Guilt is the state of being responsible for the commission of an offense.^[1] It is also a cognitive or an emotional experience that occurs when a person realizes or believes—accurately or not—that he or she has violated a moral standard, and bears significant responsibility for that violation.^[2] It is closely related to the concept of remorse.

Orestes Pursued by the Furies, by John Singer Sargent. 1921. The erinyes represent the guilt for murdering his mother.

Moral and legal definitions[link]

"Guilt" is the obligation of a person who has violated a moral standard to bear the sanctions imposed by that moral standard. In legal terms, guilt means having been found to have violated a criminal law,^[1] though law also raises 'the issue of defences, pleas, the mitigation of offences, and the defeasibility of claims'.^[3]

Les Parrott draws a three-fold distinction between ' objective or legal guilt, which occurs when society's laws have been broken...Social guilt...[over] an unwritten law of social expectation', and finally the way ' Personal guilt occurs when someone compromises one's own standards'.^[4]

Psychology[link]

Guilt and its associated causes, merits, and demerits are common themes in psychology and psychiatry. Both in specialized and in ordinary language, guilt is an affective state in which one experiences conflict at having done something that one believes one should not have done (or conversely, having not done something one believes one should have done). It gives rise to a feeling which does not go away easily, driven by 'conscience'. Sigmund Freud described this as the result of a struggle between the ego and the superego - parental imprinting. Freud rejected the role of God as punisher in times of illness or rewarder in time of wellness. While removing one source of guilt from patients, he described another. This was the unconscious force within the individual that contributed to illness, Freud in fact coming to consider "the obstacle of an unconscious sense of guilt...as the most powerful of all obstacles to recovery."^[5] For his later explicator, Lacan, guilt was the inevitable companion of the signifying subject who acknowledged normality in the form of the Symbolic order.^[6]

Alice Miller claims that "many people suffer all their lives from this oppressive feeling of guilt, the sense of not having lived up to their parents' expectations....no argument can overcome these guilt feelings, for they have their beginnings in life's earliest period, and from that they derive their intensity."^[7] This may be linked to what Les Parrott has called "the disease of false guilt....At the root of false guilt is the idea that what you feel must be true."^[8] If you feel guilty, you must be guilty!

The philosopher Martin Buber underlined the difference between the Freudian notion of guilt, based on internal conflicts, and existential guilt, based on actual harm done to others.^[9]

Guilt is often associated with anxiety. In mania, according to Otto Fenichel, the patient succeeds in applying to guilt "the defense mechanism of denial by overcompensation...re-enacts being a person without guilt feelings."^[10]

Defences[link]

Fenichel points out that "mastery of guilt feelings may become the all-consuming task of a person's whole life...'counter-guilt.'"^[11] Various techniques are possible, including repression. Freud pointed out that "as a rule the ego carries out repressions in the service and at the behest of its superego; but this is a case in which it has turned the same weapon against its harsh taskmaster."^[12] The problem, according to Eric Berne, is that because the superego is "a jealous master whose punishments are difficult to avoid", one may (in a return of the repressed) "begin to feel guilty many years afterwards and perhaps break down...under the long-continued reproaches of the Superego."^[13]

Projection is another defensive tool with wide applications. It may take the form of blaming the victim: The victim of someone else's accident or bad luck may be offered criticism, the theory being that the victim may be at fault for having attracted the other person's hostility.^[14] Alternatively, in Fenichel's words, "the superego is reprojected onto external objects for the purpose of getting rid of guilt feelings...using external objects as "witnesses" in the fight against the superego."^[15] Here the danger is of creating ideas of reference.

Another form of Projection is self-harm or self-blame. "Guilty people punish themselves if they have no opportunity to compensate the transgression that caused them to feel guilty. It was found that self-punishment did not occur if people had an opportunity to compensate the victim of their transgression."^[16] Some forms of self-inflicted punishment are self-denied pleasure, or not allowing oneself to enjoy opportunities or benefits due to guilty feelings that cannot be resolved through compensation.

