The farcical in the Invisible theater and in some contemporary performances
Abstract
The following article analyses the survival of the farse, a medieval comical genre, in the Invisible Theatre, as in performances made by Yes Men and Gianni Motti. In order to develop this reflexion, this essay uses sociological concepts proposed by Erwing Goffman, exploring the relation between primary frames, keys and fabrications. Furthermore, some concerns related to the political use of farces are explored, considering the contradictions caused by manipulation; and also the cynical question, as proposed by Peter Slotjerdjik.
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