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The non-stop hilarity of this Southern-fried farce highlights one day in the life of the Wilburn family of Mayhew, Arkansas. Meet D. Gene Wilburn, the owner and proprietor of the Reel 'Em Inn, the finest little fishing lodge in the Ozarks. Well, it used to be, but lately business is down, tourists are few, and the lone guest who's just checked in—an extremely jittery Carmine DeLuca from Chicago—is only there due to a location shift in the Witness Protection Program. Doesn't anybody just want to fish anymore? Certainly not D. Gene's frustrated wife, Wanelle, who's fed up with their lackluster romantic life. She's taken drastic steps to improve it through hypnotic suggestion and, for the life of him, D. Gene cannot understand why his pants keep falling down. D. Gene's feisty sister Maxie has her own problems, chief among them battling ageism to resume her career in law enforcement. She's determined to prove her worth by keeping Carmine DeLuca alive through the weekend—a task that's going to prove to be much harder than she bargained for since she keeps losing both her gun and the bullets. And she never anticipated the gangster Camine's been dodging for the last five years, Sonny Barbosa, is about to walk through the door, in hot pursuit of his sexy wife, Lola. Seems the headstong Lola has driven hundreds of miles to the lodge to follow her boytoy, D. Gene and Wanelle's son Ty. But Lola meets her match in Ty's seemingly innocent girlfriend, Jenna, whose patience has reached the breaking point after months of waiting for Ty to come home. In the deliciously funny romp that ensues, they all hide, lie, disguise themselves, cross-dress, and slam doors chasing one another, while trying to figure out the source of an increasingly awful stench. By then it's too late and the lodge is surrounded by vicious critters and hungry varmints that have followed the odor down from the hills. Yet by the delightfully chaotic climax of this one outrageous day, love blossoms, truths are revealed, and the lives of all—family, guests and gangsters alike—change in incredible and surprising ways. This side-splittingly funny Jones Hope Wooten comedy is guaranteed to win your audiences over—hook, line, and sinker!
Comic fireworks explode in FARCE OF HABIT, an absurdly funny Southern-fried romp that takes us back to the Reel ’Em Inn, the finest little fishing lodge in the Ozarks. The proprietor, D. Gene Wilburn, is looking forward to a peaceful weekend on the lake. But there are only two chances of that happening: slim and none. Why, for example, has his wife, Wanelle, picked these three days to white-knuckle her way through caffeine withdrawal? Why is his son Ty’s marriage to Jenna falling apart so fast? Could it have something to do with the French can-can costume Ty is wearing? How on earth would D. Gene’s feisty sister, Maxie, allow herself to get caught up in such a bizarre undercover police assignment? And that’s just his family. If this isn’t enough to thwart D. Gene’s weekend plans, he’s got a gaggle of nuns who’ve converged on the Inn, hell-bent on experiencing a nature retreat—which might be tolerable if D. Gene didn’t have a chronic fear of anything in a habit. Add to this the presence of Jock McNair, a nationally known relationship guru whose colossal ego threatens everyone’s sanity; a shy retiree anxious to cut loose and embrace his “inner caveman” and a couple of wild women who may or may not be who they claim to be. Throw in the storm of the century that’s fast bearing down on Mayhew, Arkansas, and D. Gene has no prayer of baiting a hook any time soon. Oh, and did we mention there’s an axe murderer on the loose? If you enjoy gloriously preposterous hilarity, then laughing your way through the take-no-prisoners lunacy of a Jones Hope Wooten comedy is one habit you’ll never want to break!
"The tradition of Russian tragifarce can be characterized by its strong links to Russian political and cultural history and by its significant role in the development of Russian dramatic literature and theater practice. The book argues that the dualistic character of Russian tragifarce, which is close in spirit and philosophy to Bakhtin's understanding of the medieval carnival, embodies the ambivalent spirit of Russian culture and politics. The book further argues that the tragifarcical perception of the world can be seen as a national characteristic of the self-doubting and ironic Russian sensibility under the influence of a repressive political regime."--BOOK JACKET.
