English Stage Comedy 1490-1990Alexander Leggatt Routledge, 31. 1. 2002 - 192 strán (strany) First published in 2004. English stage comedy has weathered centuries of social and theatrical change. How did it survive? English Stage Comedy 1490–1990 is a unique and beautifully written study of the comedy of the English stage from the Tudor period to the late twentieth century. Organized thematically, it shows how this remarkably enduring genre has dealt with the tensions of social life, using its conventions as tools for social inquiry. Through an examination of comedy Alexander Leggatt demonstrates that an approach through genre, neglected in recent criticism, can have much to say about our current concerns with the relations between literature and society. English Stage Comedy 1490–1990 surveys five centuries of classic comic drama, focusing on major playwrights such as: Shakespeare, Jonson, Etherege, Wycherley, Congreve, Vanbrugh, Goldsmith, Sheridan, Wilde, Shaw, Coward, Orton, Ayckbourn and many lesser-known figures. |
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Strana 3
... keeping plays in repertory; one gets a very misleading impression of the theatre of any period if one studies only new ... keep their place as living theatre; even now, when the number of plays on view is restricted by the custom of the ...
... keeping plays in repertory; one gets a very misleading impression of the theatre of any period if one studies only new ... keep their place as living theatre; even now, when the number of plays on view is restricted by the custom of the ...
Strana 6
... keep the scale manageable. The brevity and immediacy of the stage form create pressures that make its brand of social comedy distinctive. Jane Austen can take several weeks of action, and several hours of reading time, to get Emma and ...
... keep the scale manageable. The brevity and immediacy of the stage form create pressures that make its brand of social comedy distinctive. Jane Austen can take several weeks of action, and several hours of reading time, to get Emma and ...
Strana 10
... keep their independence, their need not to lose face. Robertson's lovers are blocked by inhibition and misunderstanding embodied in tightly defined social spaces that make men and women seem like different species. The detailed scenic ...
... keep their independence, their need not to lose face. Robertson's lovers are blocked by inhibition and misunderstanding embodied in tightly defined social spaces that make men and women seem like different species. The detailed scenic ...
Strana 11
... keep out of the actors' way and using their silence to enlist them as his fellow conspirators: 'Be still awhile, and say nothing. Make here a little roomth' (II.iv.2). Radical changes in stage space have modified this joke, but not ...
... keep out of the actors' way and using their silence to enlist them as his fellow conspirators: 'Be still awhile, and say nothing. Make here a little roomth' (II.iv.2). Radical changes in stage space have modified this joke, but not ...
Strana 15
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Amanda anxiety Arden audience Bellinda Brindsley Butler Saw calls Cambridge University Press century characters claims Cloud 9 comedy’s comic Conscious Lovers convention Country Wife Coward death declares detachment display Dorimant drama Earnest Eliza Elyot English comedy fantasy father final Friendall genre Hardcastle Heartbreak House Higgins husband identity insists Jack John Lahr joke Jonson’s Kate keep Lady Bracknell laugh laughter London London Prodigal loner look Love’s lovers maid man’s Manly Manly’s Marlow marriage married Midsummer Night’s Dream Mirabell never Noël Coward one’s Orton other’s parents parody Petruchio play play’s plot reality relationship Restoration Restoration comedy role romantic Rosalind scene School for Scandal second world sexual Shakespeare’s Sheridan shows Shylock’s Sir Sampson social society stage comedy Steele’s style Susan Susan Carlson tells theatre theatrical thing traditional tragedy turn Valentine Volpone Wilde Wilde’s woman women young