1. Etymology of “Farce”
The term “farce” in theatre, intriguingly derived from the Old French “farsa”, traces its linguistic roots to the Latin “farcire”, which translates to “to stuff”. This etymological journey from Latin through Old French to modern English reveals much about the nature and evolution of the genre itself.
In Latin, “farcire” carried the connotation of filling or stuffing, often in a culinary context. This term metaphorically migrated to the theatre world, which aptly described a specific form of entertainment. During the medieval period, particularly in the 15th and 16th centuries, religious plays known as “mystery” or “morality” plays were popular across Europe. Often solemn and didactic, these plays were interspersed with short, humorous skits or interludes, which were literally “stuffed” into the narrative breaks. These interludes were designed to provide comic relief from the otherwise serious and moralistic tone of the main play.
These interludes gradually evolved in form and content, becoming more secular and satirical, eventually growing into standalone pieces. The transition from an interlude to a standalone form marked the birth of “farce” as an independent genre in theatre. The transformation of the word “farcire” through this process reflects the genre’s evolution from a mere filler or embellishment in a larger narrative to a significant, self-contained form of theatrical entertainment.
As “farce” developed, it retained its foundational characteristics of brevity, humour, and an inclination towards the ludicrous or absurd. The etymology of the word, therefore, is not just a linguistic curiosity but a window into the historical and cultural development of this comedic genre in theatre. The term “farce” thus encapsulates the essence of being ‘stuffed’ with laughter and whimsy, a characteristic that has remained central to its identity across centuries.
2. Origins of Farce in France
The development of French farce as a distinct theatrical genre can be traced back to the late medieval period, with its most prominent phase spanning from the 15th to the 17th centuries. This era in French theatre history was marked by a burgeoning interest in more secular and comedic forms of entertainment, distinct from earlier periods’ predominantly religious and didactic plays.
The early farces were often brief and performed as interludes in longer dramatic works. These skits were delivered in vernacular French, making them more accessible and relatable to the common audience, in contrast to the Latin used in religious and formal plays. This choice of language was significant as it allowed farce to connect with a broader spectrum of society, contributing to its widespread popularity.
Acting troupes that specialised in performing these farces began to emerge. These troupes were versatile, often capable of both dramatic and comedic performances, but they particularly excelled in the exaggerated and physical style of comedy that farce demanded. The mobility of these troupes played a key role in the dissemination of farce across France and eventually beyond its borders.
The earliest known example of a French farce, “Le Garçon et l’Aveugle” (The Boy and the Blind Man), dating from around 1266, showcases the early characteristics of farce. This play, revolving around a blind man and a deceitful boy, highlights the genre’s focus on everyday characters and situations, imbued with humour and a certain degree of cynicism.
During the 15th century, farce began to evolve from its origins as a mere interlude to a standalone form of entertainment. The plays grew in complexity, featuring more elaborate plots and character development. The themes often revolved around domestic situations, social satire, and the human condition, reflecting the genre’s deepening engagement with societal norms and human vices.
The 16th century saw farce reaching its zenith in France, with plays becoming more structured and incorporating more sophisticated themes and literary techniques. During this period, farce started influencing other forms of European theatre, including the English comedy and Commedia dell’Arte in Italy.
3. Influences from Theatre History
French farce, as a distinctive theatrical genre, was significantly influenced by various historical theatrical traditions. These influences played a crucial role in shaping the genre’s distinctive characteristics, such as its emphasis on exaggerated characters, physical humour, and satirical plots.
Roman Comedies of Plautus and Terence
The works of ancient Roman playwrights like Plautus and Terence provided a foundational influence for French farce. These Roman comedies were known for their stock characters, humorous dialogue, and intricate plotlines revolving around mistaken identities and social satire. French farce adopted these elements, particularly the use of stock characters and the focus on everyday life’s follies and vices. The Roman influence is evident in the way farces portray character archetypes, such as the cunning servant or the foolish authority figure, and in the use of mistaken identities and misunderstandings as key plot devices.
