Farce

Farce is an ancient, yet perennially popular theatrical form.

Origins

Taking its name from one of the French words for "stuffing mix", the term initially referred to the improvisations applied by actors to medieval religious dramas, but by the 15th and 16th centuries it generally took on the meaning of comical interludes, gradually becoming vehicle for satire and fun, and ultimately an independent genre, usually an extravagant and ludicrously performed piece (often in one act).[1]

The Afrikaans term for Farce is Klug, derived from the Dutch term Klucht [2]. (Also known in Dutch as a Sotternie.)

See also the entry on Burlesque for the so called Ethiopian farce (or Negro farce).

Farce in general

Farce aims to provoke laughter, but can accommodate a darker vision of humanity's animality and egoism. Farce is characterized by violent verbal and physical activity, accelerating pace, intricate plotting, and iconoclastic impropriety. The works of Brandon Thomas (notably the classic Charley's Aunt -1892), ** , Hotel Paradiso (18**) ** and ** are classic examples, also produced in South Africa.

The term farcetta came into vogue in the 19th century, but basically meant the same thing and was simply used by some authors as an attempt at novelty. (See Allardyce Nicoll's A History of English Drama 1660-1900, Volume 4 (pp 131-135)[3] for instance.)

Farce in South Africa

Most farces produced in South Africa have been versions of imported plays: For example Brandon Thomas's Charley's Aunt (1892) was produced by Leonard Rayne in 1896 while Gustav Preller produced an Afrikaans version, Piet s'n Tante in 1909.

Probably the first writers of South African satirical farce are Charles Etienne Boniface the first being Clasius in 1834) and J. Suasso de Lima.

The most prolific early farceur in Cape Dutch and later Afrikaans was Melt Brink, particularly between 1904 and 1921. Other Afrikaans authors of note include C.J. Langenhoven (Die Onmoontlike Tweeling, 1919), Gerhard J. Beukes (As ons twee eers getroud is!, 1952), Bartho Smit (Don Juan onder die Boere, 1960), P.G. du Plessis ('n Seder val in Waterkloof), Casper de Vries, Nico Luwes (Graswewenaar), Chris Vorster (his "Jeims Blond series), Margit Meyer-Rödenbeck (Dowwe Dolla), Gaerin Hauptfleisch (Grensgeval), Francois Toerien (Die Francois Toerien Show) .

In English, imported "Aldwych" and "Whitehall Farces" have been presented by amateur groups, companies and impresarios from the beginning of the British occupation in 1800 till today. The early local pioneer of the form in English was Stephen Black. More recent locally written farces in English include works by Pieter-Dirk Uys (e.g. Farce About Uys, 1983), Clive Howard Morris (Maid in South Africa, 1987) Robert Kirby (Panics, 1991), Paul Slabolepszy (Heel Against the Head, 1995), Mike van Graan, Fiona Coyne (Glass Roots, 2000).

Among producers there have been a number of prominent names, including Leonard Rayne, Brian Brooke, Pieter Toerien, Hendrik Hanekom, Pieter Fourie, Rex Garner, Frans Swart,

Return to South African Theatre Terminology and Thematic Entries

(McMurtry)

Sources

https://en.wikipedia.org/wiki/Farce

Mervyn Eric McMurtry, 1994. The playwright-performer as scourge and benefactor: an examination of political satire and lampoon in South African theatre, with particular reference to Pieter-Dirk Uys. Unpublished doctoral dissertation. Durban: University of Natal.

Mervyn McMurtry, 1994. The rise of the first Ambassador Bezuidenhout: Pieter-Dirk Uys’s creation of Evita Bezuidenhout, her fictional actuality and his approach to female impersonation. South African Theatre Journal, 8(2):79-107.

Mervyn McMurtry, 1995. Adam Leslie and his contribution to satire in intimate review in South African theatre. South African Theatre Journal, 9(1):3-27.

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