In one form or another, comedy often proceeds from a certain exaggeration of life — exaggerated bodily movements, or facial expressions, or scenarios, or reactions. These exaggerations have an unreality to them, but still maintain an uncanny relationship to more “normal” life. Put another way: sometimes comedy is just plain silly, the art of relishing the fun of suspending our expectations and upending our social conventions. What is happening when performers give free reign to the silly? Does it cut the cords of empathy and invite the audience to become mere spectators — whose enjoyment is vicarious, but not really participatory? Or does silliness bind performer and spectator together, inviting them to see reality in a different light?