Italian Commedia dell’Arte
The Commedia dell’arte, an improvisational theatre form that originated in Italy in the 16th century, profoundly impacted French farce. Commedia dell’arte was known for its use of masked characters, improvised dialogue based on loose scenarios, and physical comedy. These elements found their way into French farce, particularly in emphasising physicality and improvisation. The agility, expressiveness, and exaggerated actions of Commedia actors influenced French farceurs to develop a more dynamic and physical approach to comedy.
Local Popular Entertainment
French farce was also influenced by local popular entertainment, including folk plays, street performances, and festive court entertainment. These forms of entertainment often included bawdy humour, slapstick, and caricature, resonating with the common people’s tastes and sensibilities. This influence is evident in the earthy humour, the physical slapstick, and the often irreverent tone of farce, which appealed to a wide range of audiences.
Medieval Mystery and Morality Plays
Initially, farces were interspersed within religious mystery and morality plays, offering comic relief from the more serious and didactic narratives. This context influenced the development of farce, particularly in its structure and function as a form of entertainment. The contrast between the solemnity of the religious plays and the levity of the farces highlighted the comedic elements and encouraged a more pronounced use of humour and satire.
4. Plays and Playwrights
French farce, as a theatrical genre, has been enriched by the contributions of several notable playwrights and their enduring works. These plays and their creators not only defined the genre but also left a lasting impact on the broader landscape of theatrical comedy.
Molière (Jean-Baptiste Poquelin, 1622–1673)
Molière is arguably the most illustrious playwright associated with French farce. His plays, characterised by their sharp wit and satirical treatment of societal norms, remain cornerstones of French literature and theatre. Notable among his works are:
- “Tartuffe“: A scathing satire on religious hypocrisy, “Tartuffe” employs classic farcical elements like mistaken identities and dramatic ironies. It showcases Molière’s skill in blending social commentary with humour.
- “The Misanthrope“: This play, while more subtle than a traditional farce, employs elements of the genre through its satirical examination of societal pretensions and personal follies.
“La Farce de Maître Pathelin” (circa 1460)
Often regarded as the epitome of medieval French farce, “La Farce de Maître Pathelin” is a seminal work in the genre. Its plot revolves around a cunning lawyer, Pathelin, and his comical schemes, highlighting the genre’s focus on clever wordplay, deception, and societal satire. The play’s enduring popularity attests to its significant role in the development of farce.
“Le Cuvier” (The Washtub), Attributed to Jean de La Fontaine
This play exemplifies the domestic farce, focusing on a household quarrel and escalating into a ludicrous and humorous situation. The attribution to La Fontaine, more commonly known for his fables, suggests the breadth of influence that farce had on writers of different genres.
In addition to these key figures and works, numerous other playwrights and their contributions sustained and diversified the French farce tradition. These include:
- Pierre de Larivey (1540-1619): An important adapter of Italian comedies into French, Larivey’s work often incorporated elements of farce in his plots and characterisations.
- Philippe Néricault Destouches (1680-1754): Although later than Molière, Destouches’ comedies often employed farcical elements, including complex plots and humorous misunderstandings.
- Anonymous and Folk Contributions: Many farces were written by unknown authors and were part of the folk tradition. These plays, often preserved through oral transmission and later written records, contributed significantly to the richness and diversity of the genre.
5. Character Types in French Farce
French farces are renowned for using stock characters, each embodying specific societal roles or traits. These archetypical figures, often exaggerated for comedic effect, are essential in conveying the genre’s satirical commentary on social norms and human behaviour.
- The Cunning Servant: This character is a quintessential element of many farces. Typically more intelligent and resourceful than their masters, these servants often drive the plot with their schemes and manipulations. They symbolise the subversion of social hierarchies, cleverly outwitting higher-class characters, thereby critiquing class structures and the competency of those in power.
- The Deceived Husband: Often portrayed as gullible or oblivious, the deceived husband is a common target of farcical humour. This character usually finds himself embroiled in situations of infidelity or domestic confusion, serving as a critique of marital relations and the fragility of the male ego in the context of household dynamics.
- The Braggart Soldier: Drawing perhaps from Plautus’s “Miles Gloriosus”, the braggart soldier in French farce is a figure of pompousness and false bravery. This character, often a parody of the military hero, is used to satirise false valour and the absurdity of warlike pretensions, exposing the gap between appearance and reality in matters of courage and honour.
