Farce Genre Modifications in Contemporary Dramaturgy
DOI:
https://doi.org/10.31861/pytlit2017.95.062Keywords:
contemporary drama, dramatic genres, genre modification, farce, genre specificity, typologyAbstract
Along with the genre forms that have not stopped their development for many centuries, but have gained significant transformations (tragedy, comedy, drama, melodrama, tragicomedy), there are also numerous genres, whichfell out of the history of drama for a long time (often for centuries) and were not claimed by theatrical art. However, in the drama of the 20th – beginning of the 21st century the clear tendency for the revival and modification of archaic genres, first of all, seemingly, “dead” genres of the medieval theater is characteristic. In its genre system religious drama genres (especially mystery and miracle plays), didactic (pritch, parable) and comic (farce, interlude, commedia dell'arte) occupy an important place. The article discusses the features of genre modifications of medieval farce in contemporary dramaturgy. A typology of contemporary farce is also suggested (three types are conventional farce, black farce and socio-political farce). Genre signs, features of the plot and of farce in the works of European dramaturgy of the late twentieth and early twenty-first centuries (M. Frein, M. Kamoletti, D. Orton, P. Schaeffer, E. Nelison, G. Adam, A. Bitton and others) are researched. Scientific (L. Smith, A. Sierz, S. Goncharova-Grabovskaya, N. Malyutina etc.) and author's (R. Cooney) reflections on the farcical genre module are considered.
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Copyright (c) 2017 Yevheniy Vasilyev
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