The characters in a farce are often one-dimensional and engage in buffoonery and horseplay, making the audience laugh. Moreover, the plot of a farce often contains many twists and random events, including cases of mistaken identities and misunderstandings.
Farces are created for both stage and cinema. Farce, on the other hand, is a light comedy that uses highly exaggerated and funny situations to make the audience laugh. A satirical work is characterized by humour, wit, irony and exaggeration while a farce is characterized by slapstick humour, horseplay, absurd situations, etc. The main aim of satire is to expose and criticize people and society, whereas the main aim of a farce is to make the audience laugh.
Both satire and farce are genres of comedy. The main difference between satire and farce is that satire uses humour, irony and wit to make the audience laugh, whereas farce uses slapstick humour and bawdy jokes to make the audience laugh.
In addition to this, unlike a farce, a satirical work has the ability to expose the follies and vices in the society while entertaining the audience. Edley, Luke, et al. She is currently reading for a Masters degree in English. High comedy is characterized by subtle characterization, witty dialog, irony and satire. It is sophisticated in nature and focuses on the inconsistencies and incongruities of human nature.
The aim of this type of comedy is not just to entertain the audience; it also aims to act as a social criticism. Satire and comedy of manners are examples of high comedy. Low comedy is characterized by humorous or farcical situations, absurdities, physical action, and often bawdy or vulgar jokes.
It is not serious in nature and does not appeal to the intellect. This type of comedy only aims to entertain the audience; it has no higher purpose. Farce, parody , and burlesque are examples of low comedy. Farce is a lighthearted comedy typically including crude characterization and ludicrously improbable situations. Comedy is a dramatic work that is light and often humorous and that usually contains a happy ending.
When he carries off the honors of the 'field surprise intensifies an existing laugh. It does not have to overcome inertia and start a laugh.
The momentum is there and all the force of the new factor is applied to increasing the power. It is comparatively easy for the average man to draw, unaided, a fairly heavy wagon once it is put in. It is the same way in getting laughs. Get them started and it is comparatively simple to intensify the laughter. To this end it is better to use anticipation to get the laugh started and realization or surprise to complete and amplify the laugh. If this is thoroughly understood it is comparatively simple to write comedy if you have the necessary sense of humor.
There seems to be a fairly regular movement from comedy to slapstick with a quick return to comedy. Most veteran theatrical managers' know that amusement affairs go in cycles, and this is very true of comedy. Starting with light comedy of high standard or farce of a polite type, directors slowly incline to slapstick. One, more daring than the rest, comes out with the old-fashioned slapstick and takes the lead.
All other makers seek to follow suit and each tries to outdo the others. Presently slapstick has been so sadly abused that all sense of humor and decency is lost. There is a reaction that results in a sharp return to the high ideals and then a gradual return toward slapstick.
One or two companies hold to slapstick because they realize that good slapstick, the sort with a fairly good reason, will always find a market. They keep within certain limits of restraint and make steady sales. Slapstick takes its name from the actual slapstick, which is a pair of boards separated at one end by a small block. When one of the flat sides is brought into contact with a comedian's anatomy, the other side clashes against the first, resulting in a maximum of noise with a minimum of hurt.
The former almost universal use of this device by stage comedians given to knockabout work made it almost a trade mark for that crude form of humor, and so the term slapstick has almost completely replaced the more definite and correct "knockabout" as the designation of this form of rough humor, but a use of the proper term will provide a better definition of this form of play, since the actual slapstick is seldom employed in photoplay and many students are at a loss to account for the term, where knockabout would be fully self- explanatory and is the proper technical term of the stage.
There are different degrees of comedy, of farce and of knockabout. It may be interesting once more to take the scene already used and in a succession of developments advance from light comedy to an extreme of knockabout.
Piazza—Dodd brings Jack out—they argue—Jack shakes his fist at Dodds—Dodds pushes aim off the steps—Jack picks himself up—exits. Piazza—Dodds runs Jack out of house—places him for a kick —kicks at him—misses—falls—in falling pushes Jack off of steps—both get up—Jack picks up rock—threatens Dodd throws—hits—Dodds falls—Jack runs off.
Piazza—Dodds runs Jack out of house—places him for kick— kicks at him—falls—falls against Jack—both fall down steps— get up—Dodds up steps—Jack picks up rock—aims at him throws—Dodds dodges—rock hits Jared, who is entering from house—Jared falls.
Piazza—Dodds runs Jack out of house—places him for kick swings—misses—falls—falls against Jack—both roll down steps. Jack is thrown from the house. The rest is all extraneous business, but so long as it is lively and all a part of the same laugh. Had there been a clear division of the action into two or more parts, then it would have been advisable to have made this into two or more scenes, for it is best to work on the one-scene- one-laugh principle though permissible to build up the laugh as long as more laughter can be gained.
In the first of these scene's Jack is merely driven off. That is light comedy. In the second he is pushed off the steps. That is low comedy. It might be done by anybody at any time in the heat of anger.
The probabilities are preserved. It is comedy. By the fourth development the probabilities have been stressed to the point of farcicality and from there the change to knockabout is rapid. Comedy is easy to handle if you have a real and not a perverted sense of humor, but it must be told in comedy action if it is to be amusing. Moreover the action must directly concern the plot and. This is a point wherein so many beginners err.
They think that they can put anything into a farce and it will be accepted. It will not be acceptable unless it is action that seems naturally to arise from the story. If this is held in mind it will be more simple to write even knockabout that is at least not stupidly irritating.
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It is conceded that there may be ladies, both young and old, who will slightly exceed the bounds of strict decorum in their search for a husband, but in real life the determined woman who grabs a man and literalf him off to the altar does not exist. If the ejector does not fall down the steps after the victim, then the latter picks himself up and throws a rock at him. You do not write:
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