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Author: Subha Mukherji Publisher: DS Brewer ISBN: 9781843841302 Category : Literary Criticism Languages : en Pages : 252
Book Description
Fresh explorations of the tragicomic drama, setting the familiar plays of Shakespeare and his contemporaries alongside Irish and European drama. Tragicomedy is one of the most important dramatic genres in Renaissance literature, and the essays collected here offer stimulating new perspectives and insights, as well as providing broad introductions to arguably lesser-known European texts. Alongside the chapters on Classical, Italian, Spanish, and French material, there are striking and fresh approaches to Shakespeare and his contemporaries -- to the origins of mixed genre in English, to the development of Shakespearean and Fletcherian drama, to periodization in Shakespeare's career, to the language of tragicomedy, and to the theological structure of genre. The collection concludes with two essays on Irish theatre and its interactions with the London stage, further evidence of the persistent and changing energy of tragicomedy in the period. Contributors: SARAH DEWAR-WATSON, MATTHEW TREHERNE, ROBERT HENKE, GERAINT EVANS, NICHOLAS HAMMOND, ROSKING, SUZANNE GOSSETT, GORDAN MCMULLAN, MICHAEL WINMORE, JONATHAN HOPE, MICHAEL NEILL, LUCY MUNRO, DEANA RANKIN
Author: Subha Mukherji Publisher: DS Brewer ISBN: 9781843841302 Category : Literary Criticism Languages : en Pages : 252
Book Description
Fresh explorations of the tragicomic drama, setting the familiar plays of Shakespeare and his contemporaries alongside Irish and European drama. Tragicomedy is one of the most important dramatic genres in Renaissance literature, and the essays collected here offer stimulating new perspectives and insights, as well as providing broad introductions to arguably lesser-known European texts. Alongside the chapters on Classical, Italian, Spanish, and French material, there are striking and fresh approaches to Shakespeare and his contemporaries -- to the origins of mixed genre in English, to the development of Shakespearean and Fletcherian drama, to periodization in Shakespeare's career, to the language of tragicomedy, and to the theological structure of genre. The collection concludes with two essays on Irish theatre and its interactions with the London stage, further evidence of the persistent and changing energy of tragicomedy in the period. Contributors: SARAH DEWAR-WATSON, MATTHEW TREHERNE, ROBERT HENKE, GERAINT EVANS, NICHOLAS HAMMOND, ROSKING, SUZANNE GOSSETT, GORDAN MCMULLAN, MICHAEL WINMORE, JONATHAN HOPE, MICHAEL NEILL, LUCY MUNRO, DEANA RANKIN
Author: David L. Hirst Publisher: Routledge ISBN: 1000579298 Category : Literary Criticism Languages : en Pages : 174
Book Description
In this brief study, originally published in 1984, David Hirst examines the meaning of the term ‘tragicomedy’ by elucidating the most important theories of the genre and by analysing those plays which represent its most vital and influential expression. He draws a distinction between tragicomedies and conceived as a careful fusion of contrasted dramatic elements and as a mixed genre which seeks to exploit a volatile combination of theatrical extremes. In the first part he compares neo-classical romance and satire. The plays of Shakespeare, Fletcher and Corneille, seen in the context of the literary theory of Guarini, are contrasted with Marlowe and the writers of revenge tragedy. The second part examines the conflict of Romanticism and realism in nineteenth- and twentieth-century theatre. Shaw, Chekhov and the Absurdists are viewed in relation to the key theories of tragicomedy expounded by Brecht, Artaud and Pirandello. The study concludes with a consideration of certain significant contemporary plays – by Edward Bond, Peter Nichols and Peter Barnes – in the context of the historical development of the genre.
Author: Brean Hammond Publisher: Bloomsbury Publishing ISBN: 1350144320 Category : Performing Arts Languages : en Pages : 201
Book Description
This succinct authoritative book offers readers an overview of the origins, characteristics, and changing status of tragicomedy from the 17th century to the present. It explores the work of some of the key English and Irish playwrights associated with the form, the influence of Italian and Spanish theorist-playwrights and the importance of translations of Pierre Corneille's Le Cid. At the turn of the 17th century, English dramatists such as John Marston, John Fletcher, and William Shakespeare began experimenting with plays that mixed elements of tragedy and comedy, producing a blended mode that they themselves called 'tragicomedy'. This book begins by examining the sources of their inspiration and the theatrical achievement that they hoped to gain by confronting an audience with plays that defied the plot and character expectations of 'pure' comedy and tragedy. It goes on to show how, reacting to French models, John Dryden, Shakespeare 'improvers' and other English playwrights developed the form while sowing the seeds of its own vulnerability to parody and obsolescence in the eighteenth century. Discussing nineteenth-century melodrama as in some respects a resurrection of tragicomedy, the final chapter concentrates on plays by Ibsen, Chekhov, and Beckett as examples of the form being revived to create theatrical modes that more adequately represent the perceived complexity of experience.
