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This Handbook offers a multiform sweep of theoretical, historical,
practical and personal glimpses into a landscape roughly
characterised as contemporary Irish theatre and performance.
Bringing together a spectrum of voices and sensibilities in each of
its four sections - Histories, Close-ups, Interfaces, and
Reflections - it casts its gaze back across the past sixty years or
so to recall, analyse, and assess the recent legacy of theatre and
performance on this island. While offering information, overviews
and reflections of current thought across its chapters, this book
will serve most handily as food for thought and a springboard for
curiosity. Offering something different in its mix of themes and
perspectives, so that previously unexamined surfaces might come to
light individually and in conjunction with other essays, it is a
wide-ranging and indispensable resource in Irish theatre studies.
Comedy and humor flourished in manifold forms in the Middle Ages.
This volume, covering the period from 1000 to 1400 CE, examines the
themes, practice, and effects of medieval comedy, from the caustic
morality of principled satire to the exuberant improprieties of
many wildly popular tales of sex and trickery. The analysis
includes the most influential authors of the age, such as Chaucer,
Boccaccio, Juan Ruiz, and Hrothswitha of Gandersheim, as well as
lesser-known works and genres, such as songs of insult,
nonsense-texts, satirical church paintings, topical jokes, and
obscene pilgrim badges. The analysis touches on most of the
literatures of medieval Europe, including a discussion of the
formal attitudes toward humor in Christian, Jewish, and Islamic
traditions. The volume demonstrates the many ways in which medieval
humor could be playful, casual, sophisticated, important,
subversive, and even dangerous. Each chapter takes a different
theme as its focus: form, theory, praxis, identities, the body,
politics and power, laughter, and ethics.
Comedy and humor flourished in manifold forms in the Middle Ages.
This volume, covering the period from 1000 to 1400 CE, examines the
themes, practice, and effects of medieval comedy, from the caustic
morality of principled satire to the exuberant improprieties of
many wildly popular tales of sex and trickery. The analysis
includes the most influential authors of the age, such as Chaucer,
Boccaccio, Juan Ruiz, and Hrothswitha of Gandersheim, as well as
lesser-known works and genres, such as songs of insult,
nonsense-texts, satirical church paintings, topical jokes, and
obscene pilgrim badges. The analysis touches on most of the
literatures of medieval Europe, including a discussion of the
formal attitudes toward humor in Christian, Jewish, and Islamic
traditions. The volume demonstrates the many ways in which medieval
humor could be playful, casual, sophisticated, important,
subversive, and even dangerous. Each chapter takes a different
theme as its focus: form, theory, praxis, identities, the body,
politics and power, laughter, and ethics.
Drawing together scholars with a wide range of expertise across the
early modern period, this volume explores the rich field of early
modern comedy in all its variety. It argues that early modern
comedy was shaped by a series of cultural transformations that
included the emergence of the entertainment industry, the rise of
the professional comedian, extended commentaries on the nature of
comedy and laughter, and the development of printed jestbooks. It
was the prime site from which to satirize a rapidly-changing world
and explore the formation of new social relations around questions
of gender, authority, identity, and commerce, amongst others. Yet
even as it reacted to the novel and the new, comedy also served as
a receptacle for the celebration of older social rituals such as
May games and seasonal festivities. The result was a complex and
contested mix of texts, performances, and concepts providing a deep
tradition that abides to this day. Each chapter takes a different
theme as its focus: form, theory, praxis, identities, the body,
politics and power, laughter and ethics. These eight different
approaches to early modern comedy add up to an extensive, synoptic
coverage of the subject.
'Laughter', says Eric Weitz, 'may be considered one of the most
extravagant physical effects one person can have on another without
touching them'. But how do we identify something which is meant to
be comic, what defines something as 'comedy', and what does this
mean for the way we enter the world of a comic text? Addressing
these issues, and many more, this is a 'how to' guide to reading
comedy from the pages of a dramatic text, with relevance to
anything from novels and newspaper columns to billboards and
emails. The book enables you to enhance your grasp of the comic
through familiarity with characteristic structures and patterns,
referring to comedy in literature, film and television throughout.
Perfect for drama and literature students, this Introduction
explores a genre which affects the everyday lives of us all, and
will therefore also capture the interest of anyone who loves to
laugh.
