Farce
Farce
Farce (French farce, Latin farsa) is one of the comic genres of medieval theater. In the 7th century in ecclesiastical Latin, farsa (farsia) denoted an insertion in a church text (Epistola cum farsa, Epistola farsita, etc.), later these insertions became common in prayers and hymns. The fixing of the term F. for a dramatic interlude can be attributed to the 12th century. The undoubted source of F. are the French games (jeux), already known in the XII century under various names: dits, debats, etc. "Playing under the leaves" (Jeu de la feuillee, c. 1262) by Adam de la Gale (1238-1286) has a number of purely farcical features both in terms of plot and wit of the provisions, and the interpretation of individual characters (the predecessor of the Italian Harlequin is the devil Herlequin Croquesots, "physicist", monk). The content of farces, as well as fables extremely close to them (see), was borrowed from everyday reality; F.'s themes are varied - family relations and relations between the owner and servants, cheating on his wife, trickery in trade and in court, the adventures of a boastful soldier, the failure of an arrogant student; colorful images - monks and priests, merchants and artisans, soldiers and students, peasants and laborers, judges, officials; a comic situation is achieved by introducing an external effect - brawls, squabbles, etc .; often many complications are introduced by the use of several dialects, professional vocabulary, Macaronic Latin; individualization of the speech of F. characters was carried out in most cases quite consistently. There are no developed characters in the farce; as in fablio, F.'s characters act more, exchange puns and witty remarks; the growth of the plot occurs due to the rapid transfer of action from one place to another, unexpected explanations. Unlike large forms In the medieval city theater, F. did not know the lengthy preparation of the performance, did not have an equipped stage platform, and managed with the most primitive staging means. The French farce, and those close to F. soti, were the lot of small brotherhoods and were staged from the 14th century. predominantly parliamentary clerks (clercs de Basoche) and actors (enfants sans souci). Among the early F. belong "Free shooter from Bagnolet" (Franc Archer de Bagnolet, 1468) and "Trois galants et Philipot", where the old motif of a boastful soldier is beautifully developed. The number of F. has been growing strongly since the end of the 15th century; to this time is a kind of cycle F. about Patelena. Three farces - "Mr. Pierre Patelin" (1470), "New Patelen" (c. 1480), "Patelen's Testament" (c. 1490) - draw immortal image swindler-solicitor - avocat sous l'orme. The obvious popularity of these farces, especially the first one, is evident from the numerous editions (16 editions from 1489 to 1532) and those references to the main F. that are found in the New Patelen and in the Testament.
The question of authorship has not yet been resolved, and the names of François Villon, Adam de la Salle, Pierre Blanchet as the authors of "Patelen" are equally unlikely. By the 16th century include the farces of Margarita of Navarre, of which one, entitled "Comedy", is an example of didactic F. (the old woman teaches two girls and two married women how to deal with family difficulties), and the other - "Trop, prou, peu, moins" (Too much, little, less) - an example of a political farce. Under the name of Trop and Prou, the Pope and Emperor Charles V are bred, while in the person of peu and moins, small ones are bred, ordinary people; in F. greed, arrogance of "these two halves of God" - the pope and the emperor - are ridiculed. Over 130 French francs belong to the 15th-16th centuries. Undoubtedly, F. undergoes a certain evolution under the influence of the Italian “comedy of masks” in the work of the author-actors Gros Guillaume, Gualtier Garguille, Turbepin, and later Molière; Molière even has comedies late period in many respects they retain the echoes of F. (“The Tricks of Scapin”, “The Imaginary Sick”, etc.), but he combines the external comedy of random situations with a deep display of reality, the brightness of images. In France XVII V. is critical for F.'s development; the latter is superseded by a lit-th comedy.
