Performing absurdity

Why do we sometimes make funny faces or funny voices, or intentionally make awkward movements or non-sequitur comments? No doubt, clowning around involves the many functions of humour and play: amusement, innocent jocosity, relief from the stress of routine seriousness, bonding with others; or, in its more aggressive aspect: parody, satire, and ridicule. Here I’m arguing that an inclination to engage in nonsense can also involve an awareness of the underlying nonsensical nature of life and reality, an aspect of living that we then need to express by including ourselves in the dance of absurdity, which provides existential benefit. Understood as an intentional expression of absurdity by exemplifying that which is incomprehensible or aimless or unexpected, performance of absurdity is a form of play that fits a comic vision of life, enabling emotional processing and also positive appreciation of existential absurdity. Rather than seriously revolting against existential absurdity as Albert Camus famously recommends, performance of absurdity allows for revelling in absurdity; and beyond simply taking an ironic stance in relation to existential absurdity as Thomas Nagel recommends, performing absurdity supports emotional processing. After exploring the nature and benefits of performance of absurdity and addressing possible criticisms, I more clearly relate performing absurdity to humour. Although humour often serves as a vehicle for performing absurdity, these two modes of performance can conflict, particularly in cases where the focus is ridicule rather than acceptance of absurdity.