- The Pedantic Scholar: The scholar, often overly concerned with minutiae and oblivious to practical matters, represents the critique of academia and intellectualism. This character’s verbose speech and preoccupation with trivial knowledge are used to mock the disconnect between academic life and everyday practicality.
- The Crafty Merchant or Tradesman: Frequently appearing in farces, this character represents the middle class or the burgeoning bourgeoisie. Their often unscrupulous methods to gain wealth or status comment on the changing economic landscape and the moral implications of capitalism and social mobility.
- The Scheming Wife: This archetype challenges traditional gender roles. Often more intelligent and strategic than her husband, the scheming wife’s plots and plans drive many of the comedic situations in farces, offering a commentary on gender dynamics and the underestimation of women’s agency in society.
- The Fool or Simpleton: Typically used for straightforward comic relief, this character’s lack of sophistication and understanding leads to humorous situations. The fool’s perspective often reveals deeper truths about the other characters and the absurdity of the situations in which they find themselves.
- The Unscrupulous Clergy: Characters representing the clergy in farces often exhibit hypocrisy or corruption, providing a critical look at the religious institutions of the time. This portrayal reflects the genre’s tendency to question authority and highlight the discrepancy between religious ideals and practice.
The character types in French farces are not mere sources of humour but are instrumental in the genre’s social and cultural critique. These archetypes explore and satirise various societal aspects through their exaggerated traits and interactions, from class dynamics and gender roles to intellectual pretensions and religious hypocrisy. The enduring appeal of these characters lies in their ability to resonate with audiences across time, reflecting universal aspects of the human condition.
6. Writing Conventions In French Farce
The textual composition of French farces is distinguished by several key characteristics that define the genre and set it apart from other forms of theatrical literature. At the core of these works are elements of quick wit, wordplay, and a satirical lens on societal norms, all conveyed through a uniquely brisk and vivacious style of dialogue.
Quick Wit and Wordplay
The dialogue in French farces is renowned for its sharpness and speed. Playwrights of farce skillfully employ puns, double entendres, malapropisms, and other forms of linguistic playfulness to create humour and advance the plot. This linguistic agility not only entertains but also highlights the intellectual aspect of farce, as it requires audiences to be attentive and mentally agile to fully appreciate the humour.
Satirical Examination of Societal Norms
Farce frequently serves as a medium for social commentary. These texts critique societal structures, norms, and mores through exaggeration and parody. Themes such as class conflict, marital relations, religious hypocrisy, and political corruption are common. The farcical treatment of these subjects allows for a humorous yet incisive critique, making the plays entertaining and reflective of contemporary societal issues.
Fast-Paced Dialogue
The pace of dialogue in farces is characteristically rapid. This briskness serves several purposes: it maintains a high energy level, keeps the audience engaged, and drives the plot forward. The quick exchanges between characters often lead to comedic misunderstandings and escalating situations, central to the farcical plot.
Integration of Slapstick and Visual Gags
While the verbal aspect of farce is crucial, it is often complemented by physical humour. Slapstick comedy, visual gags, and exaggerated physical movements are interspersed within the dialogue, enhancing the overall comedic effect. This combination of verbal and physical humour is a defining characteristic of farce, making it a holistic comedic experience.
Comedic Critique of Contemporary Issues and Character Types
French farces often feature exaggerated versions of contemporary social types and character archetypes. Through these characters, the plays comment on the follies and vices prevalent in society. The use of such archetypical characters also facilitates a broader and more universal appeal, allowing audiences across time to relate to the humour and themes.
Use of Parody and Irony
Farces often employ parody and irony to enhance their comedic and satirical impact. Farces create a comical dissonance between what is expected and what is presented by imitating and exaggerating certain forms, styles, or themes. This use of parody and irony adds layers to the humour, making it more sophisticated and impactful.
7. Acting Conventions In French Farce
French farce, as a theatrical genre, is defined by a set of distinctive conventions that contribute to its unique style and comedic impact. These conventions primarily focus on the physicality and expressiveness of performance, creating a dynamic and visually engaging theatrical experience.