Lack of guilt in psychopaths[link]

Psychopaths lack any true sense of guilt or remorse for harm they may have caused to others. Instead, they rationalize their behavior, blame someone else, or deny it outright.^[17] This is seen by psychologists as part of a lack of moral reasoning (in comparison with the majority of humans), an inability to evaluate situations in a moral framework, and an inability to develop emotional bonds with other people.^[18]

Also known as sociopathy or antisocial personality disorder, this psychopathic lack of guilt used to be termed 'moral insanity'.^[19] Others however suggest that the psychopath is in fact driven by a very severe but unconscious sense of guilt.^[20]

Causes (etiology)[link]

Evolutionary theories[link]

Some evolutionary psychologists theorize that guilt and shame helped maintain beneficial relationships, such as reciprocal altruism.^[21] If a person feels guilty when he harms another, or even fails to reciprocate kindness, he is more likely not to harm others or become too selfish. In this way, he reduces the chances of retaliation by members of his tribe, and thereby increases his survival prospects, and those of the tribe or group. As with any other emotion, guilt can be manipulated to control or influence others. As a highly social animal living in large groups that are relatively stable, we need ways to deal with conflicts and events in which we inadvertently or purposefully harm others. If someone causes harm to another, and then feels guilt and demonstrates regret and sorrow, the person harmed is likely to forgive. Thus, guilt makes it possible to forgive, and helps hold the social group together.

Social psychology theories[link]

When we see another person suffering, it can also cause us pain. This constitutes our powerful system of empathy, which leads to our thinking that we should do something to relieve the suffering of others. If we cannot help another, or fail in our efforts, we experience feelings of guilt. From the perspective of group selection, groups that are made up of a high percentage of co-operators outdo groups with a low percentage of co-operators in between-group competition. People who are more prone to high levels of empathy-based guilt may be likely to suffer from anxiety and depression; however, they are also more likely to cooperate and behave altruistically. This suggests that guilt-proneness may not always be beneficial at the level of the individual, or within-group competition, but highly beneficial in between-group competition.^{[citation needed]}

Other theories[link]

Another common notion is that guilt is assigned by social processes, such as a jury trial (i. e., that it is a strictly legal concept). Thus, the ruling of a jury that O.J. Simpson or Julius Rosenberg was "guilty" or "not innocent" is taken as an actual judgment by the whole society that they must act as if they were so. By corollary, the ruling that such a person is "not guilty" may not be so taken, due to the asymmetry in the assumption that one is assumed innocent until proven guilty, and prefers to take the risk of freeing a guilty party over convicting innocents. Still others—often, but not always, theists of one type or another—believe that the origin of guilt comes from violating universal principles of right and wrong. In most instances, people who believe this also acknowledge that even though there is proper guilt from doing 'wrong' instead of doing 'right,' people endure all sorts of guilty feelings which do not stem from violating universal moral principles.

Collective guilt[link]

Collective guilt (or group guilt) is the unpleasant and often emotional reaction that results among a group of individuals when it is perceived that the group illegitimately harmed members of another group. It is often the result of “sharing a social identity with others whose actions represent a threat to the positivity of that identity.”^[22] Different intergroup inequalities can result in collective guilt, such as receiving unearned benefits and privileges or inflicting more extreme forms of harm on an out-group (including genocide). Individuals are generally motivated to avoid collective guilt in order to maintain a positive social identity. There are many ways of decreasing collective guilt, such as denying harm or justifying actions. Collective guilt can also lead to positive outcomes, such as promoting intergroup reconciliation and reducing negative attitudes towards the out-group.

