Annotations
(27/04/2023 à 17:29:49)

Impact sur la carrière des dénonciations

« In some cases, C.K. was accused of subsequently using his influence in the comedy industry to stifle the careers of women who went on to talk about the misconduct (Ryzik et al. 2017). » (Piper, 2020, p. 264)

Comedic persona

« The blurred lines between fact and fiction in his semiautobiographical stage and television work had thinned and frayed, as the kernel of actuality in many of his jokes was made apparent. » (Piper, 2020, p. 264)

« C.K.’s work, however, was built on a comedic persona that leaned into the image of the compulsive and the grotesque, particularly when it came to his own sexual behaviour. » (Piper, 2020, p. 264)

« A comedian’s stage persona exists within the framework of comedic performance, a ‘marginal safe space’ where it is argued that transgressive thoughts can be explored without consequence (Quirk 2015, p. 36). Nicholas Holm (2016) describes the audience’s negotiation of what is an acceptable transgression within this comedic framework as a balance between the tendentious and the innocuous. » (Piper, 2020, p. 264)

« Holm writes that the tendentious properties of comedy ‘refer to its ability to make socially charged or controversial statements from behind the cover of humour’ (p. 112). » (Piper, 2020, p. 265)

« The rereading of the authentic as well as the tendentious and the innocuous in C.K.’s persona and, subsequently, his often-personal material, depends upon ‘the identity and motivation of the audience [and] their relation to the joke-teller’ (Holm 2016,p.114).In light of his sexual misconduct,C.K.has undoubtedly lost a segment of his audience. These are the former fans who are no longer willing to negotiate the tension between unsayable and the way it is said. » (Piper, 2020, p. 265)

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« The relationship between audience and comedian has fractured for some in light of C.K.’s sexual misconduct scandal as truths and hypocrisies in his comedic persona have been cemented. For others, however, the audience relationship remains the same as C.K.’s comedy, and not his private life, is the primary focus (Solie 2019). For these fans, the Venn diagram conflating art and artist is irrelevant. C.K. has been known to distribute his work directly to his audience and has an existing in-built production and distribution infrastructure with the potential to bypass industry gatekeepers. If, as Christina Cauterucci (2019) writes, C.K. is indeed abandoning his more progressive or self-aware material in favour of courting the segment of his audience who are not bothered by the misconduct scandal, it may still be possible for him to have a viable career. » (Piper, 2020, p. 265)