Children's literature often features benevolent monsters, contrasting with typical terrifying monsters that represent childhood fears. This paper explores the use of humor in dramatizing friendly monsters in two children's plays: *The Monsters under the Bed* and *The Boy Who Loved Monsters and the Girl Who Loved Peas*. The study aims to show how these monsters help child protagonists revisit their views on monstrosity and understand their own fears and needs. Monsters possess a duality of attraction and repulsion, reflecting the complexities of childhood. They are reflections of the self, mirroring children's inner desires and anxieties. The use of benevolent monsters allows children to confront their fears in a safe environment, promoting self-discovery and maturity. This study will use an eclectic approach combining humor studies, monster studies, and child psychology to analyze how the humorous portrayal of benevolent monsters changes children's conceptions of monsters and themselves.

The study draws upon existing research in monster studies, noting the relatively recent emergence of this interdisciplinary field. While extensive research exists on monsters in children's literature (picture books, fiction, film), studies specifically focusing on the use of humor in dramatizing benevolent monsters in children's theatre are scarce. The paper also reviews relevant literature on humor studies, including various types of humor in children's literature (humorous characters, situations, and language) and the therapeutic role of humor in alleviating childhood anxieties. The limited critical attention given to humorous books for children is acknowledged, highlighting the need for further research in this area, particularly in the context of children's theatre. The unique aspect of theatrical monsters, their embodied presence and immediate impact on children's imagination, is emphasized.

This comparative study uses an eclectic approach, integrating humor studies, monster studies, and child psychology to analyze *The Monsters under the Bed* and *The Boy Who Loved Monsters and the Girl Who Loved Peas*. Both plays focus on children in stage four of humor development (multiple meanings), where children aged 7-11 understand sophisticated language humor. The plays were selected because they haven't received much critical attention and because the children's problems are relatable without involving shocking events. The analysis examines the portrayal of humorous monsters, their symbolism, and the initial perceptions of the child protagonists. It also tracks how the protagonists' perspectives change, leading to maturity. Mallan's classification of humor in children's literature (humorous characters, situations, and language) is used as a framework for analysis. The study compares two aspects: the portrayal of humorous monsters and their symbolism, and the protagonists' evolving perspectives.

In *The Monsters under the Bed*, seven monsters representing the girls' fears appear. Initially, the girls' perceptions of the monsters are based on preconceived notions and personal experiences. However, the non-menacing physical appearance of the monsters, combined with their verbal explanations, contrasts with the girls' initial fear. The appearance of Gruntable, a seemingly terrifying monster, subverts expectations, triggering laughter due to incongruity. His benevolent nature and humorous dialogue redefine the girls' perception of monsters. In *The Boy Who Loved Monsters and the Girl Who Loved Peas*, Evan desires a monster friend to escape boredom and parental restrictions. The appearance of a giant pea as a monster is a humorous subversion of his expectations. Initially disappointed by the monster's tameness, Evan's attitude changes due to Pea's otherness, humor, and benevolence. The play uses slapstick humor and visual gags to highlight Pea's friendly nature. In both plays, the child protagonists eventually "critique" and "restory" their perceptions of monsters. In *The Monsters under the Bed*, the girls use humor to confront their fears, ultimately achieving self-acceptance. In *The Boy Who Loved Monsters and the Girl Who Loved Peas*, Pea's friendship with Evan and Sue, along with a visit to Monster World that mirrors their own family dynamic, promotes self-acceptance and family bonding. The use of role-playing further underscores the therapeutic nature of play in processing emotions and relationships.

The findings demonstrate how the use of humorous, benevolent monsters in children's theatre can be a powerful tool for fostering self-discovery and emotional growth. The plays utilize humor and the subversion of monstrous tropes to facilitate a four-step process of confronting and overcoming fears: "feeling," "analyzing," "critiquing," and "restorying." The safe and familiar settings of the protagonists' homes contribute to the effectiveness of this process. The contrasting approaches in the two plays – collective fear resolution in *The Monsters under the Bed* and individual self-discovery through family bonding in *The Boy Who Loved Monsters* – illustrate the versatility of using benevolent monsters to address various childhood anxieties. Humor serves not just as entertainment but as a coping mechanism and a tool for self-empowerment.

This study demonstrates the effectiveness of using humorous, benevolent monsters to help children navigate their fears and develop emotional maturity. The plays analyzed offer valuable insights into the therapeutic potential of children's theatre in promoting self-acceptance and positive emotional development. Future research could explore the use of humor and benevolent monsters in other children's theatrical works, examining the impact of different theatrical techniques and cultural contexts. Further investigation into the specific types of humor employed and their correlation with developmental stages would also enhance understanding of this unique literary and theatrical approach.

The study's focus on two specific plays limits the generalizability of the findings. A broader analysis encompassing a larger sample of children's plays would strengthen the conclusions. While the selected plays are representative, their limited diversity in terms of themes and cultural contexts might influence the study's overall scope. Further research considering various sociocultural contexts and broader representational approaches would enrich the understanding of the complex interplay between humor, monsters, and children's emotional development.