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Surreal humour (also called surreal comedy, absurdist humour, or absurdist comedy) is a form of humour predicated on deliberate violations of causal reasoning, thus producing events and behaviors that are obviously illogical.
The play invents a scenario where the women of Athens assume control of the government and institute reforms that ban private wealth and enforce sexual equity for the old and unattractive. In addition to Aristophanes' political and social satire, Assemblywomen derives its comedy through sexual and scatological humor. The play aimed to criticize ...
Waiting for Godot, a herald for the Theatre of the Absurd. Festival d'Avignon, dir. Otomar Krejča, 1978.. The theatre of the absurd (French: théâtre de l'absurde [teɑtʁ(ə) də lapsyʁd]) is a post–World War II designation for particular plays of absurdist fiction written by a number of primarily European playwrights in the late 1950s.
Spoof films such as Spaceballs, a comedy based on the Star Wars movies, are farces. [4] Sir George Grove opined that the "farce" began as a canticle in the common French tongue intermixed with Latin. It became a vehicle for satire and fun, and thus led to the modern Farsa or Farce, a piece in one act, the subject of which is extravagant and the ...
Five years after his feature debut “All This Victory” took the Grand Prize and the audience award at Venice’s Critics’ Week, Lebanese filmmaker Ahmad Ghossein is gearing up to shoot his ...
Absurdist fiction is a genre of novels, plays, poems, films, or other media that focuses on the experiences of characters in situations where they cannot find any inherent purpose in life, most often represented by ultimately meaningless actions and events that call into question the certainty of existential concepts such as truth or value. [1]
Described as a "surreal comedy of disorientation" set "somewhere between Tehran and Winnipeg", the film blends the seemingly unrelated stories of Negin and Nazgol, who find money frozen in ice and try to claim it; Massoud, a tour guide in Winnipeg who is leading a confused and disoriented tour group; and Matthew (Rankin), who quits his unfulfilling job with the provincial government of Quebec ...
He is also remarkably consistent, exploring a particular vein of absurdist humor conspicuously lacking from art houses, via short features. His longest (and wrongest) runs 94 minutes.