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What People Do When Sad Funny

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Contradictory clan betwixt one-act and mental disorders such as depression and feet

Sorry clown paradox is the contradictory association between comedy and mental disorders such as depression and anxiety.[1] [2] These comedic performers are characterised by feelings of impecuniousness and isolation in their early lives, where comedy evolves as a release for tension, removing feelings of suppressed concrete rage through a verbal outlet.[3]

A series of psychological experiments first published in 1981 past psychologist Seymour Fisher indicated certain behavioural traits exclusive to comedians and not matched in regular actors.[4] Later on work conducted past Kaufman and Kozbelt re-interpreted these results, drawing the understanding that whilst comedy serves as a coping mechanism to hide trauma, it may also motivate a comedian to use humour as a manner of forming relations and gaining credence.[5]

Humour has been shown to develop from a young age, fostered past parental behaviour.[half-dozen] A parent'due south young nature can lead to boosted responsibilities forced onto children, which can evoke bug of cocky-worth and a need for credence.[seven] The constant search for blessing may crusade mental wellness problems such as anxiety or depression and when untreated can atomic number 82 to suicide in extreme situations.[8] Laughter can evolve every bit a medium for self-preservation, detaching the individual from whatever adversity faced assuasive for perceived command over uncomfortable situations.[9]

Pitiful clown paradox is characterised by a cyclothymic temperament, which encourages the cosmos of light-hearted sense of humor in a professional setting, despite inner turmoil.[ten] The apply of humour as a course of cocky-medication provides short periods of satisfaction, repeatedly needing to bargain with inner turmoil.[11] There is an always present anxiety amongst comedians that their popularity may disappear tomorrow and hence are driven to exhaustion in their piece of work.[11]

Influences [edit]

Schoolhouse experiences [edit]

Comedic performers frequently evidence humorous tendencies early on in life, frequently identified as the 'class clown' throughout schoolhouse.[12] Comics recalled mocking the strict nature of schoolhouse, taking bang-up pleasure in the laughter from their peers.[4] Tommy Smothers commented that during his schooling experiences;"I got a big boot out of them laughing, just I didn't know what it was that fabricated them laugh, but I knew I could make people laugh."[13] Johnny Carson also emphasised the role of school in a comedian's life stating that:[13]

I call back, by the fact that you find you lot can get laughs when you lot are in school-and this is where virtually of the guys start, when they are growing up in the neighbourhood-they're jerking around, doing featherbrained things, interrupting the class. It'south an attending-getting thing, and that, in issue, is maxim, 'Hey, look at me, folks, I'm getting your acceptance.'

Despite comedians oft being of high intelligence, the school environment was detested and frequently avoided.[ane] Comics explained that their teachers lacked understanding and acceptance, identifying their mannerisms as a class of personal exclusion.[1] Woody Allen commented that schoolhouse "was boring, frightening. The whole affair was ugly. I never had the answers. I never did the homework."[13] Even though a school's orientation to gild and subject conflicts with the nature of a comic, it tin can serve every bit an initial arena for an individual to realise their power to produce laughter.[14] This discovery creates mixed feelings as frequently the laughter tin exist directed at themselves with undertones of ridicule or mockery.[xv] Regardless of the unpleasantness involved, comics are attracted to the ability of 'making' someone laugh and the ability information technology holds.[4]

The talent for creating humour directs the individual towards a career in the entertainment manufacture. It was establish that comedians did not directly enter the industry as comics; rather, a large proportion began through some grade of musical performance.[xvi] Fisher believed this tendency among comedians to have a musical groundwork was derived from their pursuit of creating a more than cheerful, welcoming world for the audience.[16]

Family relations [edit]

Early experiences with caregivers can shape personal behaviour and feelings of self-worth.

Relationships formed with family members are primal in boyish development, particularly for future satisfaction with life.[17] Studies take shown that comedic performers tend to be raised in distant, somewhat disjointed family unit settings, characterised by family animosity.[half dozen] Prasinos and Tittler interpreted that this 'family distance' caused individuals to place as victims of fail and hence associate every bit an alienated group.[18] Sad clown paradox can evolve from these incohesive environments from a young age, where a kid desires social contact, using humour to obtain intimacy and somewhat relate to others from a distance.[nineteen] Norman Lear commented on his painful childhood due to the constant conflict from his parents stating that; "the only defense against that was to laugh at it, find out what was funny in it."[twenty]

