Maitre Pathelin : The Function of Farce
Ashley Cole has written this page to invite us to think with her about Le Maitre Pathelin.
“If we couldn’t laugh we would all go insane.” ― Robert Frost
Let’s explore the history and function of farce.
First, here is a resource I found on study.com about farce.
Would you believe Curly, Larry, and Moe, The Three Stooges, are simply practicing a centuries-old form of drama? Learn more about how horseplay and high energy contribute to the dramatic comedy sub-genre called farce.
Curly, Larry, Moe — most of you probably know who they are. You can see them in your mind’s eye, bopping each other over the head, poking each other in the eyes, and making noises that are even unnatural for babies. But can you recall the plot to any episode of The Three Stooges? Probably not. And that’s because the plot of a farce isn’t as important as its purpose: to make you laugh.
THE THREE STOOGES: Disorder in the Court (1936)
The history of dramatic farce is one of debate. We do know that the word comes from the Latin farcire meaning ‘to stuff or fill.’ During the Middle Ages, the audience would be treated to a sort of interlude during the mystery and morality plays that were popular at that time. Often those interludes, or fillers, were intended to bring a light-hearted alternative to the very serious and somber morality plays. It’s likely that these were the beginnings of farce, as we know it today, a low comedy that uses base characters and improbable circumstances to entertain the audience.
This sub-genre of dramatic comedy called farce sets itself apart from the other forms because its purpose is to make the audience laugh. And that’s it.
So, how does a farce ensure that the audience will laugh and leave with a lighter heart? It begins with some low comedy, or comedy that uses bawdy jokes, physical humor, drunkenness, and silly visuals just for the sake of getting people to laugh. Actually, these elements can be found in many plays that are not considered farcical. It’s the plot, or lack thereof, that makes a true farce. The plot in a farce is likely to be improbable, and maybe even incomprehensible. In fact, it’s up to the audience to accept that the physical and verbal humor runs the show, not the plot. The physical humor, which is high-energy horseplay, reinforces the exaggerated, stereotypical characters. These base characters — base meaning ignorant or of low social class — often find themselves in a mix-up of sorts, sometimes even with a mistaken identity, that results in furthering a ridiculous situation.
Given that the farce form has been around for quite some time, it’s no surprise that there are plenty of examples to choose from. Brandon Thomas’s 1892 play Charley’s Aunt often appears on lists of farces. But even further back are Molière’s Tartuffe from 1664, and even Shakespeare’s Comedy of Errors from 1594 is sometimes given the farce label.
These are just some of the examples of farce that can be found throughout history. So if farce is simply a means of comedic relief and entertainment, what function does it serve? Think about other works of farce and why you enjoy them.
Originally published at medium.com on October 28, 2015.
