in many ways it's not wildly dissimilar to acts like Lenny Bruce or Andy Kaufman in that the material forces you to reconcile with the performance of it as much as the content and positions the notion of comedy itself onto a deeply uncomfortable axis. like Kaufman, I'm not sure if I'd want this to become a new standard, but on its own terms its incredibly compelling and valuable
Powerful. Haven't seen something like this since Bill Hicks' specials, and Hannah solves a problem that plagued Bill: how do you transcend the suffocating constraints of the medium and get real w/o being "preachy"? She overcomes this audience reaction by naming the limitation: tension. In ID'ing tension in comedy, Gadsby deprives you of the relief of shutting out pain just because it's not "funny." And boy, it hurts.
como é que vamos de um ponto para o outro? da comédia para a nua realidade (mundos separados, tanta vez)? a separação a meio de NANETTE- da comédia stand-up "pura" para o seu desmembramento - traz a força maior desta peça de Gadsby. Já antes (Lenny Bruce, Andy Kaufman) esbateram a fronteira e tornaram a realidade... real, por uma coisa é falar sobre o mundo, outra é tentar viver-se nele. (...)
3.1 stars. Hard agree with Chris Jones and Trunfos. I like it more after reading this dead-on quote from Gadsby: “Louis C.K.’s comedy platform was that he was this hopeless guy bumbling through the world […] And at some stage, he was no longer that, but that was still his voice. And I think he still believes that. He has not reassessed his position of power, and that is why he was able to abuse it.”
Nanette isn't a comedy, and that would be ok if the commentary was insightful. The reality is: what she says about self deprecating humor, from a scientific perspective, is wrong. People who use self deprecation are usually are the most emotionally secure happy people on earth. Gadsby's shaming of it's use is more destructive than anything else. A similar special that is much better: Cameron Esposito's Rape Jokes.