Farce and farcical elements /
Farce and farcical elements /
edited by Wim Hüsken and Konrad Schoell in conjunction with Leif Søndergaard.
- 1 online resource (223 pages)
- Ludus, 6 1385-0393 ; .
- Ludus 6. .
"Ludus: medieval and early Renaissance theatre and drama"--Preliminary page.
Introduction / Farcical Elements in the English Mystery Cycles / Mockery, Farce, and Risus Paschalis in the York Christ before Herod / Mirth and Mockery: The Devil’s Way / Farce and Farcical Elements in the English Interludes, or: How the Vice beat the Farce / Chaucer, Medieval Drama and a Newly Discovered Seventeenth-Century Play: The Survival of Medieval Stereotypes? / L’Individu et le Groupe Social dans la Farce / Les Eléments Farcesques dans la Sottie Française / “Le Silence est le bouclier de la sagesse”: Le Dialogo da Ressurreição de Gil Vicente / Combat Between the Genders: Farcical Elements in the German Fastnachtspiel / Das heiß eysen, un Jeu de Carnaval de Hans Sachs / La Reception du Décaméron dans les Jeux de Carnaval de Hans Sachs / From Revelry to Reality: Drinking, Poverty and Salvation in Hans Rudolf Manuel’s Weinspiel / Wim Hüsken and Konrad Schoell -- Peter Happé -- Michael O’Connell -- Charlotte Spivack -- Jean Paul Debax -- Elizabeth Baldwin -- Konrad Schoell -- Jelle Koopmans -- Maria José Palla -- Leif Søndergaard -- Marie Lesaffre -- Danielle Buschinger -- Joe G. Delap.
Available to subscribing member institutions only.
Farcical elements were incorporated into non-comic drama ever since the theatre had been rediscovered in the Middle Ages. Already at a very early stage, comic scenes proved to be popular additions to liturgical music drama and, later, to religious plays in the vernacular. Some scholars believe that the genre of farce developed out of these farcical elements. The suggestion was made that farces, similar to the stuffing of meat or poultry, had been added to plays to increase audience involvement. Other researchers see quite different origins for the farce. The present volume does not aspire to solve the question of the relationship between the two types of “comedy” on the medieval stages but its editors hope that it will nevertheless contribute to this discussion. In addition, it will enable its readers to form an impression of the huge variety of the comic in the vast area of medieval and early Renaissance theatre and drama.
English and French.
9789004334243
10.1163/9789004334243 DOI
Farce.
Drama, Medieval--History and criticism.
Drama, Medieval.
Farce.
Criticism, interpretation, etc.
PN1942 / .F37 2002
809.2523
"Ludus: medieval and early Renaissance theatre and drama"--Preliminary page.
Introduction / Farcical Elements in the English Mystery Cycles / Mockery, Farce, and Risus Paschalis in the York Christ before Herod / Mirth and Mockery: The Devil’s Way / Farce and Farcical Elements in the English Interludes, or: How the Vice beat the Farce / Chaucer, Medieval Drama and a Newly Discovered Seventeenth-Century Play: The Survival of Medieval Stereotypes? / L’Individu et le Groupe Social dans la Farce / Les Eléments Farcesques dans la Sottie Française / “Le Silence est le bouclier de la sagesse”: Le Dialogo da Ressurreição de Gil Vicente / Combat Between the Genders: Farcical Elements in the German Fastnachtspiel / Das heiß eysen, un Jeu de Carnaval de Hans Sachs / La Reception du Décaméron dans les Jeux de Carnaval de Hans Sachs / From Revelry to Reality: Drinking, Poverty and Salvation in Hans Rudolf Manuel’s Weinspiel / Wim Hüsken and Konrad Schoell -- Peter Happé -- Michael O’Connell -- Charlotte Spivack -- Jean Paul Debax -- Elizabeth Baldwin -- Konrad Schoell -- Jelle Koopmans -- Maria José Palla -- Leif Søndergaard -- Marie Lesaffre -- Danielle Buschinger -- Joe G. Delap.
Available to subscribing member institutions only.
Farcical elements were incorporated into non-comic drama ever since the theatre had been rediscovered in the Middle Ages. Already at a very early stage, comic scenes proved to be popular additions to liturgical music drama and, later, to religious plays in the vernacular. Some scholars believe that the genre of farce developed out of these farcical elements. The suggestion was made that farces, similar to the stuffing of meat or poultry, had been added to plays to increase audience involvement. Other researchers see quite different origins for the farce. The present volume does not aspire to solve the question of the relationship between the two types of “comedy” on the medieval stages but its editors hope that it will nevertheless contribute to this discussion. In addition, it will enable its readers to form an impression of the huge variety of the comic in the vast area of medieval and early Renaissance theatre and drama.
English and French.
9789004334243
10.1163/9789004334243 DOI
Farce.
Drama, Medieval--History and criticism.
Drama, Medieval.
Farce.
Criticism, interpretation, etc.
PN1942 / .F37 2002
809.2523