The comedy of intrigue, also known as the comedy of situation, is a genre of comedy in which dramatic action is prioritised over the development of character, complicated strategems and conspiracies drive the plot, and in theatre, which is a term that describes a comedy that aims at entertaining the audience through situations that are highly exaggerated, extravagant, and thus improbable?
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Comedy of intrigue The comedy of intrigue, also known as the comedy of situation, is a genre of comedy in which dramatic action is prioritised over the development of character, complicated strategems and conspiracies drive the plot, and farcical humour and contrived or ridiculous dramatic situations are often employed. Characterisation tends to be defined only vaguely and the plot gives the illusion of dynamic, constant movement. The German philosopher Hegel argued that characters pursue their aims in such comedies via the use of deception. The genre was first developed in the theatre of classical Rome by Plautus and Terence. Examples of comedies of intrigue include Niccolò Machiavelli's "The Mandrake" (1524), the anonymous Italian play "The Deceived Ones" (1531), Shakespeare's "The Merchant of Venice" (c. 1596) and "Much Ado About Nothing", Thomas Heywood's "The Wise Woman of Hoxton" (c. 1604), Molière's "Scapin the Schemer" (1671), and the plays of Aphra Behn and Thomas D'Urfey.
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Farce In theatre, a farce is a comedy that aims at entertaining the audience through situations that are highly exaggerated, extravagant, and thus improbable. Farce is also characterized by physical humor, the use of deliberate absurdity or nonsense, and broadly stylized performances. Farces have been written for the stage and film. Furthermore, a farce is also often set in one particular location, where all events occur.
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Deus ex machina Deus ex machina (] : or ; plural: "dei ex machina") is a Latin calque . The term has evolved to mean a plot device whereby a seemingly unsolvable problem is suddenly and abruptly resolved by the inspired and unexpected intervention of some new event, character, ability or object. Its function can be to resolve an otherwise irresolvable plot situation, to surprise the audience, to bring the tale to a happy ending, or act as a comedic device.
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Catastrophe (drama) In drama, particularly the tragedies of classical antiquity, the catastrophe is the final resolution in a poem or narrative plot, which unravels the intrigue and brings the piece to a close. In comedies, this may be a marriage between main characters; in tragedies, it may be the death of one or more main characters. It is the final part of a play, following the protasis, epitasis, and catastasis.
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Irony (disambiguation) Irony is a literary or rhetorical device, in which there is an incongruity or discordance between what one says or does.
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Crime fiction Crime fiction is the literary genre that fictionalises crimes, their detection, criminals, and their motives. It is usually distinguished from mainstream fiction and other genres such as historical fiction or science fiction, but the boundaries are indistinct. Crime fiction has multiple subgenres, including detective fiction (such as the whodunit), courtroom drama, hard-boiled fiction and legal thrillers. Suspense and mystery are key elements that are nearly ubiquitous to the genre.
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Teen sitcom A teen situation comedy, or teen sitcom, is a subgenre of comedic television programs targeted towards preteens and teenagers. In general, these type of programs focus primarily on characters between 13 and 19 years of age and routinely feature characters involved in humorous situations (either realistic or fantasy in style, depending on the program's plotline), and often focus on the characters' family and social lives. The primary plot of each episode often involves the lead character(s) that the program centers on, while secondary plotlines often focus on the character(s') parents, siblings (assuming the main character has any and they are not one of the leads) or friends – although the secondary characters may also or instead be involved in the episode's main plot.
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Theatre of the Absurd The Theatre of the Absurd (French: "théâtre de l'absurde" ] ) is a post–World War II designation for particular plays of absurdist fiction written by a number of primarily European playwrights in the late 1950s, as well as one for the style of theatre which has evolved from their work. Their work focused largely on the idea of existentialism and expressed what happens when human existence has no meaning or purpose and therefore all communication breaks down, in fact alerting their audiences to pursue the opposite. Logical construction and argument gives way to irrational and illogical speech and to its ultimate conclusion, silence.
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Stage management Stage management is the practice of organizing and coordinating a theatrical production. It encompasses a variety of activities, including organizing the production and coordinating communications between various personnel ("e.g.", between director and backstage crew, or actors and production management). Stage management is a sub-discipline of stagecraft. Stage managers may use a prompt book to help organize the production.
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Comedy of remarriage The comedy of remarriage is a subgenre of American comedy films of the 1930s and 1940s. At the time, the Production Code, also known as the Hays Code, banned any explicit references to or attempts to justify adultery and illicit sex. The comedy of remarriage enabled filmmakers to evade this provision of the Code. The protagonists divorced, flirted with strangers without risking the wrath of censorship, and then got back together.
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Gullibility Gullibility is a failure of social intelligence in which a person is easily tricked or manipulated into an ill-advised course of action. It is closely related to credulity, which is the tendency to believe unlikely propositions that are unsupported by evidence.
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Melodrama A melodrama is a dramatic or literary work in which the plot, which is typically sensational and designed to appeal strongly to the emotions, takes precedence over detailed characterization. Characters are often simply drawn, and may appear stereotyped.
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Rhetorical stance "Rhetorical stance" is the position of a speaker or writer in relation to audience, topic, and situational context. It encompasses the same elements as "rhetorical situation" - which involves an author, speaker and subject, but is a more active concept. One is simply "in" a situation where; the author, audience and subject merely exist. "Rhetorical Stance" involves taking a position, and effectively developing an argument in favor of that position, in order to persuade an audience.
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A Midsummer Night's Dream A Midsummer Night's Dream is a comedy written by William Shakespeare in 1595/96. It portrays the events surrounding the marriage of Theseus, the Duke of Athens, to Hippolyta, the former queen of the Amazons. These include the adventures of four young Athenian lovers and a group of six amateur actors (the mechanicals) who are controlled and manipulated by the fairies who inhabit the forest in which most of the play is set. The play is one of Shakespeare's most popular works for the stage and is widely performed across the world.
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Xiangsheng Xiangsheng (), also known as crosstalk, is a traditional Chinese comedic performing arts, and one of China's most popular cultural elements. It is typically in the form of a duo dialogue between two performers, but much less often can also be a monologue by a solo performer (similar to most western stand-up comedy), or even less frequently, a group act by multiple performers. The xiangsheng language, rich in puns and allusions, is delivered in a rapid, bantering style, typically in the Beijing dialect (or in Standard Chinese with a strong northern accent). The acts would sometimes include singing, Chinese rapping and musical instruments.
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Humour in translation Humour in translation can be caused by translation errors, because of irregularities and discrepancies between certain items that translators attempt to translate. This could be due to the ignorance of the translator, as well as the untranslatability of the text as a result of linguistic or cultural differences. In addition, translation errors can be caused by the language incompetence of the translator in the target language, resulting in unintended ambiguity in the message conveyed. Translation errors can distort the intended meaning of the author or speaker, to the point of absurdity and ludicrousness, giving a humorous and comedic effect.
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Magic realism Magical realism, magic realism, or marvelous realism is a genre of narrative fiction and, more broadly, art (literature, painting, film, theatre, etc.) that, while encompassing a range of subtly different concