Category Archives: Humor

No Whistling in Theatre Spaces

Folk Belief / Superstition
Occupational Folklore – Theatre / Behavioral Taboo

1. Text

JP, a theatre major at American University, described a well-established superstition within theatrical environments: the belief that whistling inside a theatre invites bad luck or misfortune. According to JP, this is not merely a stylistic or aesthetic preference, but a behavioral taboo actively enforced in rehearsal and backstage settings, especially backstage. “You might be whistling without thinking, and someone will stop you immediately,” she noted. “People treat it as disruptive, even dangerous,” JP noted that she can’t whistle either way, but believes the superstition is a little dramatic.

JP recounted watching someone in her college program reprimanded for whistling during her first year in university theatre. “I didn’t know it was a problem. This girl was humming and then started to whistle backstage during tech week, and someone cut him off — not angrily, but urgently. They told her, ‘That’s something we don’t do here.’ I laughed. I thought it was so crazy and comical, but the girl who whistled had the biggest look of shame.”

Although JP does not personally attribute supernatural consequences to the act of whistling, she adheres to the custom out of respect for the collective understanding. “I don’t believe something bad will happen, but I know it’s part of the culture. You don’t want to violate the space or distract people, especially when the stakes are high. Additionally, I don’t want conflict with other people, so even if I could whistle, I still would not.”

2. Context

JP learned this superstition informally during her early involvement in university theatre. The belief was not introduced through any institutional channel or training, but rather through peer correction, a method common in the transmission of occupational folklore. The reprimand she saw another student experience served as an entry point into the implicit behavioral norms that govern theatrical spaces — rules which are often unspoken but widely upheld. Additionally, her unfamiliarity with the superstition prior to entering this particular theatre context highlights the localized nature of folklore transmission and how such beliefs can vary significantly across different performance communities.

The belief in the danger of whistling in a theatre is historically grounded. JP informed me that in the 19th and early 20th centuries, stage riggers — many of whom had maritime backgrounds — used a system of coded whistles to signal cue changes for scenery, rigging, and fly systems. An unintentional whistle could therefore result in mistimed or hazardous movements backstage. While modern stagecraft no longer relies on such signaling systems, the associated taboo persists as a form of cultural residue, maintained more for its symbolic weight than its practical relevance.

JP explained that even though the original rationale is no longer operational, the custom remains widespread and now it has now become a very looming superstition. “People treat it as disrespectful,” she said. “It’s not just about the sound. It’s about what it implies — that you’re not actively engaged and focused in the way you should be.” As such, the act of whistling violates more than etiquette; it breaches a collectively upheld boundary of theatrical conduct.

3. Interpretation

The prohibition against whistling in a theatre functions as a behavioral taboo within the occupational folk group of stage performers and technicians. Its persistence, despite the disappearance of its original practical necessity, is a testament to the role of tradition as a mechanism of cultural continuity. In this context, the act of whistling is not inherently harmful, but it becomes symbolically charged within a space where control, precision, and attentiveness are paramount.

From a folkloristic perspective, this taboo aligns with other examples of ritual avoidance behavior — prohibitions enacted not because of empirical risk, but because of their perceived symbolic danger. The theatre, as a liminal space in which transformation and performance occur, is often surrounded by customs that reinforce spatial and emotional boundaries. Whistling, an unsolicited and uncontrolled auditory act, is viewed as an intrusion upon the ritual environment of rehearsal or performance.

Moreover, the belief plays a significant role in group boundary maintenance. Through mechanisms of correction and social enforcement, practitioners reaffirm their identity as members of a professional tradition. The act of stopping someone from whistling, particularly a novice, is both a disciplinary and didactic act: it reasserts collective values while initiating the newcomer into the shared culture of theatrical practice.

Even among those who do not interpret the act superstitiously, the continued observance of the rule suggests a broader understanding of folklore’s functional value. Customs such as this one provide structure and coherence within an otherwise unpredictable environment. The taboo against whistling operates not merely as a superstition but as a ritualized gesture of respect toward the space, the craft, and the community of practitioners who maintain it.

In sum, JP’s account illustrates how occupational folk groups preserve behavioral norms through informal transmission, even when the original rationale has been obscured or rendered obsolete. In doing so, these traditions help define the emotional architecture of performance spaces and maintain a shared sense of discipline, identity, and continuity.

Grandma’s Singing Teeth

Age: 23

Story: “Growing up, I had this insane birthday tradition that my grandma would do every single year, for all of my siblings. And brace yourself, cause honestly it’s extremely weird. But growing up, I think honestly, for as long as I can remember, after we sang “Happy Birthday” my grandma, who wore fake dentures, would take out her teeth and make them sing “Happy Birthday” AGAIN. It wasn’t until after she was done singing with her fake teeth that we were allowed to eat cake and celebrate. It was honestly really embarrassing anytime I had a birthday party, because I was afraid my friends would think my family was weird … and honestly we are. But since my grandma has passed, I miss the days she would make me laugh and she would sing with her dentures. For a few years, my mom bought those fake chattering teeth and we sang with those. I would like to start doing that again.”