Genres similar to F. are represented in the literatures of other countries. In Germany, close to F. carnival games- "fastnachtspili" (see). F.'s distribution in Italy falls on the 15th-16th centuries; for the Aragonese court, F. of an allegorical nature wrote Sannazaro in eleven-syllable verses; this farce penetrated Mantua and Venice. Semi-dialectal phrases of amusing content were written by Pietro Caracciolo (“Il magico”). There is no doubt about the connection between the F. tradition and the comedy of masks, and there is a certain closeness to F. in the work of Rudzante (see) of the first period (1520-1530). In Spain genre features F. can be observed in the work of Lope de Rueda, Gil Vicente and in the famous interludes of Cervantes (The Theater of Miracles, Two Talkers, etc.). Bibliography:
I. Texts F. published in the collections: Recueil de farces, moralites et sermons joyeux, publ. p. Leroux de Lincy et Fr. Michel, 4 vls, P., 1831-1838; Ancien theater francais, publ. p. E. Viollet le Duc, 10vls, P., 1854-1857; Recueil de farces, soties et moralites, publ. p. P.-L. Jacob, P., 1859; Le theater francais avant la Renaissance (1450-1550), publ. p. E. Fournier, Paris, 1872; Picot, E. et Nyrop Chr., Nouveau recueil de farces francaises des XV-e et XVI-e siecles, Paris, 1880.
II. Petit de Julleville L., Les comediens en France au moyen age, P., 1885; Teatro italiano dei secoli XIII, XIV, XV a cura di F. Torraca, Firenze, 1885; Schamburg K., Die Farce Pathelin und ihre Nachahmungen, Diss., Lpz., 1887; Brotanek R., Die englischen Maskenspiele, Wien, 1902; Beneke A., Das Repertoir und die Quellen der franzosischen Farcen, Diss., Jena, 1910; Croce B., Teatri di Napoli dal rinascimento alla fine del Secolo XVIII, Bari, 1916; Holbrock R. T., etude sur Pathelin (Essai de bibliographie et d'interpretation), Baltimore, P., 1917; Steele M. S., Plays and Masques at Court during the reigns of Elizabeth, James and Charles, New Haven, 1926; see also French Literature.
Literary Encyclopedia. - In 11 tons; M .: publishing house of the Communist Academy, Soviet Encyclopedia, Fiction. Edited by V. M. Friche, A. V. Lunacharsky. 1929-1939 .
(lat. farcio - I start: medieval mysteries were “stuffed” with farces), genre folk theater Western European countries 14-16 centuries. Farce is saturated comic effects, buffoonery often contains satirical allusions to specific persons. The heroes of the farce are mask images, the first attempt at typification in dramaturgy.
Literature and language. Modern illustrated encyclopedia. - M.: Rosman. Under the editorship of prof. Gorkina A.P. 2006 .
FARCE. - Everyone's Hero dramatic work, embraced by a single, integral desire, passion, encountering confrontation environment, inevitably violates the norms, customs and habits of this environment. Comedy characters violate social and psychological norms; farce is usually called a comedy in which the hero violates social and physical norms public life. Thus, in Aristophanes' Lysistrata, the heroine seeks to force the men to end the war by encouraging the women to deny them lovemaking. Thus, Argan (Moliere's Imaginary Sick) sacrifices the interests of his family to the interests of his imaginary sick stomach. The area of farce is predominantly erotica and digestion. Hence, on the one hand, the extreme danger for the farce - to fall into greasy vulgarity, on the other - the extreme sharpness of the farce, which directly affects our vital organs.
In connection with the physical elements of the farce, it is naturally characterized by an abundance of outwardly effective movements, collisions, hugs, and fights. Farce is by nature peripheral, eccentric - it is an eccentric comedy. Animal fuss in stage interpretation turns into physical action, ennobled by rhythm and plasticity: the farce on stage takes on the character of buffoonery. Since physical norms human society are incomparably less changeable than socio-psychological norms, farce (or eccentric comedy) is incomparably less in need of everyday development than everyday comedy. For the same reason, a good farce is more durable than a household comedy. In its construction, farce is thus closer to tragedy (see Tragedy), everyday comedy to drama (in the narrow sense of the word).
