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.
Although it has been a subject of numerous critics and analyses, A Midnight Summer Dream is almost impossible to be critically analyzed, its beauty is omnipresent and can’t be overseen. It is a comedy of love, as Benedetto Croce indicates (Kennedy, 1999, p.386-387). William Hazlitt (1845) wrote „The reading of this play is like wandering in a groove by moonlight: the descriptions breathe sweetness-like odors thrown from beds of flowers” (p.87). “In a play constructed along Shakespeare's lines (or nowadays in movie, novel, or short story) outward actions and their resulting incidents do indeed flow from the inward goals of character, but such goals are neither always in harmony with each other, nor with outward behaviour. Insofar as there are discrepancies characters become complex, of the kind that Forster calls "round," much more like ourselves or the people we know!” (Oatley, 2006,
We can see that Shakespeare relates the young love to impulsiveness and rush and represents how this is lamented. Finally, the last external aspect that influences their love, but not the least important, is the fate. It seems that from the beginning their fate is marked by external aspects, so they are not the responsible of their tragedy. The play starts with the introduction of the term ‘star-crossed lovers’ (Prologue). The idea of being “dolls” manipulated by the stars and destine is transmitted along the whole play, even through the words of Romeo and Juliet who have several intuitions.
Twelfth Night surrounds itself with stories of love, but not all of them end with positive outcomes. The definition of tragedy written by Oxford Dictionary as: “A play dealing with tragic events and having an unhappy ending” (Oxford Dictionaries), and of comedy as: “A film, play, or broadcast programme intended to make an audience laugh.” (Oxford Dictionary), helps to differentiate between these different outcomes of love, some as tragic and others as positive or comedic. Keeping these definitions in mind will help to further develop the lack of comedy and presence of tragedy that surrounds the sub plot concerning Malvolio. Nancy Lindheim continues to broaden the themes produced in Shakespeare’s Twelfth Night. Lindheim’s Rethinking Sexuality and Class in Twelfth Night, notes that “critics of course usually recognize that marriage is the desired closure for comedy”, (Lindheim, 680).
This marked the advent of the Victorian Burlesque era when prominent classical ballads and operas were parodied into musical comedy pieces that were often dubbed as racy, ridiculous and risqué. Prominent among these were Shakespearean plays such as Hamlet. Sometimes the original music would be used while other times, the lyrics would be altered to bring about the comic effect. It became famous in London theatres around the 1830s and lasted till the 1890s. However, unlike the existing notion of Burlesque, the Victorian Burlesque era was very similar to the English pantomime, although it focused more on the high-end literate class unlike the pantomime which was open to all classes and ages.
Until around 1680, the plays utilized genuine swords. The specialty of Kabuki was really made contrary to the Noh theater. The thought was to recount all the more auspicious and vivacious stories to stun the gatherings of people. The main Kabuki indicate was performed in 1603. In the end, it developed into an adapted work of art that still stays well known today.
Play Analysis – Essay 1 “Much Ado About Nothing “ Submitted by Noor Ul Ain Shaikh (BSMS 2A) What seems to be a comedy play for an audience who enjoys a theatre with good humor and romance, “Much Ado About Nothing” contains much more than just entertainment. If we dig in deep, William Shakespeare’s play has much more than a tragic story with happy ending; even that is debatable. The theme of this play revolves around deception, plotting against your own, personal gains and rejection. The audience may understand the concept of love and romance flowing within the characters because it was to portrayed that way but the critics would argue the fact that some of the characters like Beatrice and Benedick were made to fall in love with each other through deception. As simple as the characters were, the situations arousing in the play became more complexed as scenes passed by.
After watching a small part of his revenge play out in front of in the form of Ariel’s act as a harpy, Prospero comments that the spirit had “performed” the “figure of this harpy” in a way that had been, in his words, “of my instruction” (Shakespeare, III.iii.84-86). The specific word choice utilized in these lines by Shakespeare suggest the prevalence of the theater. If the small play that Ariel participated in throughout this scene had been under the instruction of Prospero, the emphasis on the word “performed” and well as the emphasis on “instruction” seems to suggest that Ariel and Prospero can be classified into the categories of “performer” and “director” respectively. Just as a performer must obey and answer to a stage director, Ariel must listen and obey not only to the directions Prospero gives in concern to his revenge, but also to his overall demands and instructions; from the beginning as master and servant, this type of power balance had existed, but through the medium of their small production, they are capable of gaining titles such as “actor” and “stage director.” Viewing The Tempest already through the lenses of the theatre, Shakespeare not only establishes Ariel’s exploits as a harpy as a type of performance, he assigns this “stage play” a creator, or in stage production terms, a
This performance is a great example of how different techniques and means are employed to create the necessary atmosphere. The stage set, the lighting, the play of the actors are the factors that contribute to the success of the performance. The performance showed how important is keeping the constant interest of the audience and intrigue, and provided an example of several means how this could be performed. Besides, with the strong emotional appeal and theme, the play allowed to learn about the problems of the society and showed how far an individual can go to hide one 's dark past. With regard to my specialty, the performance showed how creative decisions can make a change, for example with the actors emerging from the total darkness.
Question 1-Shakespeare in Love Shakespeare in love as a comedy Shakespeare in love is comedy that provides a clear juxtaposition of Shakespeare’s live in Elizabethan time and creates allusions to his works and modern times with allusion to famous Hollywood films. Aspects of the Elizabethan times are evidently displayed throughout the play. The clothing worn by the actors and actresses was characterised by doublets, breeches, gowns, corsets, collars, ruffs and hats. It was evident that there was a clear class division. The crowded town where Shakespeare lived and worked had smaller housing, noise narrow roads, children playing in the streets, markets and the people dressed more plainly.
Shakespeare uses the concept of mistake identities in each of these plays to show that although you make look one way on the outside, it is impossible to hide your true identity from the world. Twelfth Night shows this in Viola dressing up as Ceasario and the eventual confusion it causes when her twin brother comes into the picture. The audience is also gifted to a confusing set of mistaken identities in The Comedy of Errors as each of the Antipholuses and Dromios are mistaken for each other. In both plays the error of mistaking a character for another leads to conflict but in the end in leads to love. Viola ends up with Orsino, Sebastian with Olivia, and Antipholus of Syracuse with Luciana, Adriana’s sister.