Physical Comedy
In French farce, the actor’s body is a primary tool for comedy. Physical comedy, including slapstick, is central to the genre. This involves exaggerated, often ludicrous movements, pratfalls, mock-violence, and physical mishaps. The physicality is not just for comic effect but also serves to underline the absurdity and hyperbole inherent in the genre.
Expressive and Grotesque Facial Expressions
Farce places significant emphasis on facial expressions. Actors often use exaggerated and sometimes grotesque facial expressions to convey humour and emotion. This could involve anything from wide-eyed surprise to exaggerated frowns or smiles, enhancing the comedic effect and helping to communicate character emotions and reactions in a visually exaggerated manner.
Dynamic Vocal Delivery
Vocal delivery in French farce is characterised by its dynamism and variety. Actors often employ a wide range of vocal expressions, varying in pitch, tone, and speed. This vocal versatility adds to the humour – a sudden shift from a high-pitched squeal to a deep growl can heighten the comic effect and add a layer of absurdity to the dialogue and action.
Energetic and Acrobatic Movement
Movement in farce is typically energetic and, at times, borders on the acrobatic. This includes everything from swift, exaggerated walks to complex physical routines that require agility and precise timing. The purpose of such movement is twofold: it engages the audience visually and also propels the narrative forward, often contributing to the farcical situations and misunderstandings that drive the plot.
Exaggerated Gesture
Gestures in French farce are deliberately exaggerated and are a key component of the performance. This could range from grand, sweeping motions to minute, repetitive actions, all designed to enhance the comedic effect. Gestures often complement and amplify the dialogue, adding a physical dimension to verbal jokes or puns.
Verbal and Physical Humour Interplay
A hallmark of French farce is the seamless integration of verbal and physical comedy. The dialogue, often witty and fast-paced, is punctuated by physical actions that complement and enhance the verbal jokes. This combination ensures that the humour is accessible on multiple intellectual and visceral levels.
Audience Interaction
Farce often breaks the ‘fourth wall’, engaging directly with the audience. This interaction can take various forms, from characters speaking directly to the audience to incorporating audience reactions into the performance. This convention serves to immerse the audience in the comedic experience, making them complicit in the farce.
8. The Use of Gesture in French Farce and Baroque Theatre
French Farce
- Overstatement: Gestures in French Farce were overt and overstated, designed to be clearly understood by a wide audience. This was crucial in an era when not all audience members would understand the language fluently.
- Physical Comedy: Physicality was used to enhance humor. Slapstick elements, like pratfalls or mock violence, were common, with gestures playing a vital role in the comedic timing and execution.
- Characterisation Through Gesture: Each character type in French Farce – the cuckolded husband, the wily servant, the braggart soldier – had a repertoire of recognisable gestures. These gestures became part of the theatrical language, enabling quick, clear character identification and storytelling. These gestures are not only for humour but also to communicate the essence of characters and the ludicrous situations they find themselves in.
- Amplified Emotions: Actors in French farces used gestures to express exaggerated emotions. For instance, a character in love might dramatically place a hand over the heart, while a jealous character could use broad, aggressive gestures.
- Facial Expressions: These were as important as body gestures. Wide eyes, exaggerated frowns, or mock surprises were common.
Baroque Theatre
Baroque theatre is an integral part of the broader Baroque artistic movement that flourished in Europe from the early 17th century through the 18th century. This period saw a remarkable transformation in theatre design, performance styles, and dramatic techniques. Baroque theatre was characterised by its grandiosity, opulence, and intricate stagecraft, which aimed to create immersive experiences for audiences.
- Formality and Precision: The Baroque influence gave gestures a sense of formality and precision. While still exaggerated, gestures during this period were likely more refined and stylised, reflecting the artistic trends of the era.
- Precision: Unlike the broader gestures of Farce, Baroque gestures were precise, elegant, and often symbolic. They were used not just for comedy but to convey various emotions and ideas, from love and despair to anger and nobility.
- Eloquent Bodies: Baroque theatre embraced a more refined and stylised form of gesture. This period saw the development of a codified system of hand and arm gestures, each with specific meanings, often derived from classical statues and art.