Farce history. Farces developed from domestic scenes, introduced as independent interludes in medieval plays of a religious or moralistic nature. Farces maintained the tradition of comic performances, coming from the Greco-Roman stage, and gradually transformed into the comedy of new ages, remaining as special kind light comedy. The performers of farces in former times were usually amateurs. Such, for example, is the society of Bazoches in France; it probably belonged to him, unknown by name, the author of the famous French farce "Lawyer Patelin" (1470), published many times with alterations of the text and under different titles. Lists of farces appear only from the end of the 15th century: the Catholic clergy fought mercilessly against them. However, farces were played as early as the 13th century. J. d "Abondance, the author of the farce "La cornette" (1545), which has the theme of family troubles, also belonged to the Bazosh society. Another famous farce (anonymous): "Le cuvier" is similar to the French farces. (Feschnachtspiele), the best of which were written by Hans Foli, Hans Sachs, Rosenbluth Reuchlin gave a German adaptation of the farce about Patelen under the title "Neppo". Rich in farces Spanish literature. They were introduced by H. Visenye (first half of the 16th century). Exemplary farces can be seen in Cervantes' Interludes. Among Italians, farce often merged with commedia dell "arte. In the old English theater Futa's many farces were famous. We have most of farces - translations and alterations of Western ones. German and French farces have been published in several collections, some of which contain about a hundred farces.
V. Volkenstein., I. E. Literary encyclopedia: Dictionary of literary terms: In 2 volumes / Edited by N. Brodsky, A. Lavretsky, E. Lunin, V. Lvov-Rogachevsky, M. Rozanov, V. Cheshikhin-Vetrinsky. - M.; L.: Publishing house L. D. Frenkel, 1925
Farce (theatre) Farce(French farce, from Latin farcio √ I start: medieval mysteries “began” with comedy inserts), 1) a type of folk theater and literature, common in the 14√16 centuries. in Western European countries. F. was distinguished by a comic, often satirical orientation, realistic concreteness, and cheerful free-thinking. The heroes of F. are townspeople. The peasants were always ridiculed, as were the members of the petty nobility. Mask images (a stupid husband, a quarrelsome wife, a stupid judge, a charlatan doctor, a pedantic scientist, a swindler, etc.), devoid of an individual beginning, represented the first attempt to create social types. F. were saturated buffoonery. Most famous received French franchising (15th century) Lokhan, Advocate Patlen, and others. The traditions of folk franchising had a great influence on the development of the democratic trend in French acting art (farcical actors of the 17th century - Tabarin, Gros-Guillaume, Gauthier-Gargil, Turlupin, etc.), on the work of Molière. Italian traditions. F. became the basis commedia dell'arte,
English F. found implementation in the comedies of W. Shakespeare, Spanish. F. √ in one-act plays by L. de Rueda, in interludes by M. Cervantes; German F. ( fastnachtspiel) received a literary embodiment in the work of G. Sachs. F. was partially revived at the end of the 19th and in the 20th centuries. V satirical plays A. Jarry, B. Brecht. Techniques of farcical buffoonery have been preserved in circus clowning. 2) In the 19√20 centuries. genre of bourgeois-commercial theater, not associated with folk tradition: empty, often smutty comedies built on external comic techniques.
Great Soviet Encyclopedia. - M.: Soviet Encyclopedia. 1969-1978 .
