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 80.
Strana 2
... Woman, / 'Gad, I roast pigs as well as e'er I did' (II.p.20). Thomas d'Urfey's The Richmond Heiress (1693) borrows from Epicoene ... women' (II.p.234). Some of these allusions are, as it were, audibly footnoted. 2 FIVE CENTURIES OF A GENRE.
... Woman, / 'Gad, I roast pigs as well as e'er I did' (II.p.20). Thomas d'Urfey's The Richmond Heiress (1693) borrows from Epicoene ... women' (II.p.234). Some of these allusions are, as it were, audibly footnoted. 2 FIVE CENTURIES OF A GENRE.
Strana 6
... women working toward marriage in stage comedy have minutes where Austen's characters have weeks. There is urgency, pressure, even at times panic, not just in particular moments (Austen allows that) but as a basic condition. Everything ...
... women working toward marriage in stage comedy have minutes where Austen's characters have weeks. There is urgency, pressure, even at times panic, not just in particular moments (Austen allows that) but as a basic condition. Everything ...
Strana 9
... women mingle in a relaxed and natural way, where assignations are made, and where clothes, manners and even feelings are on display.36 In this period even stage sets that represent rooms in private houses sometimes feel like public ...
... women mingle in a relaxed and natural way, where assignations are made, and where clothes, manners and even feelings are on display.36 In this period even stage sets that represent rooms in private houses sometimes feel like public ...
Strana 10
... women to stay home, effectively restricting their lives to the domestic sphere.39 Colin McDowell notes that as the Victorian era was the great age of taxidermy, the Victorian lady was reduced to a specimen in a glass case, set up at ...
... women to stay home, effectively restricting their lives to the domestic sphere.39 Colin McDowell notes that as the Victorian era was the great age of taxidermy, the Victorian lady was reduced to a specimen in a glass case, set up at ...
Strana 12
... woman' (16–17), and we realize we have not just been watching Rosalind play Ganymede, we have been watching Ganymede play Rosalind. In the Restoration theatre, when actresses took over, this playful ambiguity about gender was replaced ...
... woman' (16–17), and we realize we have not just been watching Rosalind play Ganymede, we have been watching Ganymede play Rosalind. In the Restoration theatre, when actresses took over, this playful ambiguity about gender was replaced ...
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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