Author: Verna A. Foster Publisher: Routledge ISBN: 1351885340 Category : Literary Criticism Languages : en Pages : 335
Book Description
Focusing on European tragicomedy from the early modern period to the theatre of the absurd, Verna Foster here argues for the independence of tragicomedy as a genre that perceives and communicates human experience differently from the various forms of tragedy, comedy, and the drame (serious drama that is neither comic nor tragic). Foster posits that, in the sense of the dramaturgical and emotional fusion of tragic and comic elements to create a distinguishable new genre, tragicomedy has emerged only twice in the history of drama. She argues that tragicomedy first emerged and was controversial in the Renaissance; and that it has in modern times replaced tragedy itself as the most serious and moving of all dramatic genres. In the first section of the book, the author analyzes the name 'tragicomedy' and the genre's problems of identity; then goes on to explore early modern tragicomedies by Shakespeare, Beaumont and Fletcher, and Massinger. A transitional chapter addresses cognate genres. The final section of the book focuses on modern tragicomedies by Ibsen, Chekhov, Synge, O'Casey, Williams, Ionesco, Beckett and Pinter. By exploring dramaturgical similarities between early modern and modern tragicomedies, Foster demonstrates the persistence of tragicomedy's generic markers and provides a more precise conceptual framework for the genre than has so far been available.
Author: Gordon McMullan Publisher: Routledge ISBN: 1000350088 Category : Literary Criticism Languages : en Pages : 192
Book Description
The Politics of Tragicomedy: Shakespeare and After offers a series of sophisticated and powerful readings of tragicomedy from Shakespeare’s late plays to the drama of the Interregnum. Rejecting both the customary chronological span bounded by the years 1603-42 (which presumes dramatic activity stopped with the closing of the theatres) and the negative critical attitudes that have dogged the study of tragicomedy, the essays in this collection examine a series of issues central to the possibility of a politics for the genre. Individual essays offer important contributions to continuing debates over the role of the drama in the years preceding the Civil War, the colonial contexts of The Tempest, the political character of Jonson’s late plays, and the agency of women as public and theatre actors. The introduction presents a strong challenge to previous definitions of tragicomedy in the English context, and the collection as a whole is characterized by its rejection of absolutist strategies for reading tragicomedy. This collection will prove essential reading for all with an interest in the politics of Renaissance drama; for specialists in the work of Shakespeare, Fletcher, and Jonson; for those interested in genre and dramatic forms; and for historians of early Stuart England.
Author: Publisher: Anaphora Literary Press ISBN: 1681145723 Category : Drama Languages : en Pages : 252
Book Description
The first English self-labeled “tragicomedy” about Octavia’s failed attempts to win back her inconstant husband, Antony, from his Egyptian lover, Cleopatra, and to prevent her brother, Octavius, from waging retaliatory war on Antony and Cleopatra. This volume presents overwhelming evidence for the re-attribution of the “Samuell Brandon”-bylined The Virtuous Octavia (1598) to Gabriel Harvey. The introduction raises questions about potential attribution leads and revealing relevant sources, which are answered with the evidence in the “Primary Sources” section that includes: three letters exchanged between William Byrd and Harvey while both were teaching at Cambridge, the “Octavia to Anthony” poetic epistle from the Arundel Harington Manuscript, and fragments from Plutarch’s “Mark Antony” chapter. The “Exordium” includes sections that present revealing clues in seemingly mundane details, such as this play’s typesetting. Another introductory section explains how Gerard Langbaine created the first “Brandon” biography solely based on the evidence presented in the Virtuous play, and without any evidence to support that “Brandon” was indeed a real author, and not merely a fictitious pseudonym. The imaginative process Langbaine used to manufacture “Brandon’s” biography is used to explain how scholars have communally arrived at the erroneous current attributions for the texts of the British Renaissance. A section on Harvey’s literary style explains how the texts Harvey ghostwrote differ from the patterns seen in the other Workshop ghostwriters’ texts. Another section presents visual examples of Harvey’s handwriting in his signed annotations on Domenichi’s Facetie, on “J. Harvey’s” A Discursive Problem Concerning Prophesies, and on Nicolai Machiavelli Princeps, and matches these to the handwriting styles currently assigned to two bylines Harvey ghostwrote under: “Edmund Spenser’s” poem on a copy of Sabinus’ Poëmata and “Elizabeth I’s” letter in Italian