Da poética das lágrimas a uma poética do riso: de Aristóteles ao One-man show

Since the 1970s, the world observes the fragmentation, hybridity, plurality and miscegenation that are taking over the scenic arts. The contemporary poetry feels free of the classical rules; theater no longer obeys the requirements of the poetic "manuals"; the rigid boundaries between genres disappears; artists cease to represent to the public to talk with him. In the last decades of twentieth century and in the twenty-first century, emerges the laughable phenomenon of One-man Show in the brazilian scene, object of this research, as a result of this evolution of the performing arts. It is a form of theater that emerged in the brazilian context, snatching public attention in alternative spaces, theaters and, as it should be, also on the Internet, often confused with the Stand-up Comedy. It is necessary a research that delimitate and pursue to identify the essential characteristics of the brazilian One- Man Show, not only by the absence of theoretical references concerning this, but also to understand some aspects of the brazilian scene and the situation of laughter and comedy in it. In the first chapter, a discussion about comedy and laughter in classical antiquity is presented, using the writings of Plato and Aristotle as a starting point; in the second, some of the main classical theories of laughter are reviewed, attempting to identify the general characteristics that enable to understand the construction of the comedy; the third chapter generally dicusses about the moment of the brazilian theatrical scene in which emerges the One-man Show; and in the fourth chapter, there is an explanation about this phenomenon and a description of the practical exercise titled Experimento One-person Show: Damas

What's so funny? An evaluation of the relations among humour use, mirth, and depressive symptomatology

Humour production and showing mirth (i.e., smiling and laughing) confer prosocial advantages. However, there is a paucity of literature evaluating how humour manifests in psychopathology. Humour and mirth may be especially relevant in depression, wherein profound impairments are evident in emotional and social functioning. Chapters 2 and 3 present correlational and predictive relations of depressive, social anxiety, and social anhedonia symptoms with humour styles, and consider the role of motivational systems and expressivity of positive affect as they relate to humour. As expected, symptoms and avoidance-based motivation were positively related to maladaptive humour styles and negatively related to adaptive humour styles. Interestingly, the pattern of relations shifted when considered among individuals in a depressive episode; acutely depressed individuals generally shy away from any humour style rather than gravitating toward specific styles. In a mediation model, the inverse relation between depressive symptoms and affiliative humour was fully mediated by approach-based motivation and expressivity of positive emotions. Chapters 4 and 5 examined subjective and observed mirth responses (facial affect and laughter) demonstrated by depressed and healthy comparison groups. Relative to non-depressed individuals, depressed persons reported less enjoyment, lower ratings of funniness, and fewer instances and shorter durations of positive facial affect and laughter when viewing humourous videos. There was no significant change in retrospective ratings of enjoyment and funniness at a one-week follow-up. The pattern of responsivity by depressed persons shifted when they viewed humourous videos while hearing others laughing. Both groups demonstrated more mirth when hearing others laugh; there were no differences between groups on mirthful behaviours. The one exception was that the total duration of laugher produced by depressed individuals was shorter than that produced by individuals in the healthy comparison group. This research project demonstrates that facets of depressive symptomatology are differentially associated with humour use and depressed individuals show blunted emotional responsivity to humourous stimuli. However, the pattern of reduced affective responsivity is context specific in that it fluctuates in response to hearing others’ laughter. These findings have important implications for the conceptualization of depression and the subsequent avenues for the treatment of individuals with depression.

Humor político audiovisual en Colombia: de los gloriosos años noventa en televisión a internet como alternativa

El humor político alrededor del mundo ha sido un recurso para criticar el poder y la esfera política con la mordacidad que otros escenarios no permiten y con lenguajes que generan empatía con el público. En la capacidad de criticar a todos los poderes –y poderosos- por igual, sin condescendencias, recae la credibilidad de esa crítica, la cual se debe poder hacer sin censura en una sociedad pluralista y democrática. En Colombia, el humor político en televisión emergió y vivió su época dorada en la década de los noventa, hasta que su principal exponente, Jaime Garzón, fue asesinado. Este trabajo de grado buscó indagar por qué, a pesar de que nuevos productos de crítica política con humor surgieron en el país, hoy no hay ese tipo de oferta en la televisión abierta nacional. La respuesta a ese interrogante se pudo encontrar en múltiples factores, como un nuevo modelo económico en la industria de la televisión, un ambiente político polarizado y la ausencia o falta de promoción de talentos detrás de los libretos. Asimismo, en medio de esta coyuntura, se plantea que internet ha sido un vehículo para expresar, incluso de manera anónima, lo que miembros de la sociedad creen que anda mal con el poder y la política.