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Recommended: use of comedy
In a general sense morality refers to the ability to decipher the difference between good and bad or right and wrong behavior (Webster). Morality has shown itself to be an ever-present theme throughout the life of theatre. By incorporating morality into theatre it gives the audience an opportunity to not only be entertained, but also allows the audience to gain a life lesson through a non- threatening and easily understood approach. Morality within theatre has its roots within Tragedy and Morality Plays, however as comedy continued to develop from early Greek comedies to Comedia dell’arte, all the way to Moliére it showed to have an increasingly effective voice when speaking to the masses. The ability of comedy to translate a given moral or life lesson was greater than that of tragedy because of its happy endings, and satirical manner; thus making it more engaging to the audience while still having the power to effectively convey a moral, theme, and or life lesson. This paper will examine comedy’s effectiveness in conveying morals to an audience, by investigating Greek comedy, Comedia dell’arte as well as La Tartuffe by Moliere. Utilizing these examples will allow for a better understanding of the efficiency of comedy’s ability to communicate a life lesson to a given audience. Ancient Greek comedy was an influential and remarkably popular form of theatre. Making it was one of the “three principal dramatic forms” classical Greek theatre (the others having been both tragedy and satyr) (Csaspo 27). The development of Greek comedy divided it’s self into three periods, Old Comedy, Middle Comedy, and New Comedy (Cartwright 1). Due to the lack of artifacts in regards to New and Middle comedy, both forms eventually fade... ... middle of paper ... ...Library, 2005. Print. Bellinger, Martha Fletcher. "The Commedia d'ell arte." A Short History of the Drama. N.p.: n.p., 1927. 153-57. Rpt. in Theatre History. N.p.: n.p., n.d. N. pag. Print. Cartwright, Mark Z. "Greek Comedy." Ancient History Encyclopedia. N.p.: n.p., 2013. 1-5. Print. Ley, Graham. A Short Introduction to the Ancient Greek Theater. Rev. ed. Chicago: U of Chicago P, 2006. Print. Meagher, Jennifer. "Commedia Dell'arte." Heilbrun Timeline of Art History. New York: n.p., n.d. 1-5. Metropolitan Museum of Art. Web. 6 Nov. 2013. . W.D Howarth, and Ron W. Tobin. "Molière: A Playwright and His Audience." The French Review: 1-2. JSTOR. Web. 7 Nov. 2013. .
Corrigan, Robert W. Classical Tragedy, Greek and Roman: 8 Plays in Authoritative Modern Translations Accompanied by Critical Essays. New York, NY: Applause Theatre Book, 1990. Print.
This production embraced more than just Greek and Elizabethan conventions, also incorporating elements of French Neoclassical comedy. It also demonstrated the survival of many elements of comedy, farce, and satire such as character types, repetition, derision, verbal wit, and slapstick. The production did not adhere to only one theatrical age, but it combined conventions from Greek, Elizabethan, and French Neoclassical
Aside from all the prodigious number of Greek tragedies in history, stands a collection of Greek comedies which serve as humorous relief from the powerful overtone of the tragedy. These comedies were meant to ease the severity and seriousness sometimes associated with the Greek society. The ideas portrayed in the comedies, compared to the tragedies, were ridiculously far-fetched; however, although abnormal, these views are certainly worthy of attention. Throughout his comedy, The Clouds, Aristophanes, along with his frequent use of toilet humor, ridicules aspects of Greek culture when he destroys tradition by denouncing the importance of the gods' influence on the actions of mortals, and he unknowingly parallels Greek society with today's. Aristophanes also defiantly misrepresents an icon like Socrates as comical, atheistic, and consumed by ideas of self interest, which is contradictory to the Socrates seen in Plato's Apology or Phaedo.
[8] Brown, Frederick. Theater and Revolution: The Culture of the French Stage. New York: Viking, 1980. Print.
"Thomas R. Martin, An Overview of Classical Greek History from Mycenae to Alexander, The Development of Athenian Tragedy." Perseus Digital Library. 14 May 2009 .
The Comedy of Errors has often been dismissed as a mere farce, unworthy of any serious attention. Yet, when the author is Shakespeare, even a "farce" is well worth a second look. Shakespeare himself may have takent his comedic work quite seriously, for audiences expected comedy of his day not only to entertain, but also to morally instruct. It is not surprising, therefore, that for one of his earliest comedies, Shakespeare found a model in the plays of Plautus and Terence, which were studied in all Elizabethan Grammar Schools, praised by schoolmasters, and critically respectable. (Muir 3)
Snyder, Susan. "Beyond the Comedy: Othello" Modern Critical Interpretations, Othello Ed. Harold Bloom, Pub. Chelsea House New Haven CT 1987. (page 23-37)
Snyder, Susan. "Beyond the Comedy: Othello" Modern Critical Interpretations, Othello Ed. Harold Bloom, Pub. Chelsea House New Haven CT 1987. (page 23-37)
Russell Brown, J. 1995. The Oxford Illustrated History of the Theatre. 3rd ed. Oxford: Oxford University Press.
