This paper explores the (de-)constructive and critical role that autism can play in transforming the art of stand-up comedy. Analysing various aspects of audio-visual performance in Hannah Gadsby’s sets, Nanette and Douglas, this paper will attempt to identify a new autistic aesthetics in Gadsby’s performance and examine its differential relation to conventional neurotypical modalities of performing comedy. This paper will also examine how Gadsby revolutionizes and crips comedy to create space for the ‘negative’ affects (anger, tension), traditionally excluded from the domain of stand-up, in order to extract the therapeutic efficacy of ‘connection’ through story-telling.
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