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 4
... never laugh at anything nice.' The classic statements about why we laugh see laughter as a way of coping with something uncomfortable. For William Hazlitt, laughter recognizes 'the difference between what things are, and what they ought ...
... never laugh at anything nice.' The classic statements about why we laugh see laughter as a way of coping with something uncomfortable. For William Hazlitt, laughter recognizes 'the difference between what things are, and what they ought ...
Strana 7
... never that simple in the courts, or the lawyers would have starved. But if drama had tried to emulate the complexity of actual cases the audience would have gone home long before the end. Stage comedy, however, does not stylize so much ...
... never that simple in the courts, or the lawyers would have starved. But if drama had tried to emulate the complexity of actual cases the audience would have gone home long before the end. Stage comedy, however, does not stylize so much ...
Strana 9
... never quite disappear, and provide common subjects across a wide historical range.35 Spaces and bodies Something should now be said of the theatricality of comedy, both for its own sake and by way of introducing the play of continuity ...
... never quite disappear, and provide common subjects across a wide historical range.35 Spaces and bodies Something should now be said of the theatricality of comedy, both for its own sake and by way of introducing the play of continuity ...
Strana 12
... never learn, and they do not care, which one it will be, and as they are still in disguise the final image is of two boys who are really girls (and two girls who are really boys) going off to get married. In Shakespeare's As You Like It ...
... never learn, and they do not care, which one it will be, and as they are still in disguise the final image is of two boys who are really girls (and two girls who are really boys) going off to get married. In Shakespeare's As You Like It ...
Strana 14
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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