Overview
The Art of Coarse Acting is a humorous non‑fiction book that satirises amateur theatre. First published in 1964, it was written by British journalist and humourist Michael Green, best known for his earlier work The Art of Coarse Rugby (1960). The book adopts a tongue‑in‑cheek guide‑book format, describing the stereotypical “coarse actor” and the mishaps that commonly afflict community productions.
Content and Themes
The text defines a “coarse actor” as an amateur performer who “can remember his lines, but not the order in which they come,” often appearing in church halls, dealing with collapsing scenery, and frequently improvising exits to the bar. Green humorously enumerates typical roles such as Polonius, Lord Scroop, or the Constable of France that allow an actor to leave the stage early. The work reflects Green’s own experience with amateur drama societies in the Midlands and London, and it lampoons the earnest but sometimes chaotic nature of grassroots theatrical endeavors.
Publication
The Art of Coarse Acting was released by Hutchinson in 1964. In its dedication, Green acknowledges several amateur drama clubs—including the Northampton Drama Club, the Crescent Theatre in Birmingham, and the Questors Theatre in Ealing—highlighting the close connection between the author and the community theatre scene. Illustrations for the book were also supplied with assistance from the Questors Theatre.
Adaptations and Reception
The book was later adapted into a stage play. The theatrical version achieved notable popularity at the 1977 Edinburgh Festival Fringe and subsequently transferred to London’s West End. Its appeal extended to members of the British royal family, with Princess Diana and Prince Charles recorded as among its admirers. While the original Wikipedia entry notes a need for additional citations, the work is generally recognised as a classic example of mid‑20th‑century British humour that captures the spirit of amateur performing arts.
Legacy
The Art of Coarse Acting remains a reference point for discussions of amateur theatre culture and continues to be cited in studies of comedic literature and performance studies. Its influence persists in contemporary satirical treatments of community theatre, and the book is frequently mentioned alongside Green’s The Art of Coarse Rugby as part of his broader “coarse” series.