See A. Bermel, Farce (1983).
Light, dramatic composition that uses highly improbable situations, stereotyped characters, violent horseplay, and broad humour. Farce is generally regarded as intellectually and aesthetically inferior to comedy in its crude characterizations and implausible plots, but it has remained popular throughout the West from ancient times to the present.
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Many farces move at a frantic pace toward the climax, in which the initial problem is resolved one way or another, often through a deus ex machina twist of the plot. Generally, there is a happy ending. The convention of poetic justice is not always observed: The protagonist may get away with what he or she has been trying to hide at all costs, even if it is a criminal act.
Farce in general is highly tolerant of transgressive behavior, and tends to depict human beings as vain, irrational, venal, infantile, and prone to automatic behavior. In that respect, farce is a natural companion of satire. Farce is, in fact, not merely a genre but a highly flexible dramatic mode that often occurs in combination with other forms, including romantic comedy. Farce is considered a theatre tradition.
As far as ridiculous, far-fetched situations, quick and witty repartee, and broad physical humor are concerned, farce is widely employed in TV sitcoms, in silent film comedy, and in screwball comedy. See also bedroom farce.
Performing teams who have appeared in farces:
Actors and actresses who have appeared in farces
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