Analysis: This story is the epitome of how even the most unconventional and wackiest rituals can have such significant meaning. This person’s account of their grandmother’s quirky birthday tradition demonstrates how humor and repetition can turn an ordinary moment into a memorable rite of passage. While the tradition may have felt embarrassing in childhood, it has since taken on a lot of weight as a symbol of familial ties and connection to the past. From a folkloric perspective, this tradition blends oral performance with material culture, showing how objects can become vessels of meaning and memory. The story also touches on the intergenerational passing on of rituals, how the narrator’s family adapted the tradition after the grandmother’s passing, keeping her spirit alive through the toy chattering teeth. I interpret this to be such a sweet tradition, and coming from experience, I know how important and special it is to have a fun-loving memory of family members that have passed, so I love how this tradition has grown for this person. Ultimately, this tradition reveals how homegrown rituals can function as intimate forms of cultural expression, bringing together families, and showing the strength of a tradition.

A.B. Rent-a-Camel

Nationality: American
Age: 82
Occupation: Retired
Residence: Tucson, AZ

A guy needs to travel across the desert and the only way to get across this desert is by camel. He comes across a place that rents camels called A.B. Rent-a-Camel. He asks A.B., who runs the place, for a camel and A.B. says “follow me” and shows him to his camel. The man notices there’s a bag of bricks on the side of the camel but thinks nothing of it. A.B. says “before you leave you need to take the camel to the watering trough and have him drink, so the man does. He begins his journey and about halfway through his camel stops walking and sits down. The man tries slapping and yelling at the camel but nothing will make him move. Later in the day A.B. comes up on his camel and asks what happened. The man replies, “it just stoped”. A.B. asks “well did you brick him?”. The man says “what’s bricking?”. A.B. says “Well when the camel is drinking from the trough you take the two bricks from the bag and slam them against his nuts”. The man says “doesn’t that hurt?” and A.B. replies, “not if you keep your thumbs on the outside of the bricks.”

Informant Analysis: I first heard this joke from my father and it’s been one of my favorites to tell ever since. No matter what party you’re at or who is there, it’s sure to get a laugh from anyone. My father had lot’s of good jokes but this was definitely my favorite of them all.

My Analysis: This joke, passed down from the informant’s father, works as a way to connect and get people laughing together. The over-the-top punchline and ridiculous imagery use discomfort to catch people off guard and make the joke hit harder. The fake “bricking” technique is a funny twist on the kind of weird advice older generations pass down. It plays like a long-winded story that ends in a totally unexpected way, which is part of what makes it so memorable. More than just a joke, it shows how humor can be a way to share connection, surprise, and a little chaos.

Seven Degrees of Separation From Kevin Bacon

Nationality: American
Age: 54
Occupation: Unemployed
Language: English

Informant Analysis: I first heard about the “Seven Degrees of Kevin Bacon” when I was younger. The idea is that any actor, or really any person, can be linked to Kevin Bacon through seven or less people. It’s like a pop culture twist on the “six degrees of separation” theory, which suggests everyone on Earth is connected by six or fewer people. My dad always thought it was funny and kind of spooky how often it worked. It stuck with me because it turns celebrity culture into something you can play with.

My Analysis: This idea that everyone is somehow connected to Kevin Bacon is a fun way people explore how weirdly small the world can feel. It plays into this deeper belief that we’re all more connected than we realize, especially through pop culture. The randomness of using Kevin Bacon as the center makes it more of a running joke, but it still explores how interesting social networks are. At its core, it’s about how connections, coincidence, and community.

The Schnitzel Man – Legend

Nationality: American
Age: 28
Occupation: Author
Residence: Long Beach
Language: English

Text/Context: “In elementary school, there was a rumor making its way around about the Schnitzel Man. I first heard it from my friend Emily who heard it from another kid, and he was described as a tooth-fairy like figure who would bring Schnitzel to all the good little boys and girls. It started to catch on, and soon enough everyone knew about the Schnitzel Man. Some people believed it, including me and Emily, and we became so obsessed with the idea that we told everyone we knew, including our parents. Then one day, I woke up to get ready for school, and I feel something under my pillow. I pull it out, and lo and behold, it’s a plastic toy hot dog. I freak out and run to go tell my mom “The Schnitzel Man! He visited me in the night and left me a Schnitzel because I’m a good girl!” And so of course, immediately, the first thing I do when I find Emily at school is tell her, “I got a Schnitzel under my pillow, did you get one?” She said no, and I was like “I guess you’re not a good little girl then.” It became a source of irritation for her, because the Schnitzel Man never visited her, I was the only one blessed by the Schnitzel Man. I told everyone else in the friend group and anyone who didn’t believe before really started to believe then. In reality it was just my mother who wanted to play into all the fun we were having and wanted to pretend the Schnitzel Man was actually real.”

Analysis: I think we often forget how gullible we were as children, and this hilarious story is a prime example of that. If you told anyone over the age of 14 about the “Schnitzel Man,” they’d laugh in your face. But elementary schoolers will believe anything. This is reflected in the folklore that originates from this age group, as it is often much more far-fetched and absurd than the typical folklore you’ll hear. Kids see the world in what I would describe as a whimsical light, a product of their lack of experience. I sometimes yearn for that naivety, wishing I could once again believe in something like a Schnitzel Man or whatever other crazy things I used to believe in. It’s just so much fun. And although my informant is now too old to fall for such a story and knows the truth, it clearly made her happy to reminisce about it. It goes to show how folklore is not just a means used to preserve and pass down tradition, but as simply something to enjoy.