Black comedy, also known as dark comedy or gallows humor, is a comic style that makes light of subject matter that is generally considered taboo, particularly subjects that are normally considered serious or painful to discuss. Comedians often use it as a tool for exploring vulgar issues, thus provoking discomfort and serious thought as well as amusement in their audience. Popular themes of the genre include death and violence (murder, suicide, abuse, domestic violence, graphic violence, rape, torture, war, genocide, terrorism, corruption), discrimination (chauvinism, racism, sexism, homophobia, transphobia), disease (anxiety, depression, nightmares, drug abuse, mutilation, disability, terminal illness, insanity), sexuality (sodomy, homosexuality, incest, infidelity, fornication), religion, and barbarism.
Black comedy differs from blue comedy which focuses more on crude topics such as nudity, sex, and bodily fluids. Although the two are interrelated, black comedy is also different from straightforward obscenity in that it is more subtle and does not necessarily have the explicit intention of offending people. In obscene humor, much of the humorous element comes from shock and revulsion, while black comedy might include an element of irony, or even fatalism. For example, an archetypal example of black comedy in the form of self-mutilation appears in the English novel Tristram Shandy. Tristram, five years old at the time, starts to urinate out of an open window for lack of a chamber pot. The sash falls and circumcises him; his family reacts with both hysteria and philosophical acceptance.
Whereas the term black comedy is a relatively broad term covering humor relating to many serious subjects, gallows humor tends to be used more specifically in relation to death, or situations that are reminiscent of dying.
The term black humor (from the French humour noir) was coined by the Surrealist theorist André Breton in 1935 while interpreting the writings of Jonathan Swift. Breton's preference was to identify some of Swift's writings as a subgenre of comedy and satire in which laughter arises from cynicism and skepticism, often relying on topics such as death.
Breton coined the term for his book Anthology of Black Humor (Anthologie de l'humour noir), in which he credited Jonathan Swift as the originator of black humor and gallows humor, and included excerpts from 45 other writers. Breton included both examples in which the wit arises from a victim with which the audience empathizes, as is more typical in the tradition of gallows humor, and examples in which the comedy is used to mock the victim. This victim's suffering is trivialized, which leads to sympathizing with the victimizer, as analogously found in the social commentary and social criticism of the writings of Sade. Black humor is also occasionally related to that of the grotesque genre.
Breton identified Swift as the originator of black humor and gallows humor, particularly in his pieces Directions to Servants (1731), A Modest Proposal (1729), A Meditation Upon a Broom-Stick (1710), and a few aphorisms.
The term black comedy or dark comedy have been later derived as alternatives to Breton's term. In black humor, topics and events that are usually regarded as taboo are treated in an unusually humorous or satirical manner while retaining their seriousness; the intent of black comedy, therefore, is often for the audience to experience both laughter and discomfort, sometimes simultaneously.
Even if at the time the concept of black comedy was not widely known in the US, American writers who employed it were Nathanael West and Vladimir Nabokov. The concept of black humor first came to nationwide attention after the publication of a 1965 mass-market paperback titled Black Humor, of which the editor was Bruce Jay Friedman. With the paperback, Friedman labeled as "black humorists" a variety of authors, such as J.P. Donleavy,Edward Albee,Joseph Heller,Thomas Pynchon,John Barth,Vladimir Nabokov,Bruce Jay Friedman himself, and Louis-Ferdinand Celine. The paperback was one of the first American anthologies devoted to the concept of black humor as a literary genre. Among the writers labeled as black humorists by journalists and literary critics are today also Roald Dahl,Kurt Vonnegut,Warren Zevon, and Philip Roth. The motive for applying the label black humorist to all the writers cited above is that they have written novels, poems, stories, plays, and songs in which profound or horrific events were portrayed in a comic manner. Comedians, like Lenny Bruce, that since the late 1950s have been labeled for using "sick comedy" by mainstream journalists, have also been labeled with "black comedy".
Sigmund Freud in his 1927 essay Humour (Der Humor) puts forth the following theory of black comedy: "The ego refuses to be distressed by the provocations of reality, to let itself be compelled to suffer. It insists that it cannot be affected by the traumas of the external world; it shows, in fact, that such traumas are no more than occasions for it to gain pleasure." Some other sociologists elaborated this concept further. At the same time, Paul Lewis warns that this "relieving" aspect of gallows jokes depends on the context of the joke: whether the joke is being told by the threatened person themselves or by someone else.
Black comedy has the social effect of strengthening the morale of the oppressed and undermines the morale of the oppressors. According to Wylie Sypher, "to be able to laugh at evil and error means we have surmounted them."
Black comedy is a natural human instinct and examples of it can be found in stories from antiquity. Its use was widespread in middle Europe, from where it was imported to the United States. It is rendered with the German expression Galgenhumor. The concept of gallows humor is comparable to the French expression rire jaune (lit. yellow laughing), which also has a Germanic equivalent in the Belgian Dutch expression groen lachen (lit. green laughing).
Italian comedian Daniele Luttazzi discussed gallows humour focusing on the particular type of laughter that it arouses (risata verde or groen lachen), and said that grotesque satire, as opposed to ironic satire, is the one that most often arouses this kind of laughter. In the Weimar era Kabaretts, this genre was particularly common, and according to Luttazzi, Karl Valentin and Karl Kraus were the major masters of it.
There are multiple recorded instances of humorous last words and final statements. For example, author and playwright Oscar Wilde was destitute and living in a cheap boarding house when he found himself on his deathbed. There are variations on what his exact words were, but his reputed last words were, "Either that wallpaper goes or I do."