There are several causes of collective guilt: salient group identity, collective responsibility, and perception of unjust in-group actions. In order for an individual to experience collective guilt, he must identify himself as a part of the in-group. “This produces a perceptual shift from thinking of oneself in terms of ‘I’ and ‘me’ to ‘us’ or ‘we’.”^[22] Only when an individual is salient with the in-group can he or she perceive responsibility for the harmful actions of the group, past and present. In addition to in-group salience, an individual will only feel collective guilt if he or she views the in-group as responsible for the harmful actions done to the out-group. For instance, in two studies by the American Mosaic Project, racial inequality in the United States was framed as either “Black Disadvantage” or “White Privilege.” When the term “black disadvantage” was used to describe racial inequality, white participants felt less collectively responsible for the harm done to the out-group, which lessened collective guilt. In comparison, when “white privilege” was used, white participants felt more collectively responsible for the harm done, which increased collective guilt.

Lastly, an individual has to believe the actions caused by the in-group were unjustifiable, indefensible, and unforgivable. If an individual can justify the actions of the in-group, this will lessen collective guilt. Only when an individual views the in-group actions as reprehensible will that individual feel collective guilt. Collective guilt is not only a result of feeling empathy for the out-group. It can also be caused by self-conscious emotion that stems from the questioning of the morality of the in-group.

There are various methods of reducing collective guilt. Some of these methods are denying the in-group’s harmful actions, denying responsibility, claiming actions by the in-group were just, focusing on positive aspects caused by the harmful action, and pointing out positive things in other areas to counterbalance the harm. First, by denying the in-group’s harmful actions, or downplaying the severity of the harm, the effect of collective guilt is lessened. If the individual or group can neglect to observe the harm caused by their actions, either consciously or unconsciously, then the individual will not feel collective guilt. If a person does not feel that the in-group is responsible for the harm caused by actions, collective guilt will be lessened. Additionally, if a person believes that only individuals are responsible for their own actions, and not a collective group, then they can deny the existence of collective responsibility, thereby reducing feelings of collective guilt. An individual can rationalize the actions of the in-group. If the individual believes that there were just reasons for the harm inflicted, collective guilt is likely to be reduced. For instance, out-group dehumanization is one effective means towards justifying the in-group’s actions. By focusing on the positive aspects of the in-group’s actions rather than the harmful effects, collective guilt can be reduced. For instance, an individual or group may choose to focus on the benefits of high levels of production and consumption, rather than on its harmful effects on the environment.

Cultural views[link]

This unreferenced section requires citations to ensure verifiability.

Traditional Japanese society, Korean society and Chinese culture^[23] are sometimes said to be "shame-based" rather than "guilt-based", in that the social consequences of "getting caught" are seen as more important than the individual feelings or experiences of the agent (see the work of Ruth Benedict). The same has been said of Ancient Greek society, a culture where, in Bruno Snell's words, if "honour is destroyed the moral existence of the loser collapses."^[24]

This may lead to more of a focus on etiquette than on ethics as understood in Western civilization, leading some^[who?] in Western civilizations to question why the word ethos was adapted from Ancient Greek with such vast differences in cultural norms. Christianity and Islam inherit most notions of guilt from Judaism, Persian, and Roman ideas, mostly as interpreted through Augustine, who adapted Plato's ideas to Christianity. The Latin word for guilt is culpa, a word sometimes seen in law literature, for instance in mea culpa meaning "my fault (guilt)."

Etymology[link]

Guilt, from O.E. gylt "crime, sin, fault, fine, debt,", derived from O.E. gieldan "to pay for, debt." The mistaken use for "sense of guilt" is first recorded 1690. "Guilt by association" is first recorded in 1941. "Guilty" is from O.E. gyltig, from gylt.

In literature[link]

Guilt is a main theme in John Steinbeck's East of Eden, Fyodor Dostoevsky's Crime and Punishment, Tennessee Williams' A Streetcar Named Desire, William Shakespeare's play Macbeth, Edgar Allan Poe's "The Tell-Tale Heart" and "The Black Cat", and many other works of literature. In Sartre's The Flies, the Furies (in the form of flies) represent the morbid, strangling forces of neurotic guilt which bind us to authoritarian and totalitarian power.^[25]

Guilt is a major theme in many works by Nathaniel Hawthorne, and is an almost universal concern of novelists who explore inner life and secrets.

