The Lost Art of Silliness: Why Adults Need a Little More Loopiness

A recent play, Bocking, at Baltimore Center Stage had me pining for a bygone era. The show’s wild, surreal, and tenderhearted farce was a breath of fresh air in a cultural landscape that often prioritizes satire over silliness. But what struck me most wasn’t just another clever quip or scathing commentary – it was pure, unadulterated silliness.

The scene in question features two characters, Erickson and Tiana, “bocking” together – speaking in chicken. It’s an inexplicable yet undeniably cathartic exchange that strips away the layers of adult logic and convention, leaving us with a visceral sense of relief. I couldn’t help but think of Monty Python, whose willingness to be purely silly has become the gold standard for comedic genius.

Bocking raises an important question: what happened to silliness in adult art and culture? Why do we so rarely see it, despite its potential to bring people together and provide a much-needed release from everyday life stresses? The answer lies in our increasing reliance on satire and spectacle. We’ve become so accustomed to clever quips and visually stunning moments that we’ve forgotten the power of pure silliness.

In an era where art is often expected to be didactic, Bocking stands out for embracing its own absurdity. By doing so, playwright Preston Crowder creates a space for characters – and audiences – to connect on a deeper level. It’s not just about humor; it’s about the feelings that lie beneath.

This phenomenon isn’t unique to theater or comedy. As adults, we’ve become increasingly serious, neglecting the importance of playfulness and being silly without apology. We’re so focused on intellectualism and moralizing that we’re sacrificing our ability to connect with each other on a deeper level. Silliness is not just about laughter; it’s about shared experience and finding common ground in life’s absurdity.

Crowder understands this intuitively, and his play shows us the power of silliness as a tool for catharsis. By embracing its own ridiculousness, Bocking creates a space for characters – and audiences – to let go of their inhibitions and connect on a deeper level.

As I left the theater that night, I felt a sense of hope. Maybe Bocking is a sign that we’re ready to reclaim our sense of silliness, to remember the joy of being ridiculous without apology. If so, it’s a movement worth watching – and participating in.

The cultural imperative for silliness is clear: in an era dominated by satire and spectacle, pure silliness can be a powerful tool for connection and catharsis. Adults need to reclaim their sense of playfulness, to remember the importance of being ridiculous without apology. Crowder’s play shows us that embracing absurdity creates a space for characters – and audiences – to connect on a deeper level.

This has far-reaching implications: as adults, we’re not just losing our sense of humor; we’re also sacrificing our ability to connect with each other on a deeper level. Silliness is not just about laughter; it’s about shared experience and finding common ground in life’s absurdity.

Silliness has always been a part of human culture, from the ancient Greeks to Monty Python’s iconic sketch comedy group. But its place in adult art and culture has waxed and waned over the years. In the 1960s and 1970s, silliness was a staple of counterculture – think The Beatles and their playful irreverence.

In recent decades, however, we’ve seen a shift towards satire and spectacle. We’ve become so focused on clever quips and visually stunning moments that we’ve forgotten the power of pure silliness. This is not unique to comedy; it’s a broader cultural trend that reflects our increasing seriousness as adults.

Embracing absurdity can be a powerful tool for connection and catharsis. By letting go of our inhibitions and connecting with each other on a deeper level, we can tap into the power of silliness. Crowder’s play shows us that pure silliness can be a powerful force – and it’s a movement worth watching.