Examples of gallows speeches include:
Military life is full of gallows humor, as those in the services continuously live in the danger of being killed, especially in wartime. For example:
Romeo: "Courage, man; the hurt cannot be much."
Mercutio: "No, 'tis not so deep as a well, nor so wide as a church-door; but 'tis enough, 'twill serve: ask for me to-morrow, and you shall find me a grave man."
The term was part of the language before Freud wrote an essay on it--'gallows humor.' This is middle European humor, a response to hopeless situations. It's what a man says faced with a perfectly hopeless situation and he still manages to say something funny. Freud gives examples: A man being led out to be hanged at dawn says, 'Well, the day is certainly starting well.' It's generally called Jewish humor in this country. Actually it's humor from the peasants' revolt, the forty years' war, and from the Napoleonic wars. It's small people being pushed this way and that way, enormous armies and plagues and so forth, and still hanging on in the face of hopelessness. Jewish jokes are middle European jokes and the black humorists are gallows humorists, as they try to be funny in the face of situations which they see as just horrible.
At least, Swift's text is preserved, and so is a prefactory note by the French writer André Breton, which emphasizes Swift's importance as the originator of black humor, of laughter that arises from cynicism and scepticism.
When it comes to black humor, everything designates him as the true initiator. In fact, it is impossible to coordinate the fugitive traces of this kind of humor before him, not even in Heraclitus and the Cynics or in the works of Elizabethan dramatic poets. [...] historically justify his being presented as the first black humorist. Contrary to what Voltaire might have said, Swift was in no sense a "perfected Rabelais." He shared to the smallest possible degree Rabelais's taste for innocent, heavy-handed jokes and his constant drunken good humor. [...] a man who grasped things by reason and never by feeling, and who enclosed himself in skepticism; [...] Swift can rightfully be considered the inventor of "savage" or "gallows" humor.
The term was part of the language before Freud wrote an essay on it -- 'gallows humour.' This is middle European humour, a response to hopeless situations. It's what a man says faced with a perfectly hopeless situation and he still manages to say something funny. Freud gives examples: A man being led out to be hanged at dawn says, 'Well, the day is certainly starting well.' It's generally called Jewish humour in this country. Actually it's humour from the peasants' revolt, the thirty years' war, and from the Napoleonic wars. It's small people being pushed this way and that way, enormous armies and plagues and so forth, and still hanging on in the face of hopelessness. Jewish jokes are middle European jokes. And the black humourists are gallows humourists, as they try to be funny in the face of situations which they see as just horrible.
Des termes parents du Galgenhumor sont: : comédie noire, plaisanterie macabre, rire jaune. (J'en offre un autre: gibêtises).
humour macabre, humeur de désespéré, (action de) rire jaune Galgenhumor propos guilleret etwas freie, gewagte Äußerung
Walter Redfern, discussing puns about death, remarks: 'Related terms to gallows humour are: black comedy, sick humour, rire jaune. In all, pain and pleasure are mixed, perhaps the definitive recipe for all punning' (Puns, p. 127).
En français on dit « rire jaune », en flamand « groen lachen »
Les termes jaune, vert, bleu évoquent en français un certain nombre d'idées qui sont différentes de celles que suscitent les mots holandais correspondants geel, groen, blauw. Nous disons : rire jaune, le Hollandais dit : rire vert ( groen lachen ) ; ce que le Néerlandais appelle un vert (een groentje), c'est ce qu'en français on désigne du nom de bleu (un jeune soldat inexpéribenté)... On voit que des confrontations de ce genre permettent de concevoir une étude de la psychologie des peuples fondée sur les associations d'idées que révèlent les variations de sens (sémantique), les expressions figurées, les proverbes et les dictions.
Q: Critiche feroci, interrogazioni parlamentari: momenti duri per la satira.
A: Satira è far ridere a spese di chi è più ricco e potente di te. Io sono specialista nella risata verde, quella dei cabaret di Berlino degli anni Venti e Trenta. Nasce dalla disperazione. Esempio: l'Italia è un paese dove la commissione di vigilanza parlamentare Rai si comporta come la commissione stragi e viceversa. Oppure: il mistero di Ustica è irrisolto? Sono contento: il sistema funziona.
racconto di satira grottesca [...] L'obiettivo del grottesco è far percepire l'orrore di una vicenda. Non è la satira cui siamo abituati in Italia: la si ritrova nel cabaret degli anni '20 e '30, poi è stata cancellata dal carico di sofferenze della guerra. Aggiungo che io avevo spiegato in apertura di serata che ci sarebbero stati momenti di satira molto diversi. Satira ironica, che fa ridere, e satira grottesca, che può far male. Perché porta alla risata della disperazione, dell'impotenza. La risata verde. Era forte, perché coinvolgeva in un colpo solo tutti i cardini satirici: politica, religione, sesso e morte. Quello che ho fatto è stato accentuare l'interazione tra gli elementi. Non era di buon gusto? Rabelais e Swift, che hanno esplorato questi lati oscuri della nostra personalità, non si sono mai posti il problema del buon gusto.
Quando la satira poi riesce a far ridere su un argomento talmente drammatico di cui si ride perché non c'è altra soluzione possibile, si ha quella che nei cabaret di Berlino degli Anni '20 veniva chiamata la "risata verde". È opportuno distinguere una satira ironica, che lavora per sottrazione, da una satira grottesca, che lavora per addizione. Questo secondo tipo di satira genera più spesso la risata verde. Ne erano maestri Kraus e Valentin.