The Cambridge Introduction to Shakespeare's ComediesCambridge University Press, 07.04.2008 - 153 Seiten Why did theatre audiences laugh in Shakespeare's day? Why do they still laugh now? What did Shakespeare do with the conventions of comedy that he inherited, so that his plays continue to amuse and move audiences? What do his comedies have to say about love, sex, gender, power, family, community, and class? What place have pain, cruelty, and even death in a comedy? Why all those puns? In a survey that travels from Shakespeare's earliest experiments in farce and courtly love-stories to the great romantic comedies of his middle years and the mould-breaking experiments of his last decade's work, this book addresses these vital questions. Organised thematically, and covering all Shakespeare's comedies from the beginning to the end of his career, it provides readers with a map of the playwright's comic styles, showing how he built on comedic conventions as he further enriched the possibilities of the genre. |
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Seite iii
... Tragedies Penny Gay The Cambridge Introduction to Shakespeare's Comedies Jane Goldman The Cambridge Introduction to Virginia Woolf Kevin J.Hayes The Cambridge ... Tragedy The Cambridge Introduction to Shakespeare's Comedies PENNY GAY.
... Tragedies Penny Gay The Cambridge Introduction to Shakespeare's Comedies Jane Goldman The Cambridge Introduction to Virginia Woolf Kevin J.Hayes The Cambridge ... Tragedy The Cambridge Introduction to Shakespeare's Comedies PENNY GAY.
Seite 2
... tragedy, as written (it seems likely) by Peter Quince. They know how tragedy is supposed to go, with high passions expressed in elaborate metaphors, a hopeless love, and a drawn-out death scene. Nick Bottom, whoplays the hero Pyramus ...
... tragedy, as written (it seems likely) by Peter Quince. They know how tragedy is supposed to go, with high passions expressed in elaborate metaphors, a hopeless love, and a drawn-out death scene. Nick Bottom, whoplays the hero Pyramus ...
Seite 3
Penny Gay. him there would be no tragedy of misunderstanding. Then there are the eloquent hero and heroine, each of whom has a dithyrambic death scene, Thisbe's ending the play with such self-believingpassion(Flute never steps out of ...
Penny Gay. him there would be no tragedy of misunderstanding. Then there are the eloquent hero and heroine, each of whom has a dithyrambic death scene, Thisbe's ending the play with such self-believingpassion(Flute never steps out of ...
Seite 4
... tragedy, Romeo and Juliet. Shakespeare's clowns, however, never doubt their right and ability to make a joke. Comic. models. Beyond laughter and jesting, for both performers and audiences in the theatre, comedy exists as a narrative form ...
... tragedy, Romeo and Juliet. Shakespeare's clowns, however, never doubt their right and ability to make a joke. Comic. models. Beyond laughter and jesting, for both performers and audiences in the theatre, comedy exists as a narrative form ...
Seite 6
... Sir Philip Sidney's famous complaint in his Apology for Poetry is typical: all their plays be neither right tragedies, nor right comedies, 6 The Cambridge Introduction to Shakespeare's Comedies Shakespeare and comedy.
... Sir Philip Sidney's famous complaint in his Apology for Poetry is typical: all their plays be neither right tragedies, nor right comedies, 6 The Cambridge Introduction to Shakespeare's Comedies Shakespeare and comedy.
Inhalt
1 | |
2 Farce | 16 |
3 Courtly lovers and the real world | 35 |
4 Comedy and language | 58 |
5 Romantic comedy | 71 |
6 Problematic plots and endings | 103 |
7 Afterlives | 124 |
Conclusion | 138 |
Further reading | 141 |
Notes | 143 |
151 | |
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actors All’s Antonio audience audience’s Bassanio Beatrice and Benedick behaviour Bertram Biron blank verse Branagh’s briefly Cambridge Introduction Celia century characters Claudio clown Comedy of Errors comic commedia commedia dell’arte conventional courtly Cymbeline disguised Don Pedro dromio Duke Elizabethan emotional English Falstaff farce female fiction fight figure film final finally find first fool gender genre Gentlemen of Verona hath Helena Hero heroine Jaques jester joke Katherina King ladies language laugh laughter Lord Love’s Labour’s Lost lovers Lucio male Malvolio marriage masculine merry Midsummer Night’s Dream Mistress offers Olivia Orlando Parolles performance Petrarchan Petruchio play’s plot Portia productions Pyramus Pyramus and Thisbe reflects rhetoric role romantic comedy Rosalind scene sexual Shakespeare Shakespeare’s play Shakespearean comedy Shrew Shylock social soliloquy song speak specifically speech stage story Taming theatre theatrical There’s thou tragedy Twelfth Night Viola witty woman women wooing words young