by incorporating self-deprecation into her routines, Diller was able to enter comedy in a time when funny and attractive women were seen as threatening.[4] However, by confining her comedy to her inability to fulfill her traditional role, she reinforced female stereotypes rather than dismissing them.[18]

Joan Rivers

Joan Rivers was one of the first female comedians to utilize the "talk/conversational" method, one that was suited to television talk shows.[2] Unlike Phyllis Diller, who was quite unlike her comedic personality, the comedy of Joan Rivers more closely reflected her personality. She often drew on her own personal experiences as a self-proclaimed Jewish princess.[2] Unlike her predecessors, Rivers did not downplay her attractiveness, but rather incorporated it into her riffs on life as a single woman.[2][4] Still, her comedy was focused on the traditional problems of a women (trying to find a boyfriend and husband, being a good wife etc).[18]

Female comedians Tina Fey (left) and Amy Poehler (right) at an event from the movie Baby Mama.

Tina Fey

Figures such as Tina Fey have paved the way in the modern era for large-scale growth in female comedy.[7] Her public appointment as the first female head writer of Saturday Night Live placed her in a position to serve as a feminist comedy icon.[7] Many of her sketches became iconic, particularly her satirical portrayal of Vice Presidential Candidate Sarah Palin.[24] Her comedic writing (Mean Girls, 30 Rock, Bossypants, Baby Mama, Date Night etc...), in addition to achieving great public notice, was well received by critics.[7]

See also

References

  1. ^ a b c Bilger, Audrey (2002). Laughing Feminism Subversive Comedy in Frances Burney, Maria Edgeworth, and Jane Austen. Wayne State University Press. Retrieved 1 March 2017.
  2. ^ a b c d e f g Kohen, Yael (2002). We Killed: The Rise of Women in American Comedy. Sarah Crichton Books.
  3. ^ Aristophanes (1996-01-01). Lysistrata. Nick Hern Books. ISBN 978-1-85459-325-2.
  4. ^ a b c d e f g h i j "Women in Comedy". MAKERS. Retrieved 2017-03-02.
  5. ^ a b Hitchens, Christopher. "Why Women Aren't Funny". Vanity Fair. Retrieved 2017-02-25.
  6. ^ a b c d e f g h i j Bing, Janet (2004). "Is Feminist Humor an Oxymoron?". Women and Language.
  7. ^ a b c d e f g h Lauzen, Martha (2014-01-02). "The Funny Business of Being Tina Fey: Constructing a (feminist) comedy". Feminist Media Studies. 14 (1): 106–117. doi:10.1080/14680777.2012.740060. ISSN 1468-0777.
  8. ^ Finney, Gail (1994-01-01). Look Who's Laughing: Gender and Comedy. Taylor & Francis. ISBN 9782881246449.
  9. ^ "Here is What's Scary About Being a Female Stand-Up Comic. | Bitch Media". Bitch Media. Retrieved 2017-03-23.
  10. ^ Popken, Alexandra (2015-03-06). "Why It's Time for a Woman to Host a Late Night Talk Show". Huffington Post. Retrieved 2017-03-22.
  11. ^ Mic. "Why Are There So Few Female Late-Night Hosts?". Mic. Retrieved 2017-03-22.
  12. ^ Chemaly, Soraya (2014-09-24). "20 Facts Everyone Should Know About Gender Bias in Movies". Huffington Post. Retrieved 2017-03-23.
  13. ^ Karlin, Lily (2015-04-14). "How Romantic Comedies Are Failing Women (And How To Fix It)". Huffington Post. Retrieved 2017-03-23.
  14. ^ a b c d Humphries, Will. "It's Really No Joke". OZY. Retrieved 2017-03-23.
  15. ^ Crisp, Gavin. "Forbes' List Of Highest-Paid Comedians For 2016". etcanada.com. Retrieved 2017-03-23. {{cite web}}: no-break space character in |title= at position 43 (help)
  16. ^ "UK Panel Show Gender Breakdown". strudel.org.uk. Retrieved 2017-03-02.
  17. ^ a b c d Caliskan, Sevda (1995-01-01). "Is There Such a Thing as Women's Humor?". American Studies International. 33 (2): 49–59. JSTOR 41279344.
  18. ^ a b c d Karen, Stoddard (1977). ""WOMEN HAVE NO SENSE OF HUMOR" AND OTHER MYTHS: A CONSIDERATION OF FEMALE STAND-UP COMICS, 1960–1976". American Humor. 4. JSTOR 42594582.
  19. ^ a b Knobloch, Susan (1996-01-01). "Review of The Unruly Woman: Gender and the Genres of Laughter". Film Quarterly. 50 (2): 58–60. doi:10.2307/1213431. JSTOR 1213431.
  20. ^ a b c d "Women in Comedy". MAKERS. Retrieved 2017-02-25.
  21. ^ Horowitz, Susan (1997). Queens of comedy: Lucille Ball, Phyllis Diller, Carol Burnett, Joan Rivers, and the new generation of funny women. Routledge.
  22. ^ a b Hossain, Anushay (2016-02-22). "Becoming Munatic: How a Bangladeshi Woman is Changing the Rules of Comedy Online". Huffington Post. Retrieved 2017-03-23.
  23. ^ a b "Phyllis Diller". Biography. Retrieved 2017-03-02.
  24. ^ Flowers, Arhlene A.; Young, Cory L. (2010-01-01). "Parodying Palin: How Tina Fey's Visual and Verbal Impersonations Revived a Comedy Show and Impacted the 2008 Election". Journal of Visual Literacy. 29 (1): 47–67. doi:10.1080/23796529.2010.11674673. ISSN 1051-144X.
Retrieved from "https://en.wikipedia.org/w/index.php?title=Women_in_comedy&oldid=774234055"