Century of English Farce PDF Download
Are you looking for read ebook online? Search for your book and save it on your Kindle device, PC, phones or tablets. Download Century of English Farce PDF full book. Access full book title Century of English Farce by Leo Hughes. Download full books in PDF and EPUB format.
Author: Leo Hughes
Publisher: Princeton University Press
ISBN: 1400876893
Category : Literary Criticism
Languages : en
Pages : 316
Get Book Here
Book Description
This study of farce and low comedy in the English theatre covers the period in which farce as a distinct genre had its beginning. Originally published in 1956. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
Author: Leo Hughes
Publisher: Princeton University Press
ISBN: 1400876893
Category : Literary Criticism
Languages : en
Pages : 316
Get Book Here
Book Description
This study of farce and low comedy in the English theatre covers the period in which farce as a distinct genre had its beginning. Originally published in 1956. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
Author: Jody Enders
Publisher: University of Pennsylvania Press
ISBN: 0812205014
Category : Literary Collections
Languages : en
Pages : 495
Get Book Here
Book Description
Was there more to medieval and Renaissance comedy than Chaucer and Shakespeare? Bien sûr. For a real taste of saucy early European humor, one must cross the Channel to France. There, in the fifteenth and early sixteenth centuries, the sophisticated met the scatological in popular performances presented by roving troupes in public squares that skewered sex, politics, and religion. For centuries, the scripts for these outrageous, anonymously written shows were available only in French editions gathered from scattered print and manuscript sources. Now prize-winning theater historian Jody Enders brings twelve of the funniest of these farces to contemporary English-speaking audiences in "The Farce of the Fart" and Other Ribaldries. Enders's translation captures the full richness of the colorful characters, irreverent humor, and over-the-top plotlines, all in a refreshingly uncensored American vernacular. Those who have never heard the one about the Cobbler, the Monk, the Wife, and the Gatekeeper should prepare to be shocked and entertained. "The Farce of the Fart" and Other Ribaldries is populated by hilarious characters high and low. For medievalists, theater practitioners, and classic comedy lovers alike, Enders provides a wealth of information about the plays and their history. Helpful details abound for each play about plot, character development, sets, staging, costumes, and props. This performance-friendly collection offers in-depth guidance to actors, directors, dramaturges, teachers, and their students. "The Farce of the Fart" and Other Ribaldries puts fifteenth-century French farce in its rightful place alongside Chaucer, Shakespeare, commedia dell'arte, and Molière—not to mention Monty Python. Vive la Farce!
Author: Robert M. Isherwood
Publisher: Oxford University Press, USA
ISBN:
Category : Language Arts & Disciplines
Languages : en
Pages : 344
Get Book Here
Book Description
Covers every aspect of popular entertainment: fairs, cafes, boulevard theatres, and freak shows.
Author: Slavoj Zizek
Publisher: Verso Books
ISBN: 1781683778
Category : Philosophy
Languages : en
Pages : 119
Get Book Here
Book Description
Billions of dollars were hastily poured into the global banking system in a frantic attempt at financial stabilisation. So why has it not been possible to bring the same forces to bear in addressing world poverty and environmental crisis? In this take-no-prisoners analysis, Slavoj Zizek frames the moral failures of the modern world in terms of the epoch-making events of the first decade of this century. What he finds is the old one-two punch of history: the jab of tragedy, the right hook of farce. In the attacks of 9/11 and the global credit crunch, liberalism dies twice: as a political doctrine and as an economic theory. The election of Donald Trump only confirms the bankruptcy of a liberal order on its last legs. First as Tragedy, Then as Farce is a call for the left to reinvent itself in the light of our desperate historical situation. The time for liberal, moralistic blackmail is over.
