Editing Satire (section)

===Satire vis-à-vis teasing===
In the [[history of theatre]] there has always been a conflict between engagement and disengagement on [[politics]] and relevant issue, between satire and [[grotesque]] on one side, and [[jest]] with [[teasing]] on the other.<ref name="Fo1990p9"/> [[Max Eastman]] defined the [[spectrum]] of satire in terms of "degrees of biting", as ranging from satire proper at the hot-end, and "kidding" at the violet-end; Eastman adopted the term kidding to denote what is just satirical in form, but is not really firing at the target.<ref>{{Citation|author-link=Max Eastman|first=Max|last=Eastman|year=1936|chapter-url=https://books.google.com/books?id=Tyd5wwn8acwC&pg=PA236|title=Enjoyment of Laughter|chapter=IV. Degrees of Biting|pages=236–43|publisher=Transaction Publishers|isbn=9781412822626}}</ref> [[Nobel Prize in Literature|Nobel laureate]] satirical playwright [[Dario Fo]] pointed out the difference between satire and teasing (''sfottò'').<ref name="Lorch1997p128">{{Citation|author1-link=Dario Fo|first1=Dario|last1=Fo|first2=Jennifer|last2=Lorch|url=https://books.google.com/books?id=u12fXi_HDO4C&pg=PA128|title=Dario Fo|page=128|quote=In other writings Fo makes an important distinction between ''sfottò'' and satire.|isbn=9780719038488|year=1997|publisher=Manchester University Press}}</ref> Teasing is the [[reactionary]] side of the [[comic]]; it limits itself to a shallow [[parody]] of physical appearance. The side-effect of teasing is that it humanizes and draws sympathy for the powerful individual towards which it is directed. Satire instead uses the comic to go against power and its oppressions, has a [[subversive]] character, and a [[moral]] dimension which draws judgement against its targets.<ref name="Fo1990p2" /><ref name="Fo1990pn" /><ref name = "Arroyop303">{{Citation|first1=José Luís Blas|last1=Arroyo|first2=Mónica Velando|last2=Casanova|url=https://books.google.com/books?id=CxZ_zH44PVkC&pg=PA303|title=Discurso y sociedad: contribuciones al estudio de la lengua en...|volume=1|pages=303–4|isbn=9788480215381|year=2006|publisher=Publicacions de la Universitat Jaume I|language=es}}</ref><ref name="Morson1988p114">{{Citation|last=Morson|first=Gary Saul|year=1988|url=https://books.google.com/books?id=PpLiINhO83MC&pg=PA114|title=Boundaries of Genre|page=114|publisher=Northwestern University Press|quote=second, that parodies can be, as Bakhtin observes, "shallow" as well as "deep" (''Problems of Dostoevsky's Poetics'', 160), which is to say, directed at superficial as well as fundamental faults of the original. [...] the distinction between shallow and deep [...] [is] helpful in understanding the complex ways in which parodies are used. For instance, shallow parody is sometimes used to pay an author an indirect compliment. The opposite of damning with faint praise, this parody with faint criticism may be designed to show that no more fundamental criticism ''could'' be made.|isbn=9780810108110}}</ref> Fo formulated an [[Operational definition|operational]] criterion to tell real satire from ''sfottò'', saying that real satire arouses an outraged and violent reaction, and that the more they try to stop you, the better is the job you are doing.<ref>{{Citation|author-link=Daniele Luttazzi|first=Daniele|last=Luttazzi|year=2005|url=http://news.danieleluttazzi.it/?q=node/147|archive-date=December 25, 2005|place=[[Italy|IT]]|archive-url=https://web.archive.org/web/20051225171452/http://news.danieleluttazzi.it/?q=node%2F147|title=Matrix|quote=Dario Fo disse a Satyricon: —La satira vera si vede dalla reazione che suscita.|url-status=dead|df=mdy-all}}</ref> Fo contends that, historically, people in positions of power have welcomed and encouraged good-humoured buffoonery, while modern day people in positions of power have tried to censor, ostracize and repress satire.<ref name="Fo1990p9"/><ref name="Fo1990p2"/>

Teasing (''sfottò'') is an ancient form of simple [[buffoonery]], a form of comedy without satire's subversive edge. Teasing includes light and affectionate parody, good-humoured mockery, simple one-dimensional poking fun, and benign spoofs. Teasing typically consists of an [[Impressionist (entertainment)|impersonation]] of someone monkeying around with his exterior attributes, [[tic]]s, physical blemishes, voice and mannerisms, quirks, way of dressing and walking, and/or the phrases he typically repeats. By contrast, teasing never touches on the core issue, never makes a serious criticism judging the target with [[irony]]; it never harms the target's conduct, [[ideology]] and position of power; it never undermines the perception of his morality and cultural dimension.<ref name="Fo1990p2"/><ref name="Arroyop303"/> ''Sfottò'' directed towards a powerful individual makes him appear more human and draws sympathy towards him.<ref>{{Citation|author-link=Daniele Luttazzi|first=Daniele|last=Luttazzi|language=it|url=http://www.nazioneindiana.com/2003/10/28/state-a-casa-a-fare-i-compiti-2/|title=State a casa a fare i compiti|format=interview|editor1-first=Federica|editor1-last=Fracassi|editor2-first=Jacopo|editor2-last=Guerriero|journal=Nazione Indiana|date=October 2003|quote=Lo sfottò è reazionario. Non cambia le carte in tavola, anzi, rende simpatica la persona presa di mira. La Russa, oggi, è quel personaggio simpatico, con la voce cavernosa, il doppiatore dei Simpson di cui Fiorello fa l'imitazione. Nessuno ricorda più il La Russa picchiatore fascista. Nessuno ricorda gli atti fascisti e reazionari di questo governo in televisione.}}</ref> [[Hermann Göring]] propagated [[jest]]s and jokes against himself, with the aim of humanizing his image.<ref>{{Citation|last=Kremer|first=S Lillian|year=2003|url=https://books.google.com/books?id=Gvfxm_YuGT4C&pg=PA100|title=Holocaust Literature: Agosín to Lentin|page=100|publisher=Routledge|isbn=9780415929837}}</ref><ref>{{Citation|last=Lipman|first=Stephen 'Steve'|year=1991|title=Laughter in hell: the use of humour during the Holocaust|place=Northvale, NJ|publisher=J Aronson|page=40}}</ref>