In the Bible[link]

Guilt in the Christian Bible is not merely an emotional state but is a legal state of deserving punishment. The Hebrew Bible does not have a unique word for guilt, but uses a single word to signify: "sin, the guilt of it, the punishment due unto it, and a sacrifice for it."^[26] The Greek New Testament uses a word for guilt that means "standing exposed to judgment for sin" (e.g. Romans 3:19). In the Old Testament, the Bible says that through sacrifice one's sins can be forgiven. The New Testament says that this forgiveness is given if one accepts Jesus Christ as his or her Lord and Savior (John 3:16). Accordingly, the Old and New Testaments have differing opinions on the expiation of guilt. It is also theoretically possible to fulfill conditions of both biblical guilt escape methods (i.e., A: pay a sacrifice for one's sins, and B: accept Jesus Christ as one's Lord and Savior), yet still be unable to let go of guilt, arguably because of failure at self-forgiveness.

Remedies[link]

Guilt can sometimes be remedied by: punishment (a common action and advised or required in many legal and moral codes); forgiveness (as in transformative justice); making amends (see reparation (legal) or acts of reparation), or 'restitution...an important step in finding freedom from real guilt';^[27] or by sincere remorse (as with confession in Catholicism or restorative justice). Guilt can also be remedied through intellectualisation or cognition ^[28] (the understanding that the source of the guilty feelings was illogical or irrelevant). Helping other people can also help relieve guilt feelings: 'thus guilty people are often helpful people...helping, like receiving an external reward, seemed to get people feeling better'.^[29] There are also the so-called 'Don Juans of achievement...who pay the installments due their superego not by suffering but by achievements....Since no achievement succeeds in really undoing the unconscious guilt, these persons are compelled to run from one achievement to another'.^[30]

Law does not usually accept the agent's self-punishment, but some ancient codes did: in Athens, the accused could propose their own remedy, which could, in fact, be a reward, while the accuser proposed another, and the jury chose something in-between. This forced the accused to effectively bet on his support in the community, as Socrates did when he proposed "room and board in the town hall" as his fate. He lost and drank hemlock, a poison, as advised by his accuser.

Finally, although the research has not been done, guilt (like many other emotions) can sometimes wear out and be forgotten in the passage of time.^{[citation needed]}

See also[link]

Wikiquote has a collection of quotations related to: Guilt

Wikiversity has learning materials about Guilt

References[link]

Further reading[link]

Adam Phillips, 'Guilt', in On Flirtation (1994), p. 138-147

Nina Coltart, 'Sin and the Super-ego', in Slouching Towards Bethlehem (1992)

External links[link]

Look up guilty in Wiktionary, the free dictionary.

Look up guilt in Wiktionary, the free dictionary.

v t e Emotions (list) Emotions Adoration Affection Agony Awe Amusement Anger Anguish Annoyance Anxiety Arousal Attraction Caring Compassion Contempt Contentment Defeat Dejection Depression Desire Despair Disappointment Disgust Ecstasy Embarrassment Empathy Enthrallment Enthusiasm Envy Euphoria Excitement Fear Frustration Grief Guilt Happiness Hatred Homesickness Hope Horror Hostility Humiliation Hysteria Infatuation Insecurity Insult Interest Irritation Isolation Jealousy Loneliness Longing Love Lust Melancholy Neglect Optimism Panic Passion Pity Pleasure Pride Rage Regret Rejection Remorse Resentment Sadness Sentimentality Shame Shock Sorrow Spite Suffering Surprise Sympathy Tenseness Thrill Revenge Wonder Worry Diligence Zest Worldviews Compatibilism Existentialism Fatalism Incompatibilism Metaphysics Nihilism Optimism Pessimism Reclusion Social justice Weltschmerz Source: Parrott, W. (2001), Emotions in Social Psychology, Psychology Press, Philadelphia.

