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Farce elicits an immediate, elemental response from all age levels, cutting across national and intellectual boundaries. It dates back to people’s first attempts to scoff in public at whatever their neighbors cherished in private: social prestige, eccentricities, virtues that are vices, friendships, and enmities. Albert Bermel, teacher, writer, and translator of farce, takes readers on an instructive and hilarious voyage from the classical Greek stage through English Restoration and French farce, to the young Hollywood of Mack Sennett, Chaplin, Keaton, and Lloyd, the other silent farceurs of the Jazz Age, and on to W. C. Fields, Mae West, Sid Caesar, Mel Brooks, Woody Allen, and Monty Python—including other greats along the way like Hope and Crosby, Laurel and Hardy, and the Marx Brothers.
Farce elicits an immediate, elemental response from all age levels, cutting across national and intellectual boundaries. It dates back to people’s first attem
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, ev
Surveying the artistic and cultural scene in the era of Trump In a world where truth is cast in doubt and shame has gone missing, what are artists and critics o
The book traces the rise and fall of Harvey Matusow, a wise-guy, professional informer-witness of the McCarthy era, whose dramatic recantation led to his own im
“A popular Government without popular information or the means of acquiring it, is but a Prologue to a Farce or a Tragedy or perhaps both.”--James Madison,