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'This paper looks at the renaissance of Indigenous Australian theatrical performance, from the early 1970s to its prominence in the lead-up to the Sydney 2000 Olympic Games. It focuses on the specific ways that humour has been used by Indigenous Australian performing artists to highlight unpleasant social issues in their communities, such as poverty, alcohol abuse, and the removal/stealing of children from their families. In conjunction with witty repartee, visual comedy both in movement and mimicry is often used by Indigenous performers. Philosopher Henri Bergson, well-known for his contributions to humour studies, claims that the physical humour in inflexible, repetitive, or exaggerated movements is inherently funny. Bergson argues that rigidity of movements or “something mechanical encrusted on the living” makes comedians appear inhuman and, as a consequence, this makes people laugh. Contemporary philosopher and humour theorist Simon Critchley notes that the opposite is also true: We often find it funny when people give the impression of being all too human. For Critchley, the recognition of predictable behaviours is just as funny as any automated actions.' (129-130)