- Symbolism: Gestures often had symbolic meanings. A raised hand could indicate authority or divine inspiration, and a gesture towards the heart could symbolise sincerity or love.
- Integration with Speech: In Baroque theatre, gestures were tightly integrated with dialogue. Actors were trained to use their hands and bodies to emphasise and illustrate the text, creating a visual poetry that complemented the spoken word.
9. The Use of Voice in French Farce
When performing a French Farce, the vocal delivery is as pivotal as the physical gestures, as a crucial tool to enhance the comedic effect and ensure the audience’s engagement. The accepted conventions regarding voice or vocal delivery in French Farce emphasise the following aspects:
a. Exaggeration and Variation
- Exaggeration: Just as with physical gestures, vocal delivery in French Farce is characterised by exaggeration. This means amplifying the emotional and situational context of the dialogue through volume, pitch, and pace. For example, a character’s surprise or outrage would be expressed through suddenly elevated volume or pitch.
- Variation: Tone, pitch, and pace are used to maintain the audience’s interest and highlight comedic timing. A monotonous delivery would fall flat in a genre that thrives on unpredictability and rapid shifts in situation and emotion.
b. Clarity and Articulation
- Despite the exaggeration, actors must maintain clarity and articulation. Given that French Farces were performed to diverse audiences, including those who might not be literate or closely familiar with the language of the play, the vocal delivery needed to be clear and understandable. This ensured that the humour and plot were accessible to all.
c. Characterisation Through Voice
- Distinctive Character Voices: Each character in a farce often has a distinctive vocal style that reflects their personality, status, and role in the comedy. For example, a pompous nobleman might have a booming, overly grandiose tone, while a sly servant might speak with a fast-paced, slippery voice.
- Vocal Effects: Actors might also employ vocal effects, like stutters, lisps, or other speech impediments, to add to the comedic characterizations and situations. These vocal traits contribute to the humour and distinguish the characters further.
d. Interactive Timing
- Rapid Dialogue: French Farces often feature rapid dialogue exchanges between characters, requiring precise vocal timing and rhythm. This back-and-forth banter is crucial for the comedic timing, with pauses and tempo changes playing key roles in setting up jokes and comedic situations.
- Audience Interaction: Actors would adapt their vocal delivery based on audience reactions, sometimes even breaking the fourth wall. This dynamic interaction requires flexibility and the ability to improvise vocally, adjusting volume and pace to keep the audience engaged and responsive.
I’m an IB Theatre student, can you enhancing meaning and emphasis through rhetorical gesture by stock characters?
email [email protected]
anymore links on French farce would be deeply appreciated folks
I’m an IB Theatre student and this source has been wonderful. I would love any extra information on vocal delivery and the role of voice in French Farce!
Iris, thanks for your feedback. Admittedly, recent updates to this post on French Farce have been in response to IB Theatre students such as yourself finding it difficult to locate online resources for your project/assignment. I have added an extended section on the use of voice in French Farce for you at the bottom of the post. – Justin
Would love any info on french farce gestures, specifically baroque gesture, thanks!
Anna, I’m guessing you’re an IB Theatre student? I have added a section at the bottom of the post just for you! – Justin
Literally the same as everyone else. PLEASE send any links or articles/books you have on French Farce characters specifically 🙂 [email protected]
LMAOO IB students uniting in this comment section
To the IB students here…hello from an IB teacher.
You can find a large selection of articles in jstor – and you may wish to look for specific practitioners in your information search.
For example, a good starting point is
https://www.jstor.org/stable/26277407?seq=1#metadata_info_tab_contents – you will be able to read, highlight and be directed to further research sources at the end of the paper. If your school doesn’t have access to jstor the good news is that this one here is an source so, you can access it.
Farce is pretty stupid if you ask me! Not a big fan fr fr. Pretty ridiculous bro.
Thank you for posting this site. It’s very helpful. I’m a grad student doing a craft paper on “Farce” and was wondering, as many people I see before me, if you happened to have any helpful links or source information I could use regarding French farce, British sex farces, the history of farce, etc. Anything would be much appreciated if it’s no trouble.
