笑話回應與幽默延續策略之互動序列研究：以台灣單口喜劇開放麥為例

Abstract

近二十年，台灣的現場單口喜劇表演在前人的引進、摸索及開創當中逐漸成形，而相較其他的語言表演藝術，單口喜劇打破了台上表演者對台下觀眾單向演出的方式，允許觀眾參與、回應台上表演的話語及內容。 本研究以單口喜劇表演者在開放麥(open-mic)的演出過程及表演者與現場觀眾的互動內容為研究對象，相較於正式的大型表演，開放麥的形式更偏向作為喜劇演員練習及測試段子的場所，台上台下拋接互動的性質強烈。本文從機構型談話的特質出發，觀察單口喜劇開放麥特殊的互動情境；以觀眾回應以及幽默互動研究的特點，整理單口喜劇當中所特有的與機構性談話及隨意談話兩者特質，以會話分析為方法論，分析台灣單口喜劇開放麥的表演中，喜劇演員如何表演當中及時運用觀眾偏好(如笑、掌聲)或非偏好(如沉默、噓聲)的回應，在互動的序列中來建構或延續幽默效果，探看在單口喜劇的表演當中，喜劇演員在表演策略及笑話敘事之外，如何以現場的即時互動作為資源，呈現單口喜劇表演的多變及複雜性。

Through the efforts of predecessors' introduction, exploration, and innovation, the area of live solitary stand-up comedy performances in Taiwan has gradually taken shape over the past 20 years. Solo stand-up comedy challenges the typical one-way performance paradigm where performers address the audience without active engagement, in contrast to other verbal performance arts. Instead, it enables audience participation and reactions to the performer's speech and material. The process of solitary stand-up comedians during open-mic performances and the interaction between performers and live audiences are the main topics of this study. In contrast to formal large-scale performances, the open-mic format emphasizes significant bidirectional connections between the stage and the audience and leans more toward being a place for comedians to develop and try out their routines. Departing from the characteristics of institutional discourse, this research observes the distinctive interactive context of solitary stand-up comedy open-mic settings. In order to construct or extend humorous effects, comedians in Taiwan's solitary stand-up comedy open-mic performances strategically utilize audience preferences (such as laughing and applause) or non-preferences (such as silence and booing) in the interaction sequences. This study explores how real-time interactions are used by comedians during solitary stand-up comedy performances as a resource besides performance methods and joke narratives, highlighting the richness and variety of solitary stand-up comedy presentations.