The Cambridge Introduction to Shakespeare's ComediesCambridge University Press, 2008 M04 7 - 153 páginas 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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... at least some of the characters whose fortunes we have followed. If for others there is sadness and exclusion, that is a reminder that comedy's optimism is an artificial and selective view of theworld(justastragedy'spessimismis) ...
... at least some of the characters whose fortunes we have followed. If for others there is sadness and exclusion, that is a reminder that comedy's optimism is an artificial and selective view of theworld(justastragedy'spessimismis) ...
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... character mangling and misapplying the English language tickles the collective funnybone because of his departure from the norm.2 Don Armado's extraordinarily florid utterances sound even weirder when delivered in a Spanish accent – in ...
... character mangling and misapplying the English language tickles the collective funnybone because of his departure from the norm.2 Don Armado's extraordinarily florid utterances sound even weirder when delivered in a Spanish accent – in ...
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... character-types that occur in Roman comedy and are picked up by Shakespeareinvarious plays include theboastful soldier, the doctor (either as conman or foolish old man), and the shrewish wife. (2) These comic types were developed in ...
... character-types that occur in Roman comedy and are picked up by Shakespeareinvarious plays include theboastful soldier, the doctor (either as conman or foolish old man), and the shrewish wife. (2) These comic types were developed in ...
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... characters who indulge in extended repartee . . . wordplay and chop-logic.'5 The stage was now set for Shakespearean comedy. Shakespeare. and. comedy. Shakespeare'smajorcomedieswerewrittenatapeculiarlyfertiletimeinEnglish cultural history ...
... characters who indulge in extended repartee . . . wordplay and chop-logic.'5 The stage was now set for Shakespearean comedy. Shakespeare. and. comedy. Shakespeare'smajorcomedieswerewrittenatapeculiarlyfertiletimeinEnglish cultural history ...
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Lo sentimos, el contenido de esta página está restringido..
Lo sentimos, el contenido de esta página está restringido..
Contenido
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