See what "Farce (theatre)" is in other dictionaries:
Farce is a comedy of light content with purely external comic techniques. In the Middle Ages, a farce was also called a type of folk theater and literature, common in the XIV XVI centuries in Western European countries. Techniques of farcical buffoonery have been preserved ... Wikipedia
farce- a, m. farce f. 1. Comedy of the 14th and 16th centuries connected with the folk tradition. satirical, everyday or other content with extensive use of external comedy; presenting such a comedy on stage. ALS 1. Given funny scenes farces in which ... ... Historical dictionary gallicisms of the Russian language
- (French farce). A small dramatic play in a comic, mostly banal spirit, a comic play. 2) a funny trick, a funny prank. Dictionary foreign words included in the Russian language. Chudinov A.N., 1910. FARS in a wide ... ... Dictionary of foreign words of the Russian language
Theater on Vasilyevsky Location Saint Petersburg, Vasilyevsky Island, Sredniy Prospekt, 48 Founded 1989 Director Vladimir Slovokhotov Artistic director Vladimir Slovokhotov Chief director Vladimir Tumanov Website official website ... ... Wikipedia
- (French farce, Latin farsa) one of the comic genres of the medieval theater. In the 7th century, in church Latin, farsa (farsia) denoted an insertion in a church text (Epistola cum farsa, Epistola farsita, etc.), later these insertions became common in ... ... Literary Encyclopedia
Dictionary Ushakov
FARS, farce, male, and (outdated) FARS, farce, female. (French farce). 1. Theatrical play of light, playful, often frivolous content (lit., theatre.). Theater of comedy and farce. 2. trans., only units. An obscene, shameful, cynical spectacle (public ... Explanatory Dictionary of Ushakov
Theater "GITIS" theater in Moscow, branch Russian Academy theatrical art(GITIS). Since 1958, the theater has been located in the historical Nirnsee house in Bolshoi Gnezdnikovsky Lane, 10; performances are also training scene… … Wikipedia
This term has other meanings, see Farce (meanings). Farce (fr. Farce) is a comedy of light content with purely external comic techniques. In the Middle Ages, a type of folk theater and literature was also called a farce, ... ... Wikipedia
I Theater (from the Greek théatron a place for spectacles; spectacle) a kind of art (See Art). Like other art, T. form public consciousness, it is inseparable from the life of the people, their national history and culture. The rise or fall of T., development ... ... Great Soviet Encyclopedia
Books
- Farce... and what else? Farce Theater in Russia 1893-1917, D. Zolotnitsky. The monograph of Doctor of Arts D. I. Zolotnitsky covers a topic that has hardly been touched upon so far in the literature on the theater. IN chronological order the history of theaters is presented in such a way ...
Medieval comic theatrical genre- comedy. Farce is the strange child of two incompatible parents. If comedy is his mother, then the father who gave him his name was the church text, in which the farce was called inserts (translation - "stuffing") - Epistola cum farsa or Epistola farsita, however, there were many of them in hymns and even just in prayers. If we continue the comparison, considering that here the tragedy, so beloved by the ancient Roman population, is not too far away. The farce in this case consisted in the fact that in the arena the poor tragedians were devoured by predatory animals to the cheerful cries of the audience. It is not in vain that the saying is recalled that any action can only be a tragedy for the first time, repeated twice is already a farce. This is no longer convincing. So what is a farce?
So the term stuck with a little dramatic interlude in the 12th century. Farce - this is the problems of the family, and the relationship of the servant and the owner, and chicanery, and the adventures of soldiers and students, any laborers and merchants, as well as judges and officials.
The figurative rows are full of comic situations, achieved by rather cheap means - with the help of brawls and squabbles. The development of the plot involves jumping from one scene to another, there is no unity. The characters are not deeply revealed, the characters are mostly puns and witticisms. Topics are varied and borrowed most often from the surrounding everyday life. The staging facilities are the most primitive, since there is no preparation for the performances. By the end of the 15th century, the number of farces increased, and the genre flourished.
Farce is the heyday of French theater
The French theater, for all its infancy, already acquired some purely farcical features by the 12th century. Building on witty plot moves. Characters - the predecessor of Harlequin (Herlequin), alchemist, monk. The trilogy about Potilene, a solicitor, a trickster and a swindler, becomes especially famous. Author unknown. Villon, and de la Salle, and Blanche are also suspected. Edifying and political farces were composed by Queen Margo (of Navarre, the same one). Much later, farce constantly shone through in the comedies of the famous Moliere. For example, or "Tricks of Scapen". The critical time for the development of the theater is the 17th century. The farce leaves the French scene. In its place, a full-fledged literary comedy triumphantly takes its place.
Farce is the father Italian comedy
The farce, in itself not a very independent dramatic act, had a huge impact on the whole world. Including Italy became a real home for farce, but in the end it received a talented child - commedia dell'arte, with immortal masks of Columbine, Pantaloon, Doctor and Harlequin.
farce is main genre on the stage of medieval Europe
Literature of other European countries has left us examples of this genre as a legacy. In Germany, there were carnival games that castigated human weaknesses. In the 12th-15th centuries, the meistersingers (German poets-singers), especially those of Nuremberg, most often succeeded in composing farces. Like knights proud of their lineage, the Meistersingers were true professionals and respected the art of poetry as a craft. And in Spain, Cervantes worked. The most famous farces of his brilliant pen are "Two Talkers" and "The Theater of Miracles".