to Don Ferdinando de Medici, Grand-Duke of Tuscany. Another section explains how the two dedications to “the virtuous… Mary Thynne” and “the virtuous Lady Lucia Audley” are subversive clues that explain Virtuous Octavia as Harvey’s rebuttal to Percy’s at first anonymous and later “Shakespeare”-bylined Romeo and Juliet (1597). Romeo’s plot has long been suspected to be grounded in the contemporary story of Mary Thynne’s marriage to a member of a rival family, as well as the subsequent violence and litigations over this star-crossed-marriage between Mary’s mother, Lady Audley, and other members of their two clans. And a section on imitation-clusters explains that Virtuous Octavia falls into several sub-genre clusters that turn into an original formula when they are mixed together. These clusters include imitations and translations of the French dramatist Robert Garnier; adaptations of historical plotlines from Plutarch’s Lives; and imitations of Seneca’s tragedies. One of the latter tragedies by Seneca is also called Octavia, and it is about Emperor Nero’s wife of this same name, which had been translated into English by “T. N.” back in 1581. There are also explanation for the seemingly deliberately misdated historical details, such as the mixed references to events that involved M. Marcellus (270-208 BC; 5-time Consul) and G. Marcellus (88-40 BC; 1-time Consul; first husband of Octavia). And sections summarize Virtuous Octavia’s critical reception, give ideas to directors on approaches to its staging, and present an extensive synopsis of its narrative. This verse tragicomedy begins after the Treaty of Tarentum has been signed, renewing the power-split of Roman territories between three Emperors: Octavia’s brother Octavius is awarded the West, Octavia’s husband Antony is awarded the East, and Lepidus receives Africa. Octavia receives news that Antony is living with Cleopatra. When Octavia attempts to bring military reinforcements and to speak with Antony to convince him to return to her, Antony refuses to allow her to come near him. The news of this infidelity enrages Octavius, who decides it is an affront on his own honor, and uses it as a pretext to wage war against Antony, despite Octavia’s continuing petitions for peace and reconcilement. Civil and foreign wars are raging in the background, but most of the play focuses on Octavia’s philosophical and emotional struggle to comprehend why Antony has chosen to sin, and how she is stoically determined to remain constant and virtuous. In a brief mention in the resolution, Cleopatra causes Antony’s tragic death by tricking him into believing she has killed herself, before indeed killing herself. In the forefront of this conclusion, Octavia explains why she continues to be committed to virtuous conduct, despite all that has happened, and to take care of Antony’s children, even when she has to do so outside of Antony’s house (from which he has forcefully evicted her). Acronyms and Figures Exordium Plot and Staging Primary Sources Letters Between Byrd and Harvey “Octavia to Anthony”: Poem from “Daniel’s” Arundel Harington Manuscript Fragments About Octavia from “Thomas North’s” Translation of Plutarch’s “The Life of Mark Antony” Text Terms, References, Questions, Exercises
Author: Mark Dvoretsky Publisher: SCB Distributors ISBN: 1936490056 Category : Games & Activities Languages : en Pages : 200
Book Description
The Key Concepts of Chess Endings In 2003 when it was released, Dvoretsky's Endgame Manual became an instant classic. Now the chess instructor extraordinaire offers an introduction to the fascinating world of chess endings. This book is designed to highlight the key concepts of the most common chess endgames and will prove quite instructive to chessplayers of all levels. Topics include: - The King in the Endgame - Pawn play - Zugzwang - Saving Methods - Tactics in the Endgame - Piece Maneuvering - Piece Exchanges - "Technique” ...and much more! The author has countless practical suggestions for improving your endgame play in this era of rapid-time controls so that you don't end up "drowning” in the ocean of endgame theory. Let Mark Dvoretsky help you win more games as he examines some elementary endgame errors from master play and shows you how to avoid making the same mistakes.
Author: Daniel Knapper Publisher: Gale, Cengage Learning ISBN: 1535854499 Category : Study Aids Languages : en Pages : 10
Book Description
Gale Researcher Guide for: Tragicomedies: William Shakespeare, Samuel Beckett, Harold Pinter is selected from Gale's academic platform Gale Researcher. These study guides provide peer-reviewed articles that allow students early success in finding scholarly materials and to gain the confidence and vocabulary needed to pursue deeper research.
Author: Subha Mukherji
Author: Subha Mukherji
Author: David L. Hirst
Author: Brean Hammond
Author: Verna A. Foster
Author: Gordon McMullan
Author: Jacqueline Pearson
Author: 
Author: Frank Humphrey Ristine
Author: Mark Dvoretsky
Author: Daniel Knapper