Tim Minchin
Birth name	Timothy David Minchin
Born	(1975-10-07) 7 October 1975 (age 36) Northampton, England, UK[1]
Nationality	Australian, British
Years active	2002–present
Genres	Comedy music
Spouse	Sarah Minchin 2001–present (2 children)
Website	timminchin.com

Timothy David "Tim" Minchin^[2] (born 7 October 1975 in Northampton, England)^[1] is an Australian-British comedian, actor, and musician.

Tim Minchin is best known for his musical comedy, which has featured in six CDs, three DVDs and a number of live comedy shows which he has performed internationally. He has also appeared on television in Australia, Britain and the United States. After growing up in Perth, Western Australia, he attended the University of Western Australia and WAAPA before moving to Melbourne in 2002. His breakout show, "Dark Side", launched him into the public eye, achieving critical success at the 2005 Melbourne International Comedy Festival and the 2005 Edinburgh Festival Fringe.^[3]

Minchin has a background in theatre and has appeared in various stage productions, in addition to some small acting roles on Australian TV. A documentary film about Minchin, Rock N Roll Nerd (directed by Rhian Skirving), was released theatrically in 2008 ^[4] and broadcast by ABC1 in 2009.^[5] He is the co-writer of the Olivier Award winning hit musical Matilda the Musical, based on the Roald Dahl book Matilda.

Personal life[link]

Minchin was born in Northampton, UK, to Australian parents^[1] and raised in Perth, Western Australia.^[6] He was educated at the private Christ Church Grammar School and started learning piano at the age of eight, but gave it up after three years because he did not enjoy the discipline. He redeveloped an interest in the instrument after he started writing music with his brother Dan Minchin, a guitarist, but still describes himself as a "hack pianist... a 'more you practise, the better you get' kind of guy".^[7] Minchin graduated from the University of Western Australia in 1995 with a Bachelor of Arts in English and Theatre, and in 1998 completed an Advanced Diploma in Contemporary Music at the Western Australian Academy of Performing Arts.^[8]

He currently lives in London with his wife, Sarah.^[9] They have two children: a daughter, Violet, and a son, Caspar.^[10] Minchin often refers to his relationships in his songs and stand-up routines.

Musical comedy[link]

Minchin playing the piano on stage

Minchin describes his act as a "funny cabaret show" and sees himself primarily as a musician and songwriter as opposed to a comedian; his songs, he says, "just happen to be funny."^[11] His reasoning for combining the disciplines of music and comedy was revealed in one interview when he said "I'm a good musician for a comedian and I'm a good comedian for a musician but if I had to do any of them in isolation I dunno."^[12]

He draws on his background in theatre for his distinctive onstage appearance and persona.^[6] In his performances, he typically goes barefoot with wild hair and heavy eye makeup, which is juxtaposed with a crisp suit and tails, and a grand piano. According to Minchin, he likes going barefoot in his shows because it makes him feel more comfortable. He considers the eye makeup important because while he is playing the piano he is not able to use his arms and relies on his face for expressions and gestures; the eyeliner makes his features more distinguishable for the audience.^[7] Much of his look and persona, he says, are about "treading that line between mocking yourself and wanting to be an iconic figure. Mocking the ridiculousness and completely unrealistic dream of being an iconic figure."^[13] The eccentric appearance removes Minchin from reality somewhat, allowing him to make outrageous statements onstage "without annoying (most) people." ^[14]

The shows consist largely of Minchin's comedic songs and poetry, with subjects ranging from social satire to inflatable dolls, sex fetishes, and his own failed rock star ambitions. In between songs, he performs short stand-up routines.^[11] Several of his songs deal with religion, a subject with which Minchin—an atheist and a fan of Richard Dawkins—says he is "a bit obsessed."^[15] He argues that as one of the most powerful and influential forces in the world, religion should never be off-limits to satirists. He says that his favourite song to perform is "Peace Anthem for Palestine", which reflects his feelings about religious conflict.^[16] In October 2010 he was made a Distinguished Supporter of the British Humanist Association. His comedy also deals with taboos more broadly.^[17] A prime example of this is the song "Prejudice" which parodies the power awarded to something as simple as a word.

