FARCE
The Merriam-Webster dictionary defines farce as “a light dramatic composition marked by broadly satirical comedy and improbable plot.” Britannica Encyclopedia defines it as “a comic dramatic piece that uses highly improbable situations, stereotyped characters, extravagant exaggeration, and violent horseplay.”
The elements of farce can be found going back as far as ancient Greece, such as in playwright Aristophanes’ comedies that were full of over-the-top stock characters, vulgar language, and absurd situations.
Typical elements found in a farce include:
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mistaken identities
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mocking of the typical social code
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rebellion done in witty ways
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comic surprises and reversals of expectations
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and a quick speed to the dialogue and action
The word “farce” began being used in the 15th century, and stems from a French word meaning “to stuff,” because initially comic moments were forced into religious plays to get laughs and attract more audiences at a time when theatre audiences were starting to dwindle. The term expanded to describe entertainment that had elements of clowning, acrobatics, caricature and indecency. During the Italian Renaissance, this evolved into commedia dell'arte.
These comedic farce elements attracted audiences back to the theatre because it gave them a way to laugh and cope with the craziness of the world, and it provided a not-so-subtle opportunity to mock the elite. Farce grew in popularity and spread across Europe, with famed playwrights such as Shakespeare and Molière employing these elements in their works.
Looking for a more contemporary reference? Click the poster to the left to meet the commedia characters as represented by The Simpsons
KEN LUDWIG AND FARCE
In spite of being known for writing great ones, Ken Ludwig dislikes the term "farce" because he thinks by default audiences will consider them not worth their time.
His preferred term? Muscular Comedies!
From an interview in Breaking Character magazine on the occasion of publishing a sequel to Lend Me a Tenor
"I was very aware that by choosing a specific theatrical form, I was setting up certain expectations, and I welcomed them. When you write a farce, you play by certain rules, one of which is to keep the plot as light as air while delivering as much wit and wisdom along the way as you can muster. In a tragedy of the Shakespearean variety, someone noble dies at the end. That’s the convention; it’s not debatable. In a traditional farce, it is equally non-debatable that there will be mistaken identity, romantic couples (usually two or three), a sense of buoyant sexiness, and loads of word-play.
I have seen farce criticized for being “lowbrow,” but of course that’s missing the point entirely. The great Shakespearean critic Northrop Frye likens the situation to that of a doctor friend who saw Twelfth Night and couldn’t bear it because he knew that it was biologically impossible for boy-girl twins to be identical. Frye’s response is that you simply have to accept Shakespeare’s conventions at face value in order to enjoy the plays. There is no in-between."
Ken Ludwig farces. From top to bottom: Moon Over Buffalo, A Comedy of Tenors, Sherwood
FROM A REVIEW OF THE GAME'S AFOOT IN LOS ANGELES
"Though farce master Ludwig abandons some of the genre’s conventions (there’s no stage full of doors for characters to slam and hide behind, for example), there’s still enough physical comedy, mistaken identity, and double entendres to delight, and William’s fascination with the latest technology, including a remote-controlled home intercom system, is a nifty comedic addition to the mix. More importantly, the playwright/mystery aficionado keeps you guessing even after finding out who committed murder."