English Literature coursework - Noises Off
"Life is the farce that everyone has to perform" (Arthur Rimbaud). Explore your different responses to this statement with reference to the structure, form and characters of 'Noises Off'. How far do you agree that the disintegration of the farce 'Nothing On' is mainly a means to comment on the human condition?
One could interpret Rimbaud's statement as analogous to that of the insinuated, deeper reference of Michael Frayn's 'Noises Off', due to human life sharing similar elements as the convention of comedy that is farce. Life is like a drama, full of misinterpretation, unanticipated events and tragedy. This view aligns with Arthur Rimbaud's statement; although, one could easily argue that Frayn's meta-farce structure was in fact a device used in order to satirise the acting industry, an impeccable example of this satirisation is Lloyd's excessive use of the word 'love' , this repetition could conceivably be used to exaggerate and highlight actor's and actresses insincerity. Michael Frayn has experienced the anarchy that develops behind closed doors on an acting set, and this disputably elevates the play from a farce to an intricate, multi-layered theatrical experience. Another interpretation could be that that 'Noises Off' needs no deeper reading as a common definition of farce is "a ludicrous, hollow show; a mockery".
When examining whether 'Noises Off' intends to relate to the human condition, the structure of Frayn's work can not be neglected. The meta-farce structure used by Michael Frayn is arguably integral in reflecting human nature and life, conjointly, this is most evident in Act One as 'Nothing On' slowly begins to disintegrate through misinterpretations and disorder. The structure of the play creates depth, therefore when disarray does arise, such as the disappearance of Selsdon in Act I, 'Garry: Selsdon! We can't find him!' , proceedings have to be adjourned which also causes 'Noises Off' to be disrupted. This is very much comparable to
One could interpret Rimbaud's statement as analogous to that of the insinuated, deeper reference of Michael Frayn's 'Noises Off', due to human life sharing similar elements as the convention of comedy that is farce. Life is like a drama, full of misinterpretation, unanticipated events and tragedy. This view aligns with Arthur Rimbaud's statement; although, one could easily argue that Frayn's meta-farce structure was in fact a device used in order to satirise the acting industry, an impeccable example of this satirisation is Lloyd's excessive use of the word 'love' , this repetition could conceivably be used to exaggerate and highlight actor's and actresses insincerity. Michael Frayn has experienced the anarchy that develops behind closed doors on an acting set, and this disputably elevates the play from a farce to an intricate, multi-layered theatrical experience. Another interpretation could be that that 'Noises Off' needs no deeper reading as a common definition of farce is "a ludicrous, hollow show; a mockery".
When examining whether 'Noises Off' intends to relate to the human condition, the structure of Frayn's work can not be neglected. The meta-farce structure used by Michael Frayn is arguably integral in reflecting human nature and life, conjointly, this is most evident in Act One as 'Nothing On' slowly begins to disintegrate through misinterpretations and disorder. The structure of the play creates depth, therefore when disarray does arise, such as the disappearance of Selsdon in Act I, 'Garry: Selsdon! We can't find him!' , proceedings have to be adjourned which also causes 'Noises Off' to be disrupted. This is very much comparable to