IN contemporary literature exists a large number of genres and their branches. Some of them arose relatively recently, while the history of others goes back more than one century. This article will describe the history of the origin of just one of these genres - farce.
The emergence and development of farce as a genre
Farce is a comedy genre that originated in Western Europe. medieval theater. It originated in the seventh century, but how independent genre it emerged only in the second half of the fifteenth century. The main period of its development is the XIV-XVI century. Among the origins of the farce are performances by itinerant comedians and carnival games during Maslenitsa. The stories of the comedians determined the themes and dialogues, and the carnival performances determined its mass character and dynamic game nature. Later, mysteries begin to fill with farces (hence its name comes from), from which it stood out as an independent genre.
Farce in the medieval theater
Unlike other genres of medieval theatre, allegory and didacticism are completely uncharacteristic of farce. After all, it is based on real life events, anecdotes. Farcical plays reflect quite life-like everyday situations. However, there are no individualized images yet. Instead, there are types-masks, such as a cunning servant, an unfaithful wife, a boastful soldier, an unlucky student, a pedantic scientist, a charlatan doctor, and others. The heroes of farces act directly: they fight, swear, argue, exchange puns. There are many physical collisions in the performance, eccentrics, buffoonery, sharp and dynamic situations that quickly replace each other. Due to such changes, as well as the free transfer of action from one place to another, the plot unfolds quite quickly. Moreover, the heroes of farces not only made fun of the comedy of the situations, but also ridiculed certain phenomena and features.
Farce in European and Japanese theaters
European farces were staged mainly by amateur actors. The authors of medieval comic plays are mostly unknown (farces were often compiled collectively). It is known that farces were written by F. Rabelais, K. Maro, several farces of Margaret of Navarre have been preserved. The most popular in the 15th century was a cycle of French farces about the lawyer Patlen, who told about the adventures of the famous folk hero, vividly depicted the life of a medieval city, showed a number of colorful figures. In general, on French soil this genre - farce - begins to flourish.
The genre of farce (kyogen) also existed in the Japanese Noh theater: it developed in the 14th century. Japanese farce is a genre that has been closely associated with folklore (satiric and household tales, jokes). Like its European counterpart, kyogen was a small everyday scenes based on material borrowed from life itself. The main characters ridiculed by the Japanese farce are charlatan monks, stupid princes, their cunning servants, and peasants. The main principle of his game kyogen put forward comedy in combination with the truth of life. Farces in Japan were performed as interludes between dramas.
Significance in the history of world theater
Farce is an art direction that had a great influence on further development world theatre. It is thanks to him that English interludes and Spanish passes, German fastnachtspiel and Italian comedy of masks develop. In the 17th century, the farce, not without success, competes with the "learned" humanistic drama, and the synthesis of these two traditions led to the creation of Molière's dramaturgy.
Generally speaking, the farce is a kind of link between the old and the new theatre. Elements of it can be observed in Shakespeare and Lope de Vega, Goldoni and Beaumarchais. And although at the end XVII century the genre surrenders its powers to literary comedy, it is reborn again in late XIX century. dramatic art of our time knows many works of this genre (“Suicide” by N. Yord-Man, “The Idea of the Big Deadviarch” by M. de Gelderod, “Zoyka’s Apartment” by M. Bulgakov, “Risk” by E. de Filippo, “They Stole the Code” by A. Petrashkevich etc.).
Until now, plays in this genre continue to be created. Farce is a play in literature with elements of comedy and mysteries, so it is not surprising that for many centuries people continue to love and respect this branch of art. Many young creators again resort to the use of farce, however, more modern, pressing problems that resonate in the hearts of modern viewers are ridiculed.
What is farce?
