The Cambridge Introduction to Shakespeare's ComediesCambridge University Press, 2008/04/07 - 153 ページ Why did theatre audiences laugh in Shakespeare's day? Why do they still laugh now? What did Shakespeare do with the conventions of comedy that he inherited, so that his plays continue to amuse and move audiences? What do his comedies have to say about love, sex, gender, power, family, community, and class? What place have pain, cruelty, and even death in a comedy? Why all those puns? In a survey that travels from Shakespeare's earliest experiments in farce and courtly love-stories to the great romantic comedies of his middle years and the mould-breaking experiments of his last decade's work, this book addresses these vital questions. Organised thematically, and covering all Shakespeare's comedies from the beginning to the end of his career, it provides readers with a map of the playwright's comic styles, showing how he built on comedic conventions as he further enriched the possibilities of the genre. |
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vii ページ
... Merry Wives of Windsor 16 3 Courtly lovers and the real world: TwoGentlemen of Verona, AMidsummer Night's Dream, The Merchant of Venice 35 4 Comedy and language: Love's Labour's Lost 58 5 Romantic comedy: Much Ado About Nothing, As You ...
... Merry Wives of Windsor 16 3 Courtly lovers and the real world: TwoGentlemen of Verona, AMidsummer Night's Dream, The Merchant of Venice 35 4 Comedy and language: Love's Labour's Lost 58 5 Romantic comedy: Much Ado About Nothing, As You ...
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... merry mood that he feeleth inwardly in his mind, which by nature is drawn to pleasantness and coveteth quietness and refreshing, for which cause we can see men have invented many matters, as sports, games and pastimes, and so many ...
... merry mood that he feeleth inwardly in his mind, which by nature is drawn to pleasantness and coveteth quietness and refreshing, for which cause we can see men have invented many matters, as sports, games and pastimes, and so many ...
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... Merry Wives 4.1 is a virtuoso example); they have the same laughter-producing effect as an unrepressed fart or belch. They remind us that we are all ultimately comic, i.e. potentially grotesque bodies, and that decorum cannot or should ...
... Merry Wives 4.1 is a virtuoso example); they have the same laughter-producing effect as an unrepressed fart or belch. They remind us that we are all ultimately comic, i.e. potentially grotesque bodies, and that decorum cannot or should ...
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目次
1 | |
2 Farce | 16 |
3 Courtly lovers and the real world | 35 |
4 Comedy and language | 58 |
5 Romantic comedy | 71 |
6 Problematic plots and endings | 103 |
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actors All’s Antonio audience audience’s Bassanio Beatrice and Benedick behaviour Bertram Biron blank verse Branagh’s briefly Cambridge Introduction Celia century characters Claudio clown Comedy of Errors comic commedia commedia dell’arte conventional courtly Cymbeline disguised Don Pedro dromio Duke Elizabethan emotional English Falstaff farce female fiction fight figure film final finally find first fool gender genre Gentlemen of Verona hath Helena Hero heroine Jaques jester joke Katherina King ladies language laugh laughter Lord Love’s Labour’s Lost lovers Lucio male Malvolio marriage masculine merry Midsummer Night’s Dream Mistress offers Olivia Orlando Parolles performance Petrarchan Petruchio play’s plot Portia productions Pyramus Pyramus and Thisbe reflects rhetoric role romantic comedy Rosalind scene sexual Shakespeare Shakespeare’s play Shakespearean comedy Shrew Shylock social soliloquy song speak specifically speech stage story Taming theatre theatrical There’s thou tragedy Twelfth Night Viola witty woman women wooing words young