MARC Record from marc_columbia

LEADER: 04598cam a2200637Mi 4500
001 15120755
005 20210607142905.0
006 m o d
007 cr cn|||||||||
008 170728t20172003enka ob 001 0 eng d
035 $a(OCoLC)ocn993640677
035 $a(NNC)15120755
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020 $a9780203792100$q(electronic bk.)
020 $a0203792106
020 $a9781351520249$q(electronic bk.)
020 $a1351520245
020 $z9780765808875
020 $a9781138523449
020 $a1138523445
020 $a9781351520232$q(Proquest Ebook Central)
020 $a1351520237
035 $a(OCoLC)993640677$z(OCoLC)994145480$z(OCoLC)1001979425$z(OCoLC)1003888966$z(OCoLC)1005474345$z(OCoLC)1005557384$z(OCoLC)1005696585$z(OCoLC)1007842074$z(OCoLC)1112083450
037 $a1020006$bMIL
050 4 $aPN1942$b.D38 2017
072 7 $aLIT$x013000$2bisacsh
072 7 $aPER$x006000$2bisacsh
082 14 $a809.25232$b23
049 $aZCUA
100 1 $aDavis, Jessica Milner,$eauthor.
245 10 $aFarce /$cJessica Milner Davis ; with a new introduction by the author.
264 1 $aLondon :$bRoutledge,$c2017.
264 4 $c©2003
300 $a1 online resource (xi, 191 pages) :$billustration
336 $atext$btxt$2rdacontent
337 $acomputer$bc$2rdamedia
338 $aonline resource$bcr$2rdacarrier
490 1 $aClassics in communication and mass culture series
588 0 $aOnline resource; title from PDF title page (EBSCO, viewed August 14, 2017).
500 $aOriginally published 1978 by Methuen & Co. Ltd.
504 $aIncludes bibliographical references and index.
520 $a"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"--Provided by publisher.
505 0 $aChapter Introduction to the Transaction Edition -- chapter 1 What is Farce? -- chapter 2 The World of Rebellion -- chapter 3 Tit-for-Tat, the World of Revenge -- chapter 4 The World of Coincidence -- chapter 5 On the Borderline.
650 0 $aFarce.
650 7 $aPERFORMING ARTS$xTheater$xMiming.$2bisacsh
650 7 $aLITERARY CRITICISM$xDrama.$2bisacsh
650 7 $aFarce.$2fast$0(OCoLC)fst00920952
655 0 $aElectronic books.
655 4 $aElectronic books.
776 08 $iPrint version:$z9780765808875
830 0 $aClassics in communication and mass culture series.
856 40 $uhttp://www.columbia.edu/cgi-bin/cul/resolve?clio15120755$zTaylor & Francis eBooks
852 8 $blweb$hEBOOKS