‘Doğal değil’: Alfred Adriaan’ın Full Show (2022) adlı eserinde COVID-19 krizi altında erkekliğin komediyle işlenmesi ve mekansal eşzamanlılık

Özet (abstract)

This article analyses Alfred Adriaan’s Full Show as a cultural text through which masculinity is publicly negotiated under South Africa’s COVID-19 lockdown. Drawing on Judith Butler, Raewyn Connell, Chris Brickell, Henri Bergson, and humour scholarship, it develops the concept of spatial simultaneity: the collapse of public/private divisions that forces contradictory masculine positions—authority and dependence, bodily discipline and decline, provider status and domestic redundancy—into the same domestic scene. The article treats stand-up’s live, addressed, audience-responsive form as the condition rendering this collapse legible in ways other cultural forms would not. Through close reading of four sequences, it argues that the performance renders masculine crisis collectively recognisable and bearable by translating private strain into comic fellowship. Rather than treating masculinity as static, the analysis reads Adriaan’s comedy as an active, if incomplete, renegotiation of masculine codes: his self-deprecation targets not himself but an unattainable ideal of manhood, a critique resonating particularly with his predominantly female audience. Yet this comic management does not undo gendered power: it depends on feminine labour and competence while leaving them secondary to the male subject’s crisis, and its patriarchal norms are inflected by the middle-class, Coloured, Afrikaans-English idiom Adriaan and his audience share, such that gender, race, and class remain inseparable. Full Show thus emerges as an ambivalent text, revealing both the instability of post-apartheid masculinity under lockdown and comedy’s capacity to contain that instability without transforming it.

Yazarların özeti; kaynağından alınmıştır. Comedy Studies, 2026 · DOI ↗