... with conventional farce make up partly for his view of mid-twentieth-century drama as a unique response to a universe suddenly...

...”: a guttural, assertive sound. “Or- ficial biographer”. Lahr has earned the ton”: like “organ” or “outre”. A name as right to try. He was an early and consistent In Sloane, I wrote a man who was in- rude as its owner’s style of farce. Orton’s supporter of Orton’s work. When Orton’s terested in having...

... authorship of the early Contemporary Relevance. A shock, perhaps, but less so Italianate farce The Flying Doctor as a work clearly beneath when one recalls that France's abiding captivation with the his talents? And though Moliere continued writing farces classical ideal has been equaled...

... a "very Revolution, sent to the State Archive in 1920 and published funny" farce The Hen Has Good Reason to Cluck, which was three years later. submitted to the judgment of his older siblings in Moscow. Most writers' juvenilia is of purely biographical interest...

... of Johann Nestroy reveal a highly individual began to be recognized. New productions were mounted, new voice that analogies and approximations cannot capture. Nestroy stagings tried. Nearly 200 years later, Nestroy’s plays are still on is unlike anyone else, or anyone since. He combines foolish farce...

... to it, it reminds us of relevant is really silly farce. But everything in a lot of things that we’d just as soon forget. The between should disappear. way I thought of Antigone was as a play for a broken world, and we...

... classic commedia farce, the action snowballs through comic coincidence and complica• tions: look-alike detectives try to solve...

..., popular melodrama and French farce. In these dramatic his work arises out of the specific conditions of contemporary "collages," Fo was assisted by his wife, the gifted actress (now also Italian society, and reflects the profound social, economic and a producer and director in her own right), Franca...

... contains all kinds of other cul- sections.” You follow it up with the injunction, “A tural information. Here’s this woman who contemporary farce.” What tone do you want the thinks she’s transcended cleaning because of play to strike? her education. It’s as though liberal-minded...

...- critics (mostly men). As she moved to official edy and caricature, and they evolve either spaces (the Odeon of Milan in 1983)) the in farce or in allegorical fable. In spite of male-critics finally decided that she...

... something not serious-a farce. And it often was a farce, but in making that farce, quite unawares you are following a serious need and you are putting into what you write entirely essential elements...

..., Molière premieres The Blunderer; or, The Counterplots (L Étourdi, ou les Contretemps) in Lyon, but he doesn t publish his first comedy until 1662, at the age of forty. To decenter Molière through Pascal also allows us to verify that the poet does not hold a monopoly on farce of the period. In 1657, Pascal...

... of the cherry orchard.” production, perceives The Cherty Orchard in the C hekhots stage direction follows: “Accidentally following ways: it is a French farce; it is a political bumps into a little table, almost upsetting the play about class struggle; it is a Wordsworthian candelabrum...

.... The American theatre has always trained actors to do two dramatic genres well, per- haps being unwilling to stretch their acting talents farther than their tender egos would permit; the genres are farce and melodrama. Feydeau's A Flea ln Her Ear, produced by Wayne State's graduate repertory company...

... play it is of no genre, though Chekhov insisted upon his subtitle: “A Comedy in Four Acts.” Whatever Chekhov’s intentions, we attend or read the drama now and are compelled to find in it the author’s pastoral elegy both for himself and his world. There are strong elements of farce in The Cherry...

... popular farce. In fact, Richter-Forgach has done to nature exactly what we ask escapist z entertainment to do: simplified...

... like someone doing a funny unending farce. From this point on, Lepage let imitation in Ottawa. his narrative flow at its own rhythm. The large- These complaints, however, fell by the way- ness of his vision, which took on an increasingly side as the production moved...

... answers that question, a larger one from slapstick and crude farce to literate looms: How to do Ubu ninety years satire. Irondale borrows from Shake- latef...

.... They tolerate second trial, we are the judges. We. The farce, but not farce which pretends to audience. We judge the senseof Ajax' be tragedy. They could tolerate the gro• suicide and the senseof the war. We tesque if the grotesque could have a defi• judge of our own experience...

... was, there was what the audience has seen onstage to a classic coffee.] that point, finishing with “One false ZANGLER: Was hat Er denn immer mit move and we could have a farce on our dem dummen...