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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Výsledky 1 - 5 z 76.
Strana 2
... Marriage Act of 1753, which seemed to give excessive power to parents and guardians.3 Neither reading can be ruled ... marriages, are part of the stock in trade of comedy for generations before, and for generations after, the plays in ...
... Marriage Act of 1753, which seemed to give excessive power to parents and guardians.3 Neither reading can be ruled ... marriages, are part of the stock in trade of comedy for generations before, and for generations after, the plays in ...
Strana 3
... marriage, for example) are conscious of doing so; they invoke the expectation by denying it. A comedy, then, is a problem-solving story, ending in resolution and order normally symbolized by marriage. The other distinctive feature of ...
... marriage, for example) are conscious of doing so; they invoke the expectation by denying it. A comedy, then, is a problem-solving story, ending in resolution and order normally symbolized by marriage. The other distinctive feature of ...
Strana 5
... marriage and the family, institutions that are both comforting and oppressive. Characters want marriage, and fear it; they need to find their parents, and to escape from their parents. There is a pervasive double-edged quality in these ...
... marriage and the family, institutions that are both comforting and oppressive. Characters want marriage, and fear it; they need to find their parents, and to escape from their parents. There is a pervasive double-edged quality in these ...
Strana 6
... marriage in stage comedy have minutes where Austen's characters have weeks. There is urgency, pressure, even at ... Marriage Act of 1753, to determine whether a couple was actually married or not.22 In Jonson's Epicoene the question of ...
... marriage in stage comedy have minutes where Austen's characters have weeks. There is urgency, pressure, even at ... Marriage Act of 1753, to determine whether a couple was actually married or not.22 In Jonson's Epicoene the question of ...
Strana 8
... marriage and the family, Shakespeare is right in the mainstream, and Jonson, with his relative lack of interest in such matters, is the isolated figure. For all the respect later comic writers pay to him, they draw much less from him ...
... marriage and the family, Shakespeare is right in the mainstream, and Jonson, with his relative lack of interest in such matters, is the isolated figure. For all the respect later comic writers pay to him, they draw much less from him ...
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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