Early career (1998–2007)[link]

After completing an Advanced Diploma in Contemporary Music in 1998, Minchin started out composing music for documentaries and theatre. In 2000 he wrote and starred in the musical Pop at the Blue Room Theatre in Perth.^[18] He released a CD titled Sit with his band Timmy the Dog in 2001, but achieved little success.^[19] In 2002, after only one professional acting job, he moved from Perth to Melbourne to pursue work.^[20] Minchin struggled initially; he could not get an agent for a year and had been unable to find any acting work.^[19] While several record companies gave him positive feedback, they were not sure how his music—a mixture of satirical songs and more serious pop songs—could be marketed. He decided to compile all of his humorous songs into a single live show to "get the comedy stuff off [his] chest" before going back to more serious music.^[21]

Minchin says he entered into comedy "naively", having never even attended a live comedy gig before performing one himself.^[15] His break-out show, Darkside (co-produced by Laughing Stock Productions), achieved critical success at the 2005 Melbourne International Comedy Festival, where it won the inaugural Festival Directors' Award and attracted the notice of Karen Koren, the manager of the well-known Gilded Balloon venues.^[22] Koren backed the show's run at the Edinburgh Festival Fringe, where Minchin received the Perrier Comedy Award for Best Newcomer.^[6][23] His 2006 show, So Rock, was nominated for the Melbourne International Comedy Festival's top prize, the Barry Award, and in 2007 he was given the award for Best Alternative Comedian at the HBO US Comedy Arts Festival.^[11][24]

Live recordings of his 2005 and 2006 shows, Darkside and So Rock, have been released as CDs. In 2007, he released a DVD entitled So Live, featuring a live recording in the Sydney Opera House Studio with material from both of his previous shows.^[13] As this DVD was only released in Australia, he released a DVD in 2008 entitled So F**king Rock Live in the UK, containing largely the same material as So Live.

[edit] Ready for This? (2008–2010)

In August 2008 Minchin debuted his third solo show, Ready for This?, at the Edinburgh Fringe and subsequently took it on tour across the UK. During the Edinburgh run, he contributed to The Guardian newspaper's podcasts,^[25] despite his new show containing a song about a Guardian critic who once gave his show a negative review.^[26][27]

A recording of this show, recorded live at Queen Elizabeth Hall in London was released as an album for download via iTunes on 20 July 2009. An Australian recording was released on DVD, solely in Australia on 9 September 2009^[28] and a UK release in the second half of 2010.^[29]

In December 2009, the track "White Wine in the Sun" was released as a downloadable single online. Fans on Minchin's official forum launched a campaign to get this festive track into the UK Christmas charts by purchasing it from various online download retailers.^[30] A Facebook group was also launched to support the campaign^[31] as well as a drive on Twitter in which celebrities were contacted about the campaign and a succession of e-mails to radio DJs in a bid to get them to play the song. It was later announced that 50% of the December profits from the song would be donated to The National Autistic Society.^[32] The bid was ultimately unsuccessful.^[33]

It was announced at the end of 2009 that one of Minchin's beat poems, Storm, was to be made into a short animated movie to be released in 2010.^{[dated info][34]} A blog was launched to accompany the film-making process and a short trailer was released on 8 January 2010.^[35] The full movie was launched on YouTube on 7 April 2011.^[36]

He performed Ready for This? for what he envisages as the final time on 27 February 2010 in Sydney.^[37] He did however perform a set at The Big Libel Gig on 14 March 2010 in protest at Britain's libel laws, along with other performers including Dara Ó Briain, Marcus Brigstocke, Shappi Khorsandi, Robin Ince and Ed Byrne. As well as this, he performed at Camp Bestival as part of the Jestival Sessions in July 2010.^[38]