- The word "farce" has several meanings. About farce as a type of theatrical art, everything is already in the previous answers. Dahl's "farce" is a joke, a funny prank. In our time, "farce" is more often used in the sense of something hypocritical, cynical (for example, the elections have turned into a pathetic farce), or sometimes, as a rude joke.
- Farce is a light comedy with purely external comic prima. In the Middle Ages, a farce was also called a type of folk theater and literature, widespread in the XIV-XVI centuries in Western European countries. Prima farcical buffoonery preserved in the circus clownery
FARS French. farce, Latin. farsa is one of the comic genres of the medieval theater. In the 7th century, in Church Latin, farsa (farsia) denoted an insertion in a church text (Epistola cum farsa, Epistola farsita, etc.), later these insertions became common in prayers and hymns. The fixing of the term F. for a dramatic interlude can be attributed to the 12th century. The undoubted source of F. are the French games (jeux), already known in the 12th century under various names: dits, d # 233; bats, etc. Game under the foliage (Jeu de la feuill # 233; e, ca., 1262) by Adam de La Gal 12381286 has a number of purely farcical features, both in terms of the plot and the wit of the situations, and the interpretation of individual characters (the predecessor of the Italian Harlequin, the devil Herlequin Croquesots, physicist, monk). The content of farces, as well as fables extremely close to them (see), was borrowed from everyday reality; F.'s themes are varied: family relations and relations between the master and servants, the deceit of his wife, trickery in trade and in court, the adventures of a boastful soldier, the failure of an arrogant student; colorful images of monks and priests, merchants and artisans,soldiers and students, peasants and laborers, judges, officials; a comic situation is achieved by introducing an external effect of a brawl, squabble, etc.; often many complications are brought into action by the use of several dialects, professional vocabulary, macaronic Latin; individualization of the speech of F. characters was carried out in most cases quite consistently. There are no developed characters in the farce; as in fablio, F.'s characters act more, exchange puns and witty remarks; the growth of the plot occurs due to the rapid transfer of action from one place to another, unexpected explanations. In contrast to the large forms of the medieval city theater, F. did not know the lengthy preparation of the performance, did not have an equipped stage platform, and managed with the most primitive staging means. The French farce, and those close to F. soti, were the lot of small brotherhoods and were staged from the 14th century. predominantly parliamentary clerks (clercs de Basoche) and actors (enfants sans souci). Among the early F. are the Free Shooter from Bagnolet (Franc Archer de Bagnolet, 1468) and Trois galants et Philipot, where the old motif of the boastful soldier is beautifully developed. The number of F. has been growing strongly since the end of the 15th century. ; to this time is a kind of cycle F. about Patelena. Three Farces Monsieur Pierre Patelin 1470, New Patelin c. 1480, Testament of Patelen c. 1490 paint an immortal image of a swindler-solicitor avocat sous lorme. The obvious popularity of these farces, especially the first one, is evident from the numerous editions (16 editions from 1489 to 1532) and those references to the main F., which are found in the New Patelen and in the Testament.
- Firstly, farce is a kind of folk theater, similar to the Italian "commedia dell'arte", that is, improvisational performances with the participation of masked actors. It became widespread in most Western European countries with the development and growing popularity of the mysteries (1416 centuries). The main pathetic and solemn action began with comedic inserts. Actually, it was then that the term farce arose from the word "minced meat, stuffing." The farce gradually developed into a separate genre of theater, a truly popular, democratic one. The farce is characterized by rough humor, buffoonery, improvisation, the emphasis is not on the individual, but on the typical features of the characters. Farcical motifs are clearly visible in literary creativity playwrights of the Renaissance and the 17th century (Shakespeare, Moliere, Cervantes, etc.).
Secondly, since the 19th century. the term farce is used as a title separate genre dramaturgy and theatrical performances that retain the main features medieval farce: lightness and unpretentiousness of the plot, buffoonish humor, unambiguity of characters, external comic tricks. It often serves as a synonym for vaudeville, stage anecdote, sitcom, theatrical and circus clowning, etc. Jokes in one act by A.P. Chekhov "Proposal", "Bear", "Jubilee" carry the features of farce.On household level the word farce is used in figurative meaning to determine a rude joke, an outrageous antics.