Myers, H. A. (1949). Aristotle's study of tragedy. Educational Theatre Journal, 1(2), 115. Retrieved from http://search.proquest.com/docview/1290192594?accountid=12085
Whether told through plays in front of an audience; stories before bedtime; or even jokes over a glass of beer, comedy as a literary form has existed for thousands of years and will continue its influence over cultures all over the world for thousands of years to come. Comedy has taken many forms, with some even defining certain eras in comedic literature. For example, most comedy of manners are directly aimed at making fun of the hypocritical aristocrats of 19th century England. One of these works, The Importance of Being Earnest, derives almost all of its comedy from the ridiculing and exposing the societal characteristics of the upper class.
Commedia Dell’ Arte was a distinctive form of stage art in the 1600’s and the famous playwright Moliere furthered its acceptance and import throughout his life. Originating in Italy, the popular art form spread quickly with the aid of traveling troops. One area that was greatly affected by this form of theater was France. The French people adored this theater and made it fit in with their culture. This can be seen in an essay by Gustave Lanson when he states, “In Paris Italian farce had replaced French farce.” The success of Commedia Dell’ Arte during the reign of Charles IX is well-known” (Lanson, 137). This effect can be seen through one of the country’s most famous playwrights, Moliere. Moliere was a renowned playwright and actor that continues to be well-known today. He was greatly influenced by Commedia Dell’ Arte. “Well-known definitions of the Commedia Dell’ Arte are that it was a semi-literary form of theatrical performance based primarily upon effective gestures and lazzi, and involving a limited number of generally accepted types who in their contrasting relation provide the setting for a light and flimsy action linked somehow by the eternal theme of love”( 704). His showing of the art form can be seen through his three most famous plays Tartuffe, The Misanthrope, and The Imaginary Invalid. As Lanson stated, “From soiling the noble and pure conception of comic genius given to us by The Misanthrope and Tartuffe” (Lanson, 134). With the progression from an earlier play to his final play, we can see where Moliere used aspects of Commedia Dell’ Arte and where he veered away to fit his own personal tastes and that of France’s. Moliere was born Jean-Baptise Poquelin in 1622 to a father who was an upholsterer for th...
"Theater in Ancient Greece." Encyclopedia of the Ancient Greek World, Third Edition. Facts On File, 2015. Ancient and Medieval History Online. Web. 10 Nov. 2015. Although many cultures in the modern day have their own preferences in way to perform theater, tragedy and comedy was started by the Greek. The Greek mainly perform stories considered to be myth. The most common plays were comedies and tragedies. According to Sacks “Shakespeare (ca. 1600 CE) wrote tragedies and comedies because those were playwriting 's two principal forms, inherited from the Greeks.” Tragedies were portrayed as the problems that occurred with the heroes. Tragedy theater was known as the symbol of hubris or arrogant. Most times the hero would be facing his death due to the disappointment of the Gods, because of his own actions. Comedy was to be taken as a joke at all times. Mimics and Art were also use as comedy. These performances didn’t require as many characters unlike tragedy theater. Sakes stated “Ancient Greek theater was a form of poetry, with all dialogue being spoken or sung in verse. Theater was also mass culture, intended for an audience that included several social classes, and it thrived in democracies such as Athens (although it is unclear whether women, even female citizens, were allowed to attend).” With both types of theater women parts were played by men. It is said and undetermined whether females were able to view the theater performances. Both tragedy and comedy
The name most associated with excellence in theatre is William Shakespeare. His plays, more than any other playwright, resonate through the ages. It may be safe to say that he has influenced more actors, directors, and playwrights than any thespian in the history of the stage. But what were his influences? During the Middle Ages theatre was dominated by morality, miracle, and mystery plays that were often staged by the church as a means to teach the illiterate masses about Christianity. It wasn’t until the early sixteenth century that Greek tragedy experienced a revival, in turn, inspiring a generation of renaissance playwrights.
Aristotle. Poetics. Trans. Gerald F. Else. Ann Arbor: U of Michigan P, 1967. Dorsch, T. R., trans. and ed. Aristotle Horace Longinus: Classical Literary Criticism. New York: Penguin, 1965. Ley, Graham. The Ancient Greek Theater. Chicago: U of Chicago P, 1991. Reinhold, Meyer. Classical Drama, Greek and Roman. New York: Barrons, 1959.