In Larissa FastHorse's "The Thanksgiving Play," which opened on Monday at Playwrights Horizons, the familiar, whitewashed story of Pilgrims and Native Americans chowing down together gets a delicious roasting from expert farceurs.
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I mean the sort of tickling administered by a team of master farceurs who frisk you into a state of sustained laughter, as involuntary and contented as the purr of a kitten at play.
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The rest of the cast, which includes several experienced farceurs and shape-shifters, is forced into more or less impossible contortions of whimsy, a job for which only Douglas Sills (as a shrink, the children's father and Disney) seems factory-equipped.
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Except that the Ars Nova production, which begins performances on March 223 at the Greenwich House Theater, features a cast of expertly light-touch farceurs under the direction of Lila Neugebauer, who made "Miles for Mary" so moving behind the laughs.
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But when he settled in to tell his story, all those years later, he had the advantage of knowing how it all turned out — of knowing, for one thing, that Coughlin and Long and lesser "farceurs" had been shooting stars whose sparks and nebulae had been absorbed into the galactic Age of Roosevelt.
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Stoullig (1900), p. 275 and (1901), p. 283 The author was used to working with and writing for established farceurs such as Alexandre Germain, who starred in many of his plays from Champignol malgré lui (1892) to On purge bébé! (1910);Gidel, pp.
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Women Aren't Angels is a 1943 black and white British comedy film directed by Lawrence Huntington and starring Aldwych Theatre farceurs Robertson Hare and Alfred Drayton, with Polly Ward and Joyce Heron. It was made at Welwyn Studios and based on a 1941 play of the same title by Vernon Sylvaine.
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According to some lines in Les Véritables prétieuses (1660) by Antoine Baudeau de Somaize, Gilles le Niais was the creation of a single actor, the Sieur de la Force, said to have descended from a venerable line of French farceurs, most immediately from Guillot-Gorju.Fournel, p. 265. His small troupe performed, around 1646, farces that he himself composed, laced with songs that were popular among the idlers and flâneurs of the Pont- Neuf.
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She was also paid less than many of the supporting "farceurs" billed beneath her, in spite of her much more central role in the films' great financial successes. This was personally grating to her and had effects upon her relationships at RKO, especially with director Mark Sandrich, whose purported disrespect of Rogers prompted a sharp letter of reprimand from producer Pandro Berman, which she deemed important enough to publish in her autobiography. Rogers fought hard for her contract and salary rights and for better films and scripts. After 15 months apart and with RKO facing bankruptcy, the studio paired Fred and Ginger for another movie titled Carefree, but it lost money.
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In the 1950s, he appeared in numerous farces and in repertory theatre. In 1959, he made quite a splash as Lord Plynne in Frederick Lonsdale's Let Them Eat Cake Although popular, his motion picture career was less successful than his brother's. He began by supporting the Aldwych farceurs before being handed his first lead in a weak B-film with Renee Houston and Binnie Barnes, Their Night Out (1933). His most successful solo film of the mid-1930s was Hello Sweetheart (1935); like most of Hulbert's starring comedies, however, its ambition was strictly small-scale; it seemed that British studios simply didn't see him as a major star.
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They were particularly associated with the works of Alexandre Hardy.Forman 2010, p. 245 ("Valleran le Conte"). The actor Bellerose joined Valleran's troupe in 1610, but subsequently (1619, 1620) also appeared with other groups in the provinces.Forman 2010, p. 47 ("Bellerose"). The actor Gros-Guillaume joined Valleran in 1610, and became his co-director in 1612. Subsequently Gros- Guillaume became the sole director. From 1615 he worked closely with the actors Gautier-Garguille and Turlupin (also called Belleville). The trio were the preeminent farceurs on the Paris stage until about 1633.Forman 2010, p. 127 ("Gros-Guillaume"). From about 1622 Bellerose returned and became an important member of the troupe, succeeding Gros-Guillaume as director upon the latter's death in 1634.
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Between 1936 and 1986, Stewart, writing under the pseudonym of Michael Innes, published nearly fifty crime novels and short story collections, which he later described as "entertainments". These abound in literary allusions and in what critics have variously described as "mischievous wit", "exuberant fancy" and a "tongue-in-cheek propensity" for intriguing turns of phrase. Julian Symons identified Innes as one of the "farceurs"—crime writers for whom the detective story was "an over-civilized joke with a frivolity which makes it a literary conversation piece with detection taking place on the side"—and described Innes's writing as being "rather in the manner of Peacock strained through or distorted by Aldous Huxley". His mysteries have also been described as combining "the elliptical introspection ... [of] a Jamesian character's speech, the intellectual precision of a Conradian description, and the amazing coincidences that mark any one of Hardy's plots".
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