Acting Funny: Comic Theory and Practice in Shakespeare's PlaysFrances N. Teague This anthology of critical essays uses Shakespeare's plays to consider some of the theoretical and practical issues involved in staging the comic. |
Contents
Introduction | 9 |
Othello and New Comedy | 29 |
Alls Well That Ends Well as Noncomic Comedy | 40 |
The Tempest Comedy and the Space of the Other | 52 |
Audience Preparation and the Comedies of Shakespeare | 72 |
Historicizing Comic Theory and Practice in A Midsummer Nights Dream | 85 |
Comic Ethnic Slander in the Gallia Wars | 109 |
Ethos and Epideictic in Cymbeline | 123 |
Shakespeares Cosmic Comic Representation | 142 |
An Indian Perspective | 153 |
Shakespeare in the Classic Detective Story | 164 |
Bibliography | 180 |
Notes on the Contributors | 189 |
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Common terms and phrases
action actor All's Antony argue artisans assumptions audience becomes Benedick Bertram Bharata Bharata Muni Bottom Caliban Cambridge character classic detective stories Cleopatra clown comic sentiment court create critics culture Cymbeline Cymbeline's death delight Desdemona discussion dramatic edition effect Elizabethan Ends English epideictic essay ethnic Falstaff female fiction figure genre Gosson Hamlet Helena Henry Henry IV plays hero hierarchy Iachimo's Iago Imogen's Jonson Kate King laughter Leonati literary literature London Love's Labor's Lost lower-class Macbeth male marriage Mehinaku Merry Wives Midsummer Night's Dream miles gloriosus Miranda moral murder Othello Oxford Plautus play's plot poetry political Portia Posthumus Posthumus's praise Prospero Pyramus and Thisbe Renaissance representation rhetoric role Roman scene sexual Shake Shakespeare Shakespeare's Comedies Shakespeare's plays Sidney Sidney's social speare stage structure Sycorax Tempest theater theatrical theory Theseus thou tion tragedy tragic Welsh witch Wives of Windsor woman words writes York