The aims of this study are to determine the type of insult humour discovered in the stand-up comedy program "Dave Chapelle- The Closer", how they are conveyed in translation, and to see whether the insult humour are still funny when translated. The research applied a qualitative descriptive method. The data were collected using purposive sampling method and uncovered 61 data of insult humour in which all of them fall into the category where the person or group being insulted was neither present at the performance nor a member of the audience. The translated version of the 61 insult comedy data were acquired online from the Subscene website link.
According to the findings of the initial data analysis, there are 61 insult humour data that can be classified into two groups based on the shift in the type of comedy in the target language: insult humour that do not shift and insult humour that do shift. There are 13 insult humours that shift/loss some type of humor in TL (21%) and 48 insult humours that do not shift (79%) due to the addition of another type of humour. Based on Hay's theory (1995), the 13 insult humour data that undergone shifting can be classified into different type of humour, including Anecdote (27%), Fantasy (6%), Roleplay (8%), Vulgarity (39%), and Observational (20%). 
Respondents who were native speakers of the target language were given questionnaires regarding the translated version of the insult humour data for the second analysis. This is done to see if the insult comedy still have the same level of humour when translated into the target language.The result shows that all respondents were capable of understanding the funny context of the translated insult humour data found  in the stand-up comedy show "Dave Chapelle – The Closer." Each respondent's responses vary due to differences in personal background, education, and the surrounding environment. This demonstrates that the translator can retain the amusement of insult humour from the stand-up comedy show "Dave Chapelle – The Closer" despite the socio-culture boundaries, so that respondents from the target language may experience the same level of humour as the source language audience.