Minchin was the subject of the winning entry in the 2010 Archibald Prize, Australia's most important portraiture competition. The winning entry was painted by Sam Leach.^[39][40]

[edit] Tim Minchin and the Heritage Orchestra (2010–2011)

Minchin embarked on a new arena tour starting with Birmingham on Wednesday 8 December 2010. A departure from the structure of his previous live shows, his act has been scaled up to be performed with the Heritage Orchestra. It contains a mixture of material: there are new songs on the subject of prayer and of rationality — themes which often appear in his previous work. Minchin has stated that the aim of incorporating the orchestra into his act is to create a comedy show that would not be ruined by being performed in arenas, as stated in the special features of the DVD and Blu-ray. The show is touring the UK and Australia. It was filmed at the Royal Albert Hall in London for a Blu-ray and DVD that was released in November 2011.^[41]

Television and radio[link]

Tim Minchin has made appearances on Australian TV shows, including the ABC's Spicks and Specks,^[42] and The Sideshow,^[43]. He has also made appearances on Network Ten's panel shows Good News Week (February 2010)^[44] and Talkin' 'Bout Your Generation (March 2010).^[45]

Minchin has also appeared on various British radio and television shows, including the BBC's Never Mind the Buzzcocks (four times, once as guest host),^[46] BBC Radio 4's Mark Watson Makes the World Substantially Better^[47] and two specials on BBC Radio 2. He often performs on his TV appearances, such as his spots on Friday Night with Jonathan Ross in October 2009 and July 2010.^[48] He performed a specially-written song entitled "Five Poofs and Two Pianos", a parody of the show's house band, 4 Poofs and a Piano. Minchin also appeared as a special guest on the 2009 edition of The Big Fat Quiz of the Year performing a song written for the show ("It's Like 1984") in reference to a question regarding Google Street View.^[49] On Saturday 13 August 2011 Minchin hosted Prom 40: the first BBC Comedy Promenade Concert at the Royal Albert Hall. He appeared on Desert Island Discs on 6 May 2012.^[50]

A heavily cut-down version of the show released on DVD as So F**king Rock Live has aired several times on British TV channel E4, first on 23 July 2009.^[51] It aired at the turn of 2011, forming E4's New Year's coverage.^[52]

On 8 May 2010, Minchin's musical sitcom pilot Strings was broadcast on BBC Radio 2. Minchin plays the protagonist Jonny, who leaves Australia to live in the UK.^[53] Well received as it was by Radio 2, he decided against creating a full series. ^[54]

In January 2011, Minchin made his American television debut on TBS's Conan, where he performed "Inflatable You".^[55] On 12 May 2011, he performed "If I Didn't Have You" on the Late Late Show with Craig Ferguson, and on 7 June 2011 Minchin made his second appearance on Conan, singing "Prejudice".^[56] Minchin made his third appearance on Conan on 9 April 2012, singing his "3-Minute Song".

In December 2011 Minchin performed a specially written song called "Woody Allen Jesus" ^[57] on The Jonathan Ross Show. However, despite the show's producers and ITV's lawyers approving the composition for broadcast it was removed at the last minute. Responding on his blog, Minchin stated:^[58] "[...] Someone got nervous and sent the tape to ITV's director of television, Peter Fincham. And Peter Fincham demanded that I be cut from the show. He did this because he's scared of the ranty, shit-stirring, right-wing press, and of the small minority of Brits who believe they have a right to go through life protected from anything that challenges them in any way."^[59]

Acting and theatre[link]

