The Cambridge Introduction to Shakespeare's ComediesCambridge University Press, 7. 4. 2008 - Počet stran: 153 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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Strana 2
... Beatrice and Benedick's volley of sarcastic put-downs and their 'overhearing' scenes (Much Ado About Nothing); and – my personal favourite – the one-sided conversations between Lance and his oblivious dog in Two Gentlemen of Verona ...
... Beatrice and Benedick's volley of sarcastic put-downs and their 'overhearing' scenes (Much Ado About Nothing); and – my personal favourite – the one-sided conversations between Lance and his oblivious dog in Two Gentlemen of Verona ...
Strana 3
... Beatrice and Benedick, right up to the last moments of the play, are full of attempts by each tooutdo the other in sarcasm, and they can be very funny if the actors invest them with enough venom. (4) Lance and his dog, in Two Gentlemen ...
... Beatrice and Benedick, right up to the last moments of the play, are full of attempts by each tooutdo the other in sarcasm, and they can be very funny if the actors invest them with enough venom. (4) Lance and his dog, in Two Gentlemen ...
Strana 15
Omlouváme se, ale obsah této stránky je nepřístupný..
Omlouváme se, ale obsah této stránky je nepřístupný..
Strana 26
Omlouváme se, ale obsah této stránky je nepřístupný..
Omlouváme se, ale obsah této stránky je nepřístupný..
Strana 73
Omlouváme se, ale obsah této stránky je nepřístupný..
Omlouváme se, ale obsah této stránky je nepřístupný..
Obsah
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