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“Comedy is unusual people in real situations; farce is real people in unusual situations”
Farce is one of the most difficult, challenging forms of writing. Perhaps more than any other genre, it relies on the writer’s complete understanding of many of the things discussed here in previous posts, from the author’s Machiavellianism to its inherent use of dramatic irony, to its most essential ingredient, perspective, all used to great effect. It is, however, also one of the more misunderstood forms of writing from the reader’s perspective. With an emphasis by some readers on traditional story structure, there’s a tendency to completely miss a farce’s raison d’être centering not on the goal of the story itself, but the rising complications stemming from it. Coupled with other inherent elements not always en vogue (a large cast, typically longer set-up and deliberate use of coincidences among others), the farce can seem almost counterculturist in some story analyst’s eyes – but lacking in structure it is not.
one rings and he’s pleaded with to not answer it. “You know, when you were playing Cyrano and you stuck a saber underneath my armpit through the couch, I didn’t say anything. When you were hopping around, ranting about your hump, saying that this was a bell tower, I didn’t say anything. But I don’t see any reason why I should just sit here, pretending I’m not home just because you’re not that kind of girl. That’s weird.”
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