Minchin's background is in theatre and he has appeared in various stage productions. His most recent dramatic theatrical performance was in the title role for the 2006 Perth Theatre Company production of Amadeus, a fictional play about the downfall of Mozart at the hands of the reigning court composer.^[19] His other stage acting roles have included the title role in the 2004 Perth Theatre Company / Hoopla production of Hamlet, and The Writer in the original PTC production of Reg Cribb’s The Return. He has also acted for The Australian Shakespeare Company (Twelfth Night), the Black Swan Theatre Company (Cosi, One Destiny) and in various other plays, short films and TVC’s. Roles from his days in musical theatre include Don Quixote in Man of La Mancha and Pontius Pilate (and understudying Judas twice) in Jesus Christ Superstar. He has also appeared playing small parts on the ABC telemovie Loot and on the show Comedy Inc..^[60]

Minchin also plays the role of Tom, in the contemporary family drama Two Fists, One Heart,^[61] released 19 March 2009.^[62] He also wrote the song Drowned for the film's soundtrack.^[63]

He co-wrote an Olivier Award winning musical version of Roald Dahl's novel Matilda – entitled Matilda, A Musical – with Dennis Kelly and the Royal Shakespeare Company, which is produced by the RSC. It showed at The Courtyard Theatre in Stratford-upon-Avon running from 9 November 2010 to 30 January 2011^[64] and began its West End run at the Cambridge Theatre on 25 October 2011 to great critical acclaim.^[65][66]

Minchin has been cast to play Judas in the Summer 2012 UK tour of the musical Jesus Christ Superstar.^[67]

Atheism and skepticism[link]

In an interview with IIG member John Rael, Minchin explains that what upsets him most about paranormal beliefs is "special pleading" by people who say vague things such as "there is no harm in it". Minchin states that there is very little harm in something like reiki, but asks "where do you draw the line?" when it comes to needing real evidence if a therapy works or not. He states that he is an atheist as well as a skeptic, and cannot understand how someone can call themself a skeptic and still be religious. "If you apply doubt to anything...the whole religion thing is obviously a fantasy." ^[68]

In his beat poem, Storm, which centres on Minchin having an argument with a "hippie" who believes in various New Age alternatives in lieu of pharmaceutical medicine, he states: "Science adjusts its views based on what's observed. Faith is the denial of observation, so that belief can be preserved." ^[69]

Discography[link]

Albums[link]

• Sit (with band Timmy the Dog) (2001)
• Darkside (2005)
• So Rock (2006)
• Ready For This? (2009)
• Live at the O2 (2010)
• Tim Minchin and The Heritage Orchestra (2011)

Singles[link]

• "Drowned" (2008)
• "White Wine in the Sun" (2009)
• "The Pope Song" (2010) - As a free download from his website^[70]
• "The Fence" (2011)

Compilations[link]

• Laugh-a-poolooza (featured artist) (2005)

DVD[link]

• So Live (2007) Australian DVD
• So F**king Rock Live (also known as So Fucking Rock Live)^[71] (11 October 2008)
• So F**king Rock Live (Special Edition) (also known as So Fucking Rock Live (Special Edition)) (5 October 2009)
• Ready For This? (29 November 2010)
• Tim Minchin and the Heritage Orchestra (14 November 2011)

Filmography[link]

Actor[link]

• 2008 – Two Fists, One Heart – Tom^[72]
• 2010 – The Lost Thing – The Boy (Voice)^[73]
• 2013 - Californication - Coked-up Rock Star(Guest)^[74]

Awards[link]

• 2005 Melbourne International Comedy Festival Directors' Choice Award for Dark Side^[75]
• 2005 Edinburgh Festival Fringe Perrier Comedy Award, Best Newcomer^[23]
• 2005 Melbourne International Comedy Festival, The Groggy Squirrel Critics' Award^[76]
• 2007 U.S. Comedy Arts Festival, Best Alternative Act^[77]
• 2009 Helpmann Award for Best Comedy Performer ^[78]
• 2009 Green Room Awards, Cabaret: Best Original Songs^[79]
• 2009 Green Room Awards, Cabaret: Best Artiste^[79]
• 2010 Chortle Awards, Best Music or Variety Act ^[80]
• 2012 Olivier Awards: Best New Musical for Matilda The Musical ^[81]

References[link]