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Another Fine Mess Poster. Two homeless vagabonds hide out in a vacant mansion and pose as the residents when prospective lessees arrive and try to rent it.
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Who wants a headache? The audience laughs. And now he takes deep rasping breaths. Still laughter. The helping hand of his assistant comically appears from behind the drapes, then changes its mind and withdraws. More laughs. Skip to main content. Twitter Facebook Email To Pinterest. By Brian Dillon.
Another Fine Mess. Nine theses on slapstick. Brian Dillon. Issue October More Like This Previous Next. Decolonial Documents: Part Two. Decolonial Documents: Part One. My Influences: Roee Rosen. More Features Previous Next. The Optimism of Lauren Halsey.
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Paul McCarthy Makes a Mess. Four Artists to Watch in Following Ulrike Ottinger to the End of the World. Most Read Previous Next.
The Threat to Freedom of Expression in Japan. Hapless hotel owner Basil Fawlty from the s television sitcom Fawlty Towers , for example, may have the upper hand when it comes to treating his long-suffering waiter Manuel as a mere object, but he is less certain of victory in his struggle against the aristocracy of things: a stalled car, a badly hung painting, a moth-eaten moose head, a vagrant corpse.
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At times, however — and this is no less uncanny — slapstick actually pictures a world in which people and objects act in amazing consort. In a sketch from their television show of , Eric Morecambe and Ernie Wise dance around a kitchen in which eggs, grapefruit and toast are exquisitely choreographed, and breakfast has become a musical burlesque, spot-lit by an open fridge.
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In slapstick there is no straight man: the joke is on both parties. Having borrowed a bit of hat and boot business from Laurel and Hardy for Waiting for Godot , Samuel Beckett goes on to demonstrate that the slapstick duo is indivisible: the verbal parries of Vladimir and Estragon confirm that they are essentially the same character, talking to himself.
It is the structure too that Paul McCarthy exploits in his video Rocky , smearing himself with tomato ketchup and pummelling himself with boxing gloves. Slapstick, in other words, is not to be confused with the category of the carnivalesque, by which hierarchies are overthrown and all is dissolved in a celebration of transgressive fun. No: slapstick gives us instead the image of total class war, of unrestrained violence on both sides.
Similarly, in The Psychopathology of Everyday Life , the domestic help can be relied on to trip, drop, splash and break with comically malign intent. The only difference is that Freud no longer feels he can beat his servants. There is, then, no such thing as a historical dialectic in slapstick. Conventionally conceived, comedy is basically dialectical: opposing forces order and chaos are in the end resolved; authority is restored, but this time with a kindly, liberal nod to the need for tolerance and occasional controlled misrule.
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Slapstick has the endlessly escalating structure of an arms race; there is no Hegelian synthesis, merely thesis-antithesis-thesis-antithesis-thesis-antithesis-thesis …. Who wants a headache? The audience laughs. And now he takes deep rasping breaths. Still laughter. The helping hand of his assistant comically appears from behind the drapes, then changes its mind and withdraws. More laughs.
Another Fine Mess
Skip to main content. Twitter Facebook Email To Pinterest. By Brian Dillon. Another Fine Mess. Nine theses on slapstick. Brian Dillon. Helen Epstein lays out in appalling detail how Museveni, who seized power in , has helped worsen every major conflict in eastern and central Africa since then. This is impressive and unsparingly detailed look at the way the Yoweri Museveni has ruled Uganda now for over three decades, and at the critical role played by the United States in supporting authoritarianism in Africa.
An important and prescient cautionary tale. Epstein is an eloquent advocate of human rights and democracy for Africans, as well as a courageous critic of how U.