Looking into the face of our alleged ape ancestor, popular Christian apologist Hank Hanegraaff dissects and debunks the astonishingly weak arguments for the evolutionary theory, revealing it as nothing more than a "fairy tale for grown-ups." The author uses his own Memory Dynamics to make it easy for Christians to speak intelligently about evolution and speak persuasively about the Creator.
A study of the popular modern dramatists and the continuity of the farce tradition from Pinero to Travers, the Whitehall team and Orton which examines and questions some of the common assumptions about its nature. Farce techniques are shown to be increasingly used in serious drama.
Contents: The Nature of Farce; A.W. Pinero and the Court Farces; Ben Travers and the Aldwych Farces; Brian Rix and the Whitehall Farces; Post-Whitehall Farces; Joe Orton; Farce and Contemporary Drama: I; Farce and Contemporary Drama: II; Conclusion; ^R Appendix: a Chronological List of Plays; Notes; Bibliography; Index
Essays that trace the making of a reluctant nature writer.
Contemporary Farce on the Global Stage provides audiences and practitioners a detailed survey of how the genre of farce has evolved in the 21st century. Often dismissed as frivolous, farce speaks a universal language, with the power to incisively interrogate our world through laughter. Unlike farces of the past, where a successful resolution was a given and we could laugh uproariously at adulterous behaviour, farce no longer guarantees an audience a happy ending where everything works out. Contemporary farce is no longer ‘diverting us’ with laughter. It is reflecting the fractured world around us. With a foreword by award-winning playwright Ken Ludwig, the book introduces readers to the Mechanics of Farce, and the ‘Four Ps,’ which are key elements for understanding, appreciating, and exploring the form. The Five Doors to Contemporary Farce identify five major categories into which farces fall. Behind each door are a wide selection of plays, modern and contemporary examples from all over the world, written by a diverse group of playwrights who traverse gender, race, ethnicity, and sexual orientation. Supplementing each section are comments, observations, and reflections from award-winning playwrights, directors, actors, designers, dramaturgs, and scholars. Designed specifically to give theatre-makers a rounded understanding that will underpin their own productions, this book will also be of use to theatre and performance studies students.
For the first time since 1695, a complete text of De Arte Graphica as Dryden himself wrote it is available to readers. In all, Volume XX presents six pieces written during Dryden's final decade, each of them either requested by a friend or commissioned by a publisher. Two are translations, three introduce translations made by others, and the sixth introduces an original work by one of Dryden's friends. The most recent version of De Arte Graphica, Saintsbury's late nineteenth-century reissue of Scott's edition, based the text of the translated matter on an edition that was heavily revised by someone other than Dryden. In fact, only one of the pieces offered here, the brief Character of Saint-Evremond, has appeared complete in a twentieth-century edition. The commentary in this volume supplies biographical and bibliographical contexts for these pieces and draws attention to the views on history and historians, poetry and painting, Virgil and translation, which Dryden expresses in them. Many other volumes of prose, poetry, and plays are available in the California Edition of The Works of John Dryden.
This book introduces readers to the genre of comedy, both on the stage and on the screen. It chronicles the history of comedy, starting with Ancient Greece, before summarising key chapters in Anglophone literary history, such as Shakespearean comedy, Restoration comedy, and Theatre of the Absurd. The book features an overview of key comic techniques (including slapstick, puns, and wit), as well as concise summaries of major theoretical debates (including the superiority theory and the Freudian account of laughter). The book works with many examples from the history of Anglophone comedy, including Oscar Wilde, Monty Python, and classic sitcoms. It addresses current research into cringe humour and the controversial topic of diversity in the field of comedy, and it connects classical tropes of comedy (like the fool or the marriage plot) to present-day examples. The book thus serves as an up-to-date study guide for everyone interested in comedy and its various subgenres.