This article concerns the genre of stand‐up comedy as a staged performance of self‐presentation constrained by a specific participant structure and an interactional setting that foregrounds both subjective (token‐specific) and objective (typifying) presentational orientations. By initially distinguishing between three modes of footing as pragmatically organizing the role configurations of this communicative form, I investigate how this tripartite dynamic is metapragmatically regimented within the genre, and further argue how performing stand‐up necessarily entails the calibration of multiple overlapping footings at once. Adopting the nascent yet thriving Finnish stand‐up scene as a point of entry to the international expansion and newfound popularity of stand‐up in the ongoing century, the analysis sheds light on novel intersections of publics and selves in increasingly mediated contexts of contemporary culture.

中文翻译：

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单口喜剧中的参与参与和自反性的多样性

本文涉及单口喜剧的类型，即喜剧的类型是一种自我表现的阶段性表现，受特定参与者结构和交互设置的约束，该交互设置突出了主观（特定于令牌）和客观（典型）的表现取向。通过初步区分三种立足点模式，以务实的方式组织这种交际形式的角色配置，我研究了这种三重动力是如何通过语用学来构造的，并进一步论证了如何进行站立站立必须同时校准多个重叠的立足点。采用新生但蓬勃发展的芬兰站立式场景作为国际扩展的入口点，并在不断发展的世纪中崭露头角，