Bedroom Farce

'What is remarkable about Alan Ayckbourn's comedy is that it contrives to be simultaneously hilarious and harrowing. Literally, it is agonisingly funny' Daily Telegraph In Three Plays Ayckbourn's perfectly pitched dialogue slices into the soul of suburbia. The settings are simple - a kitchen, a bedroom, a party - but the relationships between the husbands and wives are more complicated. Fraught relationships are exposed with humour, bathos and a sharp understanding of human nature.

Contents: The Nature of Farce; A.W. Pinero and the Court Farces; Ben Travers and the Aldwych Farces; Brian Rix and the Whitehall Farces; Post-Whitehall Farces; Joe Orton; Farce and Contemporary Drama: I; Farce and Contemporary Drama: II; Conclusion; ^R Appendix: a Chronological List of Plays; Notes; Bibliography; Index

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

Domestic comedy intercuts scenes in 3 bedrooms. Couple having marital difficulties disrupts the evening for 3 other couples, friends, husband's parents, and husband's former girlfriend and her husband. 2 acts, 4 men, 4 women, 1 interior.

Contemporary Farce on the Global Stage provides audiences and practitioners a detailed survey of how the genre of farce has evolved in the 21st century. Often dismissed as frivolous, farce speaks a universal language, with the power to incisively interrogate our world through laughter. Unlike farces of the past, where a successful resolution was a given and we could laugh uproariously at adulterous behaviour, farce no longer guarantees an audience a happy ending where everything works out. Contemporary farce is no longer ‘diverting us’ with laughter. It is reflecting the fractured world around us. With a foreword by award-winning playwright Ken Ludwig, the book introduces readers to the Mechanics of Farce, and the ‘Four Ps,’ which are key elements for understanding, appreciating, and exploring the form. The Five Doors to Contemporary Farce identify five major categories into which farces fall. Behind each door are a wide selection of plays, modern and contemporary examples from all over the world, written by a diverse group of playwrights who traverse gender, race, ethnicity, and sexual orientation. Supplementing each section are comments, observations, and reflections from award-winning playwrights, directors, actors, designers, dramaturgs, and scholars. Designed specifically to give theatre-makers a rounded understanding that will underpin their own productions, this book will also be of use to theatre and performance studies students.

A new series of bespoke, full-coverage resources developed for the 2015 A Level English qualifications. Endorsed for the AQA A/AS Level English Literature B specifications for first teaching from 2015, this print Student Book is suitable for all abilities, providing stretch opportunities for the more able and additional scaffolding for those who need it. Helping bridge the gap between GCSE and A Level, the unique three-part structure focuses on texts within a particular time period and supports students in interpreting texts and reflecting on how writers make meaning. An enhanced digital version and free Teacher's Resource are also available.

It seems a long way from Moliere to Ray Cooney. There are immense distances between the worlds of Aristophanes, Plautus, Georges Feydeau, Ben Travers, Joe Orton and Basil Fawlty. But as one of the oldest genres in the history of the theatre, farce bridges the gaps by generating gales of helpless belly laughter across the generations. Inspired by John Mortimer’s observation that farce is 'tragedy played at a thousand revolutions a minute', theatre critic Roger Foss embarks on a lightning tour of the rib-tickling world of confused characters, absurd situations, ruined reputations, sexual innuendo and bravura comic acting and finds out if farce really is a force to be reckoned with in the 21st century. The latest addition to the Oberon Masters series, May The Farce Be With You celebrates the great creators and performers of farce, notably master farceur Ray Cooney, who celebrates his 80th birthday in 2012, in essays that will inform and entertain both the aficionado and anyone with a sense of humour.

Routledge Encyclopedia of Translation Technology, second edition, provides a state-of-the-art survey of the field of computer-assisted translation. It is the first definitive reference to provide a comprehensive overview of the general, regional, and topical aspects of this increasingly significant area of study. The Encyclopedia is divided into three parts: Part 1 presents general issues in translation technology, such as its history and development, translator training, and various aspects of machine translation, including a valuable case study of its teaching at a major university; Part 2 discusses national and regional developments in translation technology, offering contributions covering the crucial territories of China, Canada, France, Hong Kong, Japan, South Africa, Taiwan, the Netherlands and Belgium, the United Kingdom, and the United States; Part 3 evaluates specific matters in translation technology, with entries focused on subjects such as alignment, concordancing, localization, online translation, and translation memory. The new edition has five additional chapters, with many chapters updated and revised, drawing on the expertise of over 50 contributors from around the world and an international panel of consultant editors to provide a selection of chapters on the most pertinent topics in the discipline. All the chapters are self-contained, extensively cross-referenced, and include useful and up-to-date references and information for further reading. It will be an invaluable reference work for anyone with a professional or academic interest in the subject.