Author: Leslie Smith
Publisher: Rowman & Littlefield
ISBN: 9780389208204
Category : Drama
Languages : en
Pages : 260
Get Book Here
Book Description
Contents: The Nature of Farce; A.W. Pinero and the Court Farces; Ben Travers and the Aldwych Farces; Brian Rix and the Whitehall Farces; Post-Whitehall Farces; Joe Orton; Farce and Contemporary Drama: I; Farce and Contemporary Drama: II; Conclusion; ^R Appendix: a Chronological List of Plays; Notes; Bibliography; Index
Author: Jessica Milner Davis
Publisher: Routledge
ISBN: 1351520237
Category : Performing Arts
Languages : en
Pages : 274
Get Book Here
Book Description
Farce has always been relegated to the lowest rung of the ladder of dramatic genres. Distinctions between farce and more literary comic forms remain clouded, even in the light of contemporary efforts to rehabilitate this type of comedy. Is farce really nothing more than slapstick-the "putting out of candles, kicking down of tables, falling over joynt-stools," as Thomas Shadwell characterized it in the seventeenth century? Or was his contemporary, Nahum Tate correct when he declared triumphantly that "there are no rules to be prescribed for that sort of wit, no patterns to copy; and 'tis altogether the creature of imagination"? Davis shows farce to be an essential component in both the comedic and tragic traditions. Farce sets out to explore the territory of what makes farce distinct as a comic genre. Its lowly origins date back to the classic Graeco-Roman theatre; but when formal drama was reborn by the process of elaboration of ritual within the mediaeval Church, the French term "farce" became synonymous with a recognizable style of comic performance. Taking a wide range of farces from the briefest and most basic of fair-ground mountebank performances to fully-fledged five-act structures from the late nineteenth century, the book reveals the patterns of comic plot and counter-plot that are common to all. The result is a novel classification of farce-plots, which serves to clarify the differences between farce and more literary comic forms and to show how quickly farce can shade into other styles of humor. The key is a careful balance between a revolt against order and propriety, and a kind of Realpolitik which ultimately restores the social conventions under attack. A complex array of devices in such things as framing, plot, characterization, timing and acting style maintain the delicate balance. Contemporary examples from the London stage bring the discussion u
Author: Cynthia A. Kierner
Publisher: NYU Press
ISBN: 0814783430
Category : History
Languages : en
Pages : 158
Get Book Here
Book Description
“The Contrast“, which premiered at New York City's John Street Theater in 1787, was the first American play performed in public by a professional theater company. The play, written by New England-born, Harvard-educated, Royall Tyler was timely, funny, and extremely popular. When the play appeared in print in 1790, George Washington himself appeared at the head of its list of hundreds of subscribers. Reprinted here with annotated footnotes by historian Cynthia A. Kierner, Tyler’s play explores the debate over manners, morals, and cultural authority in the decades following American Revolution. Did the American colonists' rejection of monarchy in 1776 mean they should abolish all European social traditions and hierarchies? What sorts of etiquette, amusements, and fashions were appropriate and beneficial? Most important, to be a nation, did Americans need to distinguish themselves from Europeans—and, if so, how? Tyler was not the only American pondering these questions, and Kierner situates the play in its broader historical and cultural contexts. An extensive introduction provides readers with a background on life and politics in the United States in 1787, when Americans were in the midst of nation-building. The book also features a section with selections from contemporary letters, essays, novels, conduct books, and public documents, which debate issues of the era.
Author: Michael R. Booth
Publisher:
ISBN:
Category : English drama
Languages : en
Pages : 420
Get Book Here
Book Description
Author:
Publisher: BRILL
ISBN: 9004334246
Category : Drama
Languages : en
Pages : 212
Get Book Here
Book Description
Farcical elements were incorporated into non-comic drama ever since the theatre had been rediscovered in the Middle Ages. Already at a very early stage, comic scenes proved to be popular additions to liturgical music drama and, later, to religious plays in the vernacular. Some scholars believe that the genre of farce developed out of these farcical elements. The suggestion was made that farces, similar to the stuffing of meat or poultry, had been added to plays to increase audience involvement. Other researchers see quite different origins for the farce. The present volume does not aspire to solve the question of the relationship between the two types of “comedy” on the medieval stages but its editors hope that it will nevertheless contribute to this discussion. In addition, it will enable its readers to form an impression of the huge variety of the comic in the vast area of medieval and early Renaissance theatre and drama.
Author: Francesca Saggini
Publisher: University of Virginia Press
ISBN: 0813932645
Category : Literary Criticism
Languages : en
Pages : 521
Get Book Here
Book Description
In Backstage in the Novel, Francesca Saggini traces the unique interplay between fiction and theater in the eighteenth century through an examination of the work of the English novelist, diarist, and playwright Frances Burney. Moving beyond the basic identification of affinities between the genres, Saggini establishes a literary-cultural context for Burney's work, considering the relation between drama, a long-standing tradition, and the still-emergent form of the novel. Through close semiotic analysis, intertextual comparison, and cultural contextualization, Saggini highlights the extensive metatextual discourse in Burney's novels, allowing the theater within the novels to surface. Saggini’s comparative analysis addresses, among other elements, textual structures, plots, characters, narrative discourse, and reading practices. The author explores the theatrical and spectacular elements that made the eighteenth-century novel a hybrid genre infused with dramatic conventions. She analyzes such conventions in light of contemporary theories of reception and of the role of the reader that underpinned eighteenth-century cultural consumption. In doing so, Saggini contextualizes the typical reader-spectator of Burney’s day, one who kept abreast of the latest publications and was able to move effortlessly between "high" (sentimental, dramatic) and "low" (grotesque, comedic) cultural forms that intersected on the stage. Backstage in the Novel aims to restore to Burney's entire literary corpus the dimensionality that characterized it originally. It is a vivid, close-up view of a writer who operated in a society saturated by theater and spectacle and who rendered that dramatic text into narrative. More than a study of Burney or an overview of eighteenth-century literature and theater, this book gives immediacy to an understanding of the broad forces informing, and channeled through, Burney's life and work.
