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 1
... thing as comedy, an abstract transhistorical form; there are only comedies. But they accumulate to create a body of case law, a set of expectations within which writers and audiences operate. In a generally cautious and sceptical study ...
... thing as comedy, an abstract transhistorical form; there are only comedies. But they accumulate to create a body of case law, a set of expectations within which writers and audiences operate. In a generally cautious and sceptical study ...
Strana 2
... thing as literary context, and to get a full sense of how Brome's Crosswill and Goldsmith's heroines operate we need to remind ourselves that, while it does indeed matter that a play was written in the 1630s, or the 1770s, it also ...
... thing as literary context, and to get a full sense of how Brome's Crosswill and Goldsmith's heroines operate we need to remind ourselves that, while it does indeed matter that a play was written in the 1630s, or the 1770s, it also ...
Strana 4
... things are, and what they ought to be'; 'The essence of the laughable then is the incongruous, the disconnecting one ... thing, 'something mechanical encrusted on the the living'.11 Salt is an ancient metaphor for wit. Jonson promises ...
... things are, and what they ought to be'; 'The essence of the laughable then is the incongruous, the disconnecting one ... thing, 'something mechanical encrusted on the the living'.11 Salt is an ancient metaphor for wit. Jonson promises ...
Strana 5
... thing you fear; the thing you fear is inside the thing you desire. It is no wonder that comedy, pervasively aware of this dilemma, deals in anxiety. Richard Napier, a seventeenth-century physician who treated many cases of mental ...
... thing you fear; the thing you fear is inside the thing you desire. It is no wonder that comedy, pervasively aware of this dilemma, deals in anxiety. Richard Napier, a seventeenth-century physician who treated many cases of mental ...
Strana 11
... thing, we might think, remains constant: the presence of the actor. But as space changes, the way in which the actor is present – directly demanding our attention, or simply observed – also changes. The most important change took place ...
... thing, we might think, remains constant: the presence of the actor. But as space changes, the way in which the actor is present – directly demanding our attention, or simply observed – also changes. The most important change took place ...
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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