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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... English at University College, University of Toronto, and is the author of Shakespeare's Political Drama (1988, Routledge) and Jacobean Public Theatre (1992, Routledge). ENGLISH STAGE COMEDY 1490–1990 Five centuries of a genre Alexander.
... English at University College, University of Toronto, and is the author of Shakespeare's Political Drama (1988, Routledge) and Jacobean Public Theatre (1992, Routledge). ENGLISH STAGE COMEDY 1490–1990 Five centuries of a genre Alexander.
Strana 1
... theatre, actors and audience, and the genre. My concern is with the last of these. English stage comedy forms part of what has been called 'the longest, most continuous generic tradition in Western literature',1 tracing its roots back ...
... theatre, actors and audience, and the genre. My concern is with the last of these. English stage comedy forms part of what has been called 'the longest, most continuous generic tradition in Western literature',1 tracing its roots back ...
Strana 3
... theatre of any period if one studies only new plays. Following Hardcastle, audiences seem to like old comedies in particular. Late Restoration comedies continued to thrive on the London stage well into the eighteenth century,5 and the ...
... theatre of any period if one studies only new plays. Following Hardcastle, audiences seem to like old comedies in particular. Late Restoration comedies continued to thrive on the London stage well into the eighteenth century,5 and the ...
Strana 10
... theatres of the Renaissance and the Restoration, actors played close to the audience, in the same light; the auditorium was not darkened until the late nineteenth century. This allowed a free interplay between stage and audience, the ...
... theatres of the Renaissance and the Restoration, actors played close to the audience, in the same light; the auditorium was not darkened until the late nineteenth century. This allowed a free interplay between stage and audience, the ...
Strana 11
... theatre design notwithstanding, in many theatres, including theatres where modern and classic comedies are played, they are still there. Direct address works naturally with comedy's self-conscious artifice, its willingness to admit we ...
... theatre design notwithstanding, in many theatres, including theatres where modern and classic comedies are played, they are still there. Direct address works naturally with comedy's self-conscious artifice, its willingness to admit we ...
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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