It is true to say that a comedy involves ‘men of a middling estate’, in MAAN the protagonists share the company of the Prince Don Pedro, and are socially superior to the watchmen such as Dogberry and Verges. What Snyder is implying is that comedies centre very much on social hierarchy and formalities. The males in MAAN use language in order to demonstrate their position in society, in time of production courtiers were expected to speak in highly contrived language but to make their clever performances seems effortless; this is no more evident than of Benedick who constantly uses wit in order to prove his wisdom to the other characters. In his ‘merry-war’ with Beatrice he responds shrewdly and fast-paced, calling her - in response to one of her remarks - a
Devices that are used by Benedick and Beatrice are Bawdy language, word play and puns, which are very different compared to Dogberry’s According to Aristotle the idea of comedy comes from speculation concerning men dancing, signing and cavorting around the image of a phallus. True or not this idea of high-spirited celebration of sexuality and love, tragedies happen on the battle field more than likely comedy would be staged in the bedroom. Although not all literary works must involve crude humor, simply a happy ending is enough, with expectations and conventions of plot and characters. The language of prose has a particularly prominent place in Much Ado About Nothing; nearly three quarters of the play is written in prose. The pragmatic and realistic views of central characters like Benedick suit the prose style that Shakespeare uses in Much Ado About Nothing, much of the humor that is generated by Benedick and Beatrice’s ‘merry war’ is delivered in prose.
As the plot nears a resolution however, the theatre is highlighted by its overwhelming vibrancy and symbolically juxtaposes its counterpart. This is metaphoric for the positive aspects that have transpired from directing the opera and their impact on [Relate to Qs]. Humour is also widely employed within the play in an attempt to present everyday situations in an entertaining way. At the same time it enables Nowra to differentiate the degree of significance key moments hold throughout the process of developing Lewis’s character. This is reflected through the use of slapstick in the line: “Roy trips Henry, who sprawls on the floor.” as opposed to purposeful dialogue that aims at furthering the characterisation of Lewis where he says, “They need me” referring to the mental patients.
In order for a sitcom to be great, it should be re-watchable. Seinfeld has a number of inside jokes including catch phrases and character flaws which are repeated throughout the episodes. The inside jokes are generally only picked up by dedicated viewers who realise that they’re funny, hence they are necessary in re-watchability. Another factor in a great sitcom is chemistry among the characters. The characters of Seinfeld have such great chemistry that we love to watch them, and feel like a part of it.
Optical illusion and misconception are tools that are used to mask the truth and enhance a story. In “The Ways We Lie”, by Stephanie Ericsson, she touches on how individuals in society often fabricate the truth in order to achieve a good sense of life. In Shakespeare’s play, Hamlet, fabricating the truth plays a prominent role in this drama and is continuously shown through the actions of Guildenstern, Claudius and Hamlet. These characters use dishonesty not only to create suspense in the play but also to create suspense in their every day lives. Guildenstern’s sympathetic needs are often confused with his sense of anger and wickedness.
It is suggested by this then that the play holds no deeper meaning or message of morality; it is simply designed to fulfill a purpose through usage of traditional comedic techniques. However, some have interpretated themes of sexuality and a gentle mocking of Victorian customs ultimately leaving the play open to assumption. The Importance of being Earnest certainly maintains many traits of a great comedy of manners, "A comedy that satirizes behaviour in a particular social group"(dictionary.com). In fact many people have hailed it as "the greatest stage comedy of all time", this triumph supports the viewpoint that Wilde merely succeeded in entertaining his audience rather than channeling a deeper understanding. The use of slapstick by Wilde produces a contrived and absurd plotline that is in every way unrealistic.
“Comedy, beginning in turmoil but ending in harmony, celebrates life.” To what extent does The History Boys reflect that view? 7. “The setting of this play is central to its success as a comedy.” To what extent do you agree? 8. “Despite being performed entirely in French, the audience is able to understand the scene due to Bennett’s use of comedy devices.” Explore this statement with reference to comedy devices.
To what extent is ‘The History Boys’ a comedy of Tragicomedy? Comedy is a subjective genre, one which can be light and humorous or satirical in tone, and usually contains a happy resolution in an attempt to uplift the audience. Due to being subjective, comedy can be split into many different types; black comedy, tragicomedy, spoof comedy or arguably found in this play, satirical comedy. Comedy is created by Bennett throughout The History Boys through several techniques including the contrasting of characters, clever juxtapositions and intelligent metaphors. Although I am convinced about this play fitting to the genre of Satire, tragicomedy is my main focus of which The History Boys fits in as it contains a lot of it, maybe to appeal to a wider audience.
Paul despises his common life so much that he feels he must hid it from his peers through lies. He tells them false information of his ‘upper class’ life, such as announcing his travels to far off places, to make them believe he is above the average middle class person. Every lie Paul tells, the further away he gets from realizing and appreciating the good that is already present in his life (such as family) and from
It is interesting to compare the concept of love and partnership in more mature men and women in The Taming of the Shrew with Benedick and Beatrice in Much Ado About Nothing. Social Roles Both plays deal with the difficulty and stuffiness of the social structure. In "Much Ado About Nothing," the characters often have to give way to people in higher authority roles. Benedick notes frequently that others in the household speak in lofty words to seem of a higher position than they are. In "Taming of the Shrew," Bianca is not allowed to marry until her older sister does, and Katherine does not wish to marry.