Drawing together contributions from scholars in a wide range of
fields inside Classics and Drama, this volume traces the
development of comedic performance and examines the different
characteristics of Greek and Roman comedy. Although the origins of
comedy are obscure, this study argues that comedic performances
were at the heart of Graeco-Roman culture from around 486 BCE to
the mid first century BCE. It explores the range of comedies during
this period, which were fictional dramas that engaged with the
political and social concerns of ancient society, and also at times
with mythology and tragedy. The volume centres largely around the
surviving work of Aristophanes and Menander in Athens, and Plautus
and Terence in Rome, but authors whose plays survive only in
fragments are also discussed. Performances and plays drew on a
range of forms, including satire and fantasy, and were designed to
entertain and amuse their audiences while also asking them to
question issues of morality, privilege and class. Each chapter
takes a different theme as its focus: form, theory, praxis,
identities, the body, politics and power, laughter and ethics.
These eight different approaches to ancient comedy add up to an
extensive, synoptic coverage of the subject.
Drawing together contributions by scholars from a variety of
fields, including theater, film and television, sociology, and
visual culture, this volume explores the range and diversity of
comedic performance and comic forms in the modern age. It covers a
range of forms and examples from 1920 to the present day, including
plays, film, television comedy, live comedy, and comedy on social
media. It argues that the period covered was marked by an explosion
of comic forms and a flowering of comic creativity across a range
of media. From the communal watching of silent films at the start
of the period, to the use of Twitter and other online platforms to
share and comment on comedy, technology has brought about
significant changes in its form, consumption, and social effects.
As comic forms have shifted and developed, so too have attitudes to
what comedy can and cannot do. This study considers its role in
entertainment and in provoking consideration of a range of social
and political topics. Each chapter takes a different theme as its
focus: form, theory, praxis, identities, the body, politics and
power, laughter, and ethics. These eight different approaches to
comedy add up to an extensive, synoptic coverage of the subject.
This volume highlights the variety of forms comedy took in England,
with reference to developments in Europe, particularly France,
during the European Enlightenment. It argues that comedy in this
period is characterized by wit, satire, and humor, provoking both
laughter and sympathetic tears. Comic expression in the
Enlightenment reflects continuities and engagements with the comedy
of previous eras; it is also noted for new forms and preoccupations
engendered by the cultural, philosophical, and political concerns
of the time, including democratizing revolutions, increasing
secularization, and growing emphasis on individualism. Discussions
emphasize the period's stage comedy and acknowledge comic
expression in various forms of print media including the emerging
literary form we now know as the novel. Contributions from scholars
reflect a wide variety of interests in the field of 18th-century
studies, and the inclusion of a generous number of illustrations
throughout demonstrates that the period's visual culture was also
an important part of the Enlightenment comic landscape. Each
chapter takes a different theme as its focus: form, theory, praxis,
identities, the body, politics and power, laughter and ethics.
These eight different approaches to Enlightenment comedy add up to
an extensive, synoptic coverage of the subject.
Drawing together contributions from scholars in a range of fields
within 19th- and 20th-century cultural, literary, and theater
studies, this volume provides a thorough and varied overview of the
many forms comedy took in the 19th century. Given the
earth-shattering cultural changes and political events that mark
the decades between 1800 and 1920—shifting borders, socioeconomic
upheaval, scientific and technological innovation, the rise of
consumerism and mass culture, unprecedented overseas expansion by
European and American imperial powers—it is no wonder that people
in the Age of Empire turned to comedy in order to make sense of the
contradictions that structure modern identity and navigate the
sociocultural fault lines within modern life. Comical, humorous,
and satirical cultural artifacts from the period capture the
anxieties and aspirations, the petty resentments and lofty ideals,
of a world buffeted by change. This volume explores the aesthetic,
political, and ethical dimensions of comedy in the context of
blackface minstrelsy, nonsense poetry, music hall and pantomime,
comic almanacs and joke books, journalism, silent film, popular
novels, and hygiene magazines, among other phenomena. It also
provides a detailed account of contentious debates among social
Darwinists, psychoanalysts, and political philosophers about the
meaning and significance of comedy and laughter to human life. Each
chapter takes a different theme as its focus: form, theory, praxis,
identity, the body, politics and power, laughter, and ethics. These
eight divergent approaches to comedy in the Age of Empire add up to
an extensive, synoptic coverage of the subject.
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