However, Shakespeare chooses very often to use them for his comedies. Readers can even see a similarity between Twelfth Night and the Merchant of Venice. In the last one every aspect of the play hints towards a tragedy, but it is considered a comedy because it ends with a wedding. Shakespearian comedies differ a bit to the regular comedies, but they are nevertheless still considered as such. Shakespeare has a special way of handling the plots in order to keep the audience guessing.
The part which tells the story of the four lovers shows the samples of bovarysme but the last part of the play, as mentioned above, there is a stage play about two lovers named as Pyramus and Thisbe rather shows the features of the burlesque. The nature of this title depends on “exaggeration” or “extravaganza” (Italian version) of the events. First of all, it should be demonstrated on a theatre like Pyramus and Thisbe’s play. Also the events are clearly exaggerated because the main aim of the burlesque is to entertain the audience, making them laugh mostly. By adding some dramatic aspects like love’s difficulty or the pressure of the society, the playwright can make the audience think about the aspects too as they are laughing.
“Shakespeare 's plays are all about one great general theme: disorder” (Johnston). No one is better at writing both comedy and tragedy than William Shakespeare, as evidenced by two of his most known works: Much Ado About Nothing, and Lear. Much Ado About Nothing is a comedy in the most traditional sense. “In the literary sense, dramatic comedy is a drama where the characters experience a change for the better and work things out with hope for the future” (Carroll). Comedies are designed to make the audience laugh.
Commedia is a very physical type of theatre that incorporates “dance, music, tumbling, acrobatics and buffoonery” into its form of performance. The term roughly translated denotes an improvised drama, and is implicit to the means of performance than to the subtext of the play (). Commedia dell’arte artists had a vivid assortment of stories that were performed in fairgrounds and market places, and often the touring ensemble were characterised by family members who would inevitably inherit their characters, costumes assortments and anectdotes or fables from their parents or grandparents (). The Commedia dell 'arte focused mostly with dishonourable love intrigues and clever tricks to acquire money. () The deliverance of comic relief, in the form lazzi or humerous interruptions, which often were irrelevant to the play itself, and the facilitation of masks, which allowed each character to shape his/her sense of identity in the play, frame Commedia dell’Arte to its unique eccentricity and absurdity.
When Christopher is mentioned, we don't know what happens to him. In production, it mentions the balcony which is a play within a play. Sly accounts for and is the main plot. What is the relationship between the sly plot and the plot that deals with Lucentio and Bianca, and Petruchio and Kate? The sly plot is more of a sub genre of comedy and the Lucentio and Bianca, and Petruchio and Kate are both love plots.
Comedy in “A Midsummer Night’s Dream” What is a comedy? According to a famous filmmaker, Woody Allen, thinks “Comedy is rather like a dessert, a bit like meringue.” A Midsummer Night’s Dream - a play written by William Shakespeare, is a comedy which talks about a love story between four lovers that live in Athens. Demetrius, Lysander, Hermia and Helena are all fighting for each other. The play “A Midsummer Night’s Dream” written by Shakespeare, had an abundance of humorous situations, such as: When Titania fell in love with Bottom who had an ass; when Lysander instantaneously fell in love with Helena and when Demetrius fell in love with Hermia straight away. This essay is considered as a comedy, as it consists of exaggeration, irony, funny characters, and most importantly, funny scenes.
The role of fool in Renaissance drama with Specific reference to Touchstone Fools in Shakespeare’s plays are unique. The clowns or fool figures are one of the most fascinating stage characters in Shakespeare’s work of art. A few of his fools have major roles in his works. Their importance and personalities may vary according to the play but their frequent appearance shows how noteworthy and relevant they are in Shakespeare’s theatre. Chris Wiley, in his essay, “Fooling Around: The Court Jesters of Shakespeare” divides the fools into three categories: ‘Clowns’, who turn farce into precise science, ‘Dunces’, who use their lack of intelligence as the medium of human and the princes of fooling, and ‘court jesters’ who turn fooling around into a respectable position.
The play therapeutically elucidates the mischief that may theoretically derive from a life of solemnity and thoughtlessness. The play appears to be a simplistic comedy, and indeed it may be, featuring the typical characters and conventions expected. Moreover, Twelfth Night follows the traditional structure and form of a comedy with its pleasant resolution. In contrast, Malvolio assures the audience that the complexity of the play is much greater then what first meets the eye. It promises spectators that the theme of hierarchy is purposefully intertwined in the plot to elevate knowledge of the disturbing reminder of
“Impulsive actions led to trouble,and trouble could have unpleasant consequences”,(Stieg Larsson). The story of Romeo and Juliet is about two lovers from opposing family this cause problems for them.They met at the Capulet party where Romeo Juliet both fall in love with one and other. Juliet had asked Romeo to marry her and they impulsively married within meeting. Romeo murdered one of Juliet’s family members after he had killed Romeo close friend this cause Romeo to implusly kill him in anger. After that he was banished from his homeland, Juliet is forced to marry and the two lovers found out that both supposedly died so they both commit suicide.
The characters within the play also seem to meditate on the fool’s intelligence both in As You Like It and Twelfth Night. In this play, Viola’s remarks about Feste, just like Jacques in As You Like It, makes her seem to hint that a fool needs to be wise as he analyses everyday life. This is when she says: “This fellow is wise enough to play the Fool,/ And to do that well, craves a kind of wit”. This play makes the fool appear more cunning and gives him a certain amount of credit for that, especially in the sub-plot with