The article examines the deep text-forming constants (plot, composition, speech of characters and figures of speech) that form the artistic system of Michael Frayn's socio-political farce “Balmoral” and ensure its sharp satirical orientation. The results of the study show that socio-political criticism in the play is realized through a stable set of constants: 1) a closed chronotope as a micromodel of the state; 2) types-masks embodying the vices of the system; 3) language as a tool of simulation and exposure; 4) the plot matrix of the “false inspection”, exposing the general deception. This proves that the play “Balmoral” is a complexly organized artistic system, where the form of farce is inextricably linked with the philosophical and critical content. The proposed approach to the analysis of plays of a socio-political orientation can be applied in the analysis of the plays of modern playwrights. The relevance of the research lies in the fact that through a detailed artistic and stylistic analysis of a particular play, it reaches the level of general patterns of creating political satire in drama, offering tools for analyzing complex social phenomena through the prism of artistic constants, remaining in dialogue with pressing issues of our time.