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This book is a compilation of selected plays from the Old English Dramatists that were performed and popular during the Stuart era in England. The book also includes some selected comedies and other works from the Restoration and 18th-century eras. The book offers a rich tapestry of English drama and is an excellent resource for scholars and enthusiasts interested in the history and evolution of English theater and drama. This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
This book shows the impact of the 1428 rediscovery of Plautus's plays on the theory and composition of comedy, and sets Plautus's reception apart from that of the quite different dramatist Terence. The latter half takes up the Plautine traits that appear in the practice of English comic dramatists ca. 1500-1640.
What were the causes of Restoration drama's licentiousness? How did the elegantly-turned comedy of Congreve become the pointed satire of Fielding? And how did Sheridan and Goldsmith reshape the materials they inherited? In the first account of the entire period for more than a decade, Richard Bevis argues that none of these questions can be answered without an understanding of Augustan and Georgian history. The years between 1660 and 1789 saw considerable political and social upheaval, which is reflected in the eclectic array of dramatic forms that is Georgian theatre's essential characteristic.
English Drama Since 1940 considers the bids of successive post-war dramatists to find language and images of remorseless disclosure, appropriate to the public manifestation of sensed crisis and the interrogation of the ideal of renewal. This book introduces the period and its discourse whilst redefining them, to give proper consideration to developments of themes, styles, concerns and contexts from the 80s to the present. The book offers succinct and analytical introductions to the work of 60 dramatists, whilst arguing for (re)appraisal of many dates critical perspectives, in order to stimulate further argument in the field.
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Table of contents: Martha Bayless, 'Merriment and Entertainment in Anglo-Saxon England: What is the Evidence?'; Christopher Crane, 'Taking Laughter Seriously: The Rhetoric of Humor in Middle English Drama, Sermon Exempla and Spiritual Instruction'; Paul Hardwick, 'Making Light of Devotion: The Pilgrimage Window at York Minster'; Dana Symons, 'Comic Pleasures: Chaucer and Popular Romance'; Christian Sheridan, 'Funny Money: Puns and Currency in the Shipman's Tale'; Laurel Broughton, 'From Buttfaces to Turd Bowling: Physical Humor in the Margins'; Sandra M. Hordis, 'Gender and Dialogic Laughter in Malory's Morte Darthur'; Miriamne Ara Krummel, 'Getting Even: Uneasy Laughter in The Play of the Sacrament'; Peter G. Beidler, 'Realistic Stage Comedy in Chaucer's Miller's Tale'; Elaine C. Block, 'Fooling Apes and Aping Fools on Misericord Carvings'.
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"The Comedy of Errors" is the story of two identical twins named Antipholus who are separated following a shipwreck 25 years earlier. Antipholus of Ephesus grows up in Ephesus with his mother, while Antipholus of Syracuse grows up in Syracuse with his father. Despite a ban on travel between the two cities, their father, Egeon, travels from Syracuse to Ephesus to try and find his long lost son and wife.