Sophie Quirk
Biographic Data
| ID | 4290396 |
|---|---|
| NAME | Sophie Quirk |
| GIVEN NAMES | Sophie |
| FAMILY NAME | Quirk |
| SIGNATURE | QUIRK S |
| AFFILIATIONS | University of Kent |
| ORCID | 0000-0002-0109-098X |
| VERIFIED | Yes |
| TOTAL WORKS | 6 |
| TOTAL CITATIONS | 4 |
| AUTHOR COUNT | 6 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2010 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 1 |
The Cambridge Companion to Stand-Up Comedy
Stand-up comedy is one of the simplest theatre forms in existence. The comedian stands on a (usually) bare stage, talking straight to the audience in the hope of getting laughs. Yet it has never been more popular, with national scenes developing across every continent except Antarctica. In this insightful and accessibly written volume, diverse chapters explore the subject from many angles, ranging from national scenes, live venues, and recordings…
Comedy clubs that platform marginalised identities
Wacky Racists is, in the words of its creator, Sophie Duker, ‘not a night for actually wacky, actual racists’. It is one of a number of clubs which provide a platform for identities and perspectives that are marginalised on the British comedy circuit. This article demonstrates that such ‘platforming clubs’ can be considered as prefigurative spaces, drawing upon Raekstad and Gradin’s model of prefigurative politics. Using Wacky Racists as a case s…
Russell Brand
The Politics of British Stand-up Comedy
This Palgrave Pivot questions how a new generation of alternative stand-up comedians and the political world continue to shape and influence each other. The Alternative Comedy Movement of the late 1970s and 1980s can be described as a time of unruly experimentation and left-wing radicalism. This book examines how alternative comedians continue to celebrate these characteristics in the twenty-first century, while also moving into a distinct phase …
Preaching to the converted? How political comedy matters
Practitioners, audiences and critics are often dismissive of political comedy’s impact. It is argued that audiences only attend political performances if they already agree with the performer; further, that audiences will not laugh at ideas that they find too subversive. As laughter depends upon consensus and success depends upon laughter, the comedian merely preaches to the converted. This article challenges these assumptions by examining the di…
Who's in charge? Negotiation, manipulation and comic licence in the work of Mark Thomas
Mark Thomas is a prolific joker and social commentator. While many comedians restrict their rebellions to verbal attacks, Thomas' material takes direct, practical effect via pranks. Under the protection of comic licence, Thomas is permitted to engage in a range of mercilessly subversive activities, and to celebrate them onstage. Like all comedians, Thomas is bound by the limits of his licence: his live audiences will reject material that crosses …
Preaching to the converted? How political comedy matters
Practitioners, audiences and critics are often dismissive of political comedy’s impact. It is argued that audiences only attend political performances if they already agree with the performer; further, that audiences will not laugh at ideas that they find too subversive. As laughter depends upon consensus and success depends upon laughter, the comedian merely preaches to the converted. This article challenges these assumptions by examining the di…
Who's in charge? Negotiation, manipulation and comic licence in the work of Mark Thomas
Mark Thomas is a prolific joker and social commentator. While many comedians restrict their rebellions to verbal attacks, Thomas' material takes direct, practical effect via pranks. Under the protection of comic licence, Thomas is permitted to engage in a range of mercilessly subversive activities, and to celebrate them onstage. Like all comedians, Thomas is bound by the limits of his licence: his live audiences will reject material that crosses …
Who's in charge? Negotiation, manipulation and comic licence in the work of Mark Thomas
Mark Thomas is a prolific joker and social commentator. While many comedians restrict their rebellions to verbal attacks, Thomas' material takes direct, practical effect via pranks. Under the protection of comic licence, Thomas is permitted to engage in a range of mercilessly subversive activities, and to celebrate them onstage. Like all comedians, Thomas is bound by the limits of his licence: his live audiences will reject material that crosses …
Preaching to the converted? How political comedy matters
Practitioners, audiences and critics are often dismissive of political comedy’s impact. It is argued that audiences only attend political performances if they already agree with the performer; further, that audiences will not laugh at ideas that they find too subversive. As laughter depends upon consensus and success depends upon laughter, the comedian merely preaches to the converted. This article challenges these assumptions by examining the di…
Russell Brand
The Politics of British Stand-up Comedy
This Palgrave Pivot questions how a new generation of alternative stand-up comedians and the political world continue to shape and influence each other. The Alternative Comedy Movement of the late 1970s and 1980s can be described as a time of unruly experimentation and left-wing radicalism. This book examines how alternative comedians continue to celebrate these characteristics in the twenty-first century, while also moving into a distinct phase …
Comedy clubs that platform marginalised identities
Wacky Racists is, in the words of its creator, Sophie Duker, ‘not a night for actually wacky, actual racists’. It is one of a number of clubs which provide a platform for identities and perspectives that are marginalised on the British comedy circuit. This article demonstrates that such ‘platforming clubs’ can be considered as prefigurative spaces, drawing upon Raekstad and Gradin’s model of prefigurative politics. Using Wacky Racists as a case s…
The Cambridge Companion to Stand-Up Comedy
Stand-up comedy is one of the simplest theatre forms in existence. The comedian stands on a (usually) bare stage, talking straight to the audience in the hope of getting laughs. Yet it has never been more popular, with national scenes developing across every continent except Antarctica. In this insightful and accessibly written volume, diverse chapters explore the subject from many angles, ranging from national scenes, live venues, and recordings…
Art (6 works) · Comedy (6 works) · Media studies (5 works) · Political science (5 works) · Sociology (5 works) · Law (4 works) · Law (4 works) · Literature (4 works) · Politics (4 works) · Aesthetics (3 works)