Im writing a paper for my exams and i could really use all the info i can get. Even a little help is appreciated. Please send it to [email protected] honestly thanks in advance! A lot!
I’m also doing French Farce for my project!, If anyone has any helpful links please send them to [email protected]
Alright, I’m glad to see I’m not the only one struggling, as I’m also doing my RP on French Farce. The structure of our class involves doing each of the projects 4 times, with the last one counting as the grade for IB. This is another Practice Presentation, so it’s not absolutely imperative that I get the best possible information, but I would greatly appreciate any help I could get. Thank you.
kochatt000@mysbisd,org
A little late for the party, but I am also doing my presentation on French Farce and I can’t find anything on performance conventions. If anyone could send some help here is my email:
[email protected]
I am also doing my RP on French Farce and would appreciate some links, i’ve been searching far and wide on the web and have found nothing, I have searched through over 5 academic databases and found nothing. Anything will help at this point
My email: [email protected]
Scarce resources are freely available on the Internet for French Farce, IB Theatre students. You’ll need to hit a university library to get anything useful on that topic. – Justin
Wow this appears to be quite a common problem. Im also doing my RP on French Farce and would appreciate absolutely any help with the conventions and stock characters. Thanks in advance!
[email protected]
Same here ! I’m doing HL Theatre for IB and I’m working on my RP, it would be such a great honour if I could get those resource links thank you so much !
my email is : [email protected]
Same here, I am a Full IB Theatre candidate pertaining on the areas of the French Farce, if there are more links going around.
[email protected]
I am doing exactly the same thing as everyone else. If there are still any links going around, I would really appreciate it.
[email protected]
Hello I am also doing the exact same thing but those links would be extremely beneficial for my project. My email is [email protected] if you’re still sending them.
Glad I’m not alone for IB students. If the links are still going on, please send them to [email protected]
Another IB student here 🙂
If websites are still being sent it would be a huuuuge help if you could also,please, send them to this email
[email protected]
Please and thank you!
I am also doing my IB research project. If you were able to get the sources I’d appreciate if you’d be able to forward them to me, thank you 🙂
I know about 20 people have asked but it would aslo be helpful if anyone could send some other useful websites (IB Student here as well) [email protected], thanks 🙂
Same as everyone, I’m also doing an IB research project and I would like to know another the conventions I would appreciate some help, My email is, [email protected] , Thank you.
Just realised I put a wrong email. [email protected]
This would really help! Thank you!
you guessed it guys, i’m also doing an IB research project, if you could pretty please help me find some sources i would be so happy! My email is [email protected]
I am in the same position as the both student above! I am working on IB Research Presentation, and would appreciate it if you could possibly provide some information on the different theatrical conventions of French farce.
Thank you sincerely in advance
I finished my IB and hence the RP on French Farce last year. I could email you some of the links I found useful for my research.
Yes please that would be great help! Could you please email it to [email protected]
I really appreciate it!!
Hi, Like everyone above, I’m also doing my presentation on French Farce, could you email me the resources you found as well. Thanks so much, my email is [email protected]
I would much appreciate if you sent me some resources as well. [email protected]
I’m in the same boat as all of you- I would appreciate some help as well! My email is [email protected]. Thank you so much… Gotta love IB.
can you also please send me your presentation, I would really appreciate it. My email is [email protected]
Hey, I’m doing my RP on French Farce as well. Could you please send me some of the resources. I’d really appreciate some help… my email is: [email protected]. Thank you so much!
Like everyone of you guys I’m also doing an IB research project and I would like to know another the conventions I’d really appreciate some help! My email is [email protected]
Similar to the student above, I am currently working on an IB Research Presentation pertaining to French Farce and was wondering if you could possibly provide some more insight into the physical characteristics and actions required in farce it would be much appreciated.
Thank you sincerely for your time
This article was written very interestingly, giving a good insight into not only “Boeing-Boeing” but also the farce genre in its entity. I am currently working on an IB Research Presentation about French farce, researching into its historical context but more importantly notable conventions. However, it appears as though there is not a lot of information on that subject public yet. If you could describe and outline some of the most important characteristics or conventions of the genre that would be of so much help!
Thank you very much in advance.
Justin Cash thanks, it was u r good effort.