A study conducted by Fisher found humour-orientated individuals likely to identify their mothers as enervating, unsympathetic and afar. They were seen as avoiding the nurturant role, commonly falling on the begetter to fulfil this part for the family.[21] An inkblot examination for parents of comedians revealed their tendency toward a artless view of the globe, describing protocols with juvenile imagery.[21] Fisher concluded that these views were linked with a parent's reluctance towards responsibilities, associated with a full general tone that "happiness prevails."[22] Parents of comics were institute to avoid solemn ideas, identifying negative images in Rorschach tests and then denying their negative elements, such equally: "this is a wolf. I idea it was ferocious. Just I heard that information technology is not."[23] This childlike view of the earth and rejection of family unit obligations can crusade comedians to embody a greater sense of responsibility and a feeling of obligation to protect others, a compensation for their parents' unconscious rejection of adult responsibilities.[23] This brunt of responsibilities has been shown to evoke issues regarding self-worth that foster the evolution of the sorry clown paradox.[7]

Information technology has likewise been suggested that sense of humor may serve equally an endeavour to relate to people from a distance, evoked by a babyhood desire for social contact.[six] Typically humour is described as an emotional and cognitive country and its absence has been institute to cause depression and anxiety.[24]

Comedians take been found to recognize the importance of a competent caregiver, and are ofttimes worried about existence inadequate parents or caregivers themselves.[25] A written report conducted by Samuel Janus revealed that the sampled comedic performers were more decumbent to wanting larger families.[25] This was associated with a comic's demand to provide and form connections that can be fulfilled in a family setting.

[edit]

The early on lives of comedians are characterised by suffering, isolation and feelings of deprivation, where humour is used as an outlet or defence confronting experienced anxiety.[11] German philosopher Nietzsche one time described it as; "man solitary suffers then excruciatingly in the globe that he was compelled to invent laughter."[26] The inability to exhibit straight aggression results in expression through the socially acceptable way of humour.[27]

Humour provides the ability to assert control and invincibility in a situation.[nine] An example is the British comedian Spike Milligan, who suffered from a long cycle of manic-depressive states that were onset past severe mental breakdowns.[28] Milligan was capable of creating light-hearted humor and outrageous ideas, despite his manic state. Finding laughter served as motivation to remedy a depressed mental state and effectively function as self-medication.[10] This process has been described as a safeguard confronting the formation of hopelessness and subsequent low.[29] Additionally, affiliative and cocky-enhancing humour can be used to predict symptoms of depression, with college levels shown to correlate with lower levels of depression.[30]

Recounts from psychiatric treatments revealed some patients to be overwhelmed by negative aspects of their life. However, when these bug were confronted the psychiatrist was met with laughter, followed by the patient dismissing the severity of the consequence.[27] The laughter tin hide feelings of frustration, disappointment, grief, remorse or even joy in an effort to defend against adversity and allow for cocky preservation.[31]

Scientific studies [edit]

Rorschach test [edit]

The use of inkblot imaging reveals certain characteristics and worries of comedic performers that are not matched in regular actors.[32] Fisher identified four key trends that were mutual for comedians' Rorschach Tests;

  • The identification of 'non-bad' imagery. This involves a traditional, negative idea that has been misunderstood and is a victim to preconceived views. Would include responses such as "Ii devils. Funny devils. Not to exist taken seriously." or "Pig-similar .... Ugly but withal somewhat endearing."[33]
  • Comedian'due south association with ideas of purity vs evil leads to identification of things bearing moral importance. Fisher concluded this significance was due to comedians need to mock societal standards and hence blur the line betwixt good and bad.[34]

  • Importance of calibration. Describing objects with reference to their magnitude. This disparity in size serves as a reliable source of sense of humour.[35] Charlie Chaplin utilised an iconic costume of large amorphous pants, a pocket-size bowler hat, enormous shoes and his pocket-size moustache. Comedic duos such every bit Abbott and Costello or Laurel and Hardy played off their height and weight differences for comedic effect.
  • Importance of up versus down, with more than concern placed on who or what is down. The use of up-down imagery was frequently implemented by Buster Keaton where his characters were seen falling from slap-up heights or hanging from balconies. A recurring message of failure was linked to the looming threat of falling, negated by a last minute escape and triumph.[36]

Fisher suggested that these traits are directly linked to the comics perception of self, believing a demand to convince others of their value.[37] Comedians were normally shown to not hold themselves in loftier regard, providing more cocky-depreciating remarks than regular actors in a controlled context.[38] These feelings of unworthiness are defended against in the comic's mind by their function in society of helping people and providing laughter. This intent to help people is but momentarily satisfied past audience recognition and blessing.[39]This is contrasted against regular actors who were seen to find validation in identifying with figures and concepts larger than themselves.[38]

Aptitude/personality tests [edit]

A study conducted by Janus constitute comedians worked to exhaustion to ensure they remained relevant and funny. He found that from his sample of comedic performers, lxxx percentage have been involved in psychotherapy and feared its effect on their power for humor.[40] Comedians were shown to be critical towards the motives of others and feared the longevity of their popularity as celebrities.[40] Nigh participants from Janus' study revealed an inescapable sense of depression which they faced alongside their piece of work.[11] The manner in which comedy momentarily alleviates their depression and anxiety allows them to function. However, comedians function for short periods of time, constantly requiring admiration and acknowledgement for their work.[11]

Comedians have as well been shown to display loftier levels of psychotic personality traits, scoring high in introvertive anhedonia and impulsive non-conformity.[ten] The instability between depressive traits and more extroverted, manic states is traditionally described as cyclothymic temperament.[10] British comedian Stephen Fry confessed to the common mental state he experiences when performing; "there are times when I'grand doing QI and I'yard going 'ha ha, yeah, yep', and inside I'yard going 'I want to fucking die. I... desire... to... fucking... die.'"[41] Fry's comments point the idea of manic defence, where opposite emotions are used to distract and cope with uncomfortable feelings.[42]

Functioning [edit]

The sad clown paradox can be seen embodied in a performer'south functioning on phase, such as their characterisation or jokes.

Pagliacci joke [edit]

A joke dating from at least the 19th century exemplifies the sorry clown paradox. The joke involves a md recommending his depressed patient to visit a great clown in boondocks (typically named "Pagliacci"), but it turns out that the patient is really the clown out of costume.

One of the first forms of the joke can be seen in the Spanish poem 'Reír Llorando'[43] (Laughing While Crying) by the belatedly 19th century Mexican poet Juan de Dios Peza.[44] The poem tells of an English player called 'Garrick' that a doctor recommends to his patient as the only cure for his loss of involvement in life, whereupon the patient reveals that he indeed is Garrick. It has been suggested that this Garrick was the entertainer Joseph Grimaldi.[45] The joke as well appears in the closing lines of Ralph Waldo Emerson's essay, "The Comic," collected in Letters and Social Aims (1875);[46] Emerson's comedian is named Carlini.

The verse form was then seen every bit a story in the 1910s, over again, with the performer called 'Grimaldi',[47] and once more from the 1930s,[48] featuring a clown called 'Grock', suggested as existence the Swiss clown Charles Adrien Wettach.

The 1987 graphic novel Watchmen includes the grapheme of Rorschach telling the story and naming the clown as Pagliacci.[49]

Meet also [edit]

  • List of people with an feet disorder
  • Creativity and mental illness
  • Wise fool

References [edit]

  1. ^ a b c Janus, Samuel S. (1975). "The not bad comedians: Personality and other factors". The American Journal of Psychoanalysis. 35 (2): 169–174. doi:10.1007/bf01358189. ISSN 0002-9548. PMID 1190350. S2CID 20762581.
  2. ^ Janus, Samuel S.; Bess, Barbara East.; Janus, Beth R. (1978). "The smashing comediennes: Personality and other factors". The American Journal of Psychoanalysis. 38 (four): 367–372. doi:ten.1007/bf01253595. ISSN 0002-9548. PMID 736178. S2CID 33561259.
  3. ^ Kaufman, Scott Barry; Kozbelt, Aaron (2009), "The Tears of a Clown: Agreement One-act Writers", The Psychology of Creative Writing, Cambridge University Press, p. 94, doi:10.1017/cbo9780511627101.007, ISBN9780511627101, S2CID 1280968
  4. ^ a b c Fisher, Seymour (1981). Pretend the World Is Funny and Forever : a Psychological Analysis of Comedians, Clowns, and Actors. Lawrence Erlbaum Associates, Inc. ISBN9781317770053. OCLC 868490423.
  5. ^ Kaufman & Kozbelt 2009, p. 20.
  6. ^ a b c Prasinos, Steven; Tittler, Bennett I. (1981). "The family relationships of humor-oriented adolescents1". Journal of Personality. 49 (3): 295–304. doi:10.1111/j.1467-6494.1981.tb00938.x. ISSN 0022-3506.
  7. ^ a b Fisher, Rhoda L. (1980). Schlemiel children. PT Partners L.P. OCLC 926645893.
  8. ^ Creed, Michael; Whitley, Rob (2016-09-06). "Assessing Fidelity to Suicide Reporting Guidelines in Canadian News Media: The Death of Robin Williams". The Canadian Periodical of Psychiatry. 62 (five): 313–317. doi:x.1177/0706743715621255. ISSN 0706-7437. PMC5459225. PMID 27600531.
  9. ^ a b Martin, Rod A.; Puhlik-Doris, Patricia; Larsen, Gwen; Gray, Jeanette; Weir, Kelly (2003). "Private differences in uses of sense of humor and their relation to psychological well-being: Development of the Humor Styles Questionnaire". Journal of Research in Personality. 37 (1): 48–75. doi:10.1016/s0092-6566(02)00534-two. ISSN 0092-6566.
  10. ^ a b c d Ando, Victoria; Claridge, Gordon; Clark, Ken (2018-05-15), "Psychotic traits in comedians", Psychopathology and Personality Dimensions, Routledge, vol. 204, pp. 205–213, doi:10.4324/9781315268217-sixteen, ISBN9781315268217, PMID 24434072
  11. ^ a b c d e Janus 1975, p. 174.
  12. ^ Fisher 1981, p. 2.
  13. ^ a b c Fisher 1981, p. 3.
  14. ^ Fisher 1981, p. four.
  15. ^ Fisher 1981, p. 5.
  16. ^ a b Fisher 1981, p. 198.
  17. ^ Leung, Jin -Pang; Leung, Kwok (1992). "Life satisfaction, self-concept, and relationship with parents in boyhood". Journal of Youth and Boyhood. 21 (6): 653–665. doi:ten.1007/bf01538737. ISSN 0047-2891. PMID 24264168. S2CID 21063708.
  18. ^ Prasinos & Tittler 1981, p. 302.
  19. ^ Prasinos & Tittler 1981, p. 303.
  20. ^ Chapman, Antony J.; Foot, Hugh C., eds. (2017-07-05). Humor and laughter : theory, inquiry, and applications. pp. 245–258. ISBN9781351514217. OCLC 994145305.
  21. ^ a b Fisher 1981, p. 67.
  22. ^ Fisher 1981, p. 67-68.
  23. ^ a b Fisher 1981, p. 68.
  24. ^ Angell, Jimmye Dell (1971). The furnishings of social success and social failure on the sense of humor production of wits. University of Nevada. OCLC 3276478.
  25. ^ a b Janus 1975, p. 171.
  26. ^ Keith-Spiegel, Patricia (1972), "Early Conceptions of Humor: Varieties and Bug", The Psychology of Humor, Elsevier, pp. 3–39, doi:x.1016/b978-0-12-288950-ix.50007-9, ISBN9780122889509
  27. ^ a b Brody, Morris (1950). "The Meaning of Laughter". The Psychoanalytic Quarterly. 19 (2): 192–201. doi:10.1080/21674086.1950.11925797. PMID 15424308.
  28. ^ Spike Milligan and Anthony Clare, Low and How to Survive It, beginning edition, 1994.
  29. ^ Hugelshofer, Daniela S.; Kwon, Paul; Reff, Robert C.; Olson, Megan L. (2006). "Humour's office in the relation between attributional style and dysphoria". European Periodical of Personality. 20 (four): 325–336. doi:ten.1002/per.586. ISSN 0890-2070. S2CID 145264762.
  30. ^ Hugelshofer et al. 2006, p. 335.
  31. ^ Brody 1950, p. 201.
  32. ^ Fisher 1981, p. 20.
  33. ^ Fisher 1981, p. 42.
  34. ^ Fisher 1981, p. 216.
  35. ^ Fisher 1981, p. xc.
  36. ^ Fisher 1981, p. 108.
  37. ^ Fisher 1981, p. 41-42.
  38. ^ a b Fisher 1981, p. 168.
  39. ^ Fisher 1981, p. 199.
  40. ^ a b Janus 1975, p. 172.
  41. ^ Sherwin, Adam (six June 2013). "'The victim of my ain moods': Stephen Fry reveals suicide effort in 2012, adding TV producer saved his life". Independent . Retrieved 25 May 2019.
  42. ^ Klein, Melanie (1940). "Mourning and its relation to manic-depressive states". International Journal of Psycho-Assay. 21: 125–153.
  43. ^ "REÍR LLORANDO: Poema de Juan de Dios Peza en español para leer - Poemas clásicos". Poemas (in Spanish). Retrieved 2020-08-29 .
  44. ^ TheBiography.u.s.; TheBiography.us. "Biography of Juan de Dios Peza (1852-1910)". thebiography.us . Retrieved 2020-08-29 .
  45. ^ "The patient". HistoryExtra . Retrieved 2020-08-29 .
  46. ^ Emerson, Ralph Waldo. Letters and Social Aims. Google Books . Retrieved 2021-02-19 .
  47. ^ Wheeler, Edward Jewitt; Crane, Frank (1910). Current Opinion. Current Literature Publishing Visitor.
  48. ^ Information, Reed Business organization (1979-05-24). New Scientist. Reed Business concern Information.
  49. ^ Moore, Alan (1987). Watchmen. London: Titan. ISBN9781852860240.

Sources [edit]

  • Ando, Victoria; Claridge, Gordon; Clark, Ken (2018-05-15), "Psychotic traits in comedians", Psychopathology and Personality Dimensions, Routledge, vol. 204, pp. 205–213, doi:ten.4324/9781315268217-16, ISBN9781315268217, PMID 24434072
  • Angell, Jimmye Dell (1971), The effects of social success and social failure on the sense of humor production of wits, University of Nevada, OCLC 3276478
  • Brody, Morris (1950), "The Meaning of Laughter", The Psychoanalytic Quarterly, nineteen (ii): 192–201, doi:10.1080/21674086.1950.11925797, PMID 15424308
  • Chapman, Antony J.; Human foot, Hugh C., eds. (2017-07-05). Humor and laughter : theory, research, and applications. pp. 245–258. ISBN9781351514217. OCLC 994145305.
  • Creed, Michael; Whitley, Rob (2016-09-06), "Assessing Fidelity to Suicide Reporting Guidelines in Canadian News Media: The Death of Robin Williams", The Canadian Journal of Psychiatry, 62 (5): 313–317, doi:10.1177/0706743715621255, ISSN 0706-7437, PMC5459225, PMID 27600531
  • Fisher, Rhoda 50. (1980), Schlemiel children, PT Partners L.P, OCLC 926645893
  • Fisher, Seymour (1981), Pretend the World Is Funny and Forever : a Psychological Assay of Comedians, Clowns, and Actors, Lawrence Erlbaum Associates, Inc., p. ii, ISBN9781317770053, OCLC 868490423
  • Hugelshofer, Daniela South.; Kwon, Paul; Reff, Robert C.; Olson, Megan L. (2006). "Humour's role in the relation between attributional manner and dysphoria". European Journal of Personality. 20 (4): 325–336. doi:10.1002/per.586. ISSN 0890-2070. S2CID 145264762.
  • Janus, Samuel S. (1975), "The nifty comedians: Personality and other factors", The American Journal of Psychoanalysis, 35 (2): 169–174, doi:ten.1007/bf01358189, ISSN 0002-9548, PMID 1190350, S2CID 20762581
  • Janus, Samuel S.; Bess, Barbara E.; Janus, Beth R. (1978), "The great comediennes: Personality and other factors", The American Journal of Psychoanalysis, 38 (4): 367–372, doi:10.1007/bf01253595, ISSN 0002-9548, PMID 736178, S2CID 33561259
  • Kaufman, Scott Barry; Kozbelt, Aaron (2009), "The Tears of a Clown: Understanding One-act Writers", The Psychology of Creative Writing, Cambridge Academy Printing, p. 94, doi:10.1017/cbo9780511627101.007, ISBN9780511627101, S2CID 1280968
  • Keith-Spiegel, Patricia (1972), "Early Conceptions of Humor: Varieties and Issues", The Psychology of Humor, Elsevier, pp. 3–39, doi:10.1016/b978-0-12-288950-ix.50007-nine, ISBN9780122889509
  • Leung, Jin -Pang; Leung, Kwok (1992), "Life satisfaction, self-concept, and relationship with parents in boyhood", Periodical of Youth and Adolescence, 21 (6): 653–665, doi:10.1007/bf01538737, ISSN 0047-2891, PMID 24264168, S2CID 21063708
  • Martin, Rod A.; Puhlik-Doris, Patricia; Larsen, Gwen; Gray, Jeanette; Weir, Kelly (2003), "Private differences in uses of humor and their relation to psychological well-being: Evolution of the Humor Styles Questionnaire", Journal of Research in Personality, 37 (one): 48–75, doi:ten.1016/s0092-6566(02)00534-2, ISSN 0092-6566
  • Prasinos, Steven; Tittler, Bennett I. (1981), "The family relationships of humor-oriented adolescents1", Journal of Personality, 49 (3): 295–304, doi:ten.1111/j.1467-6494.1981.tb00938.x, ISSN 0022-3506

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Source: https://en.wikipedia.org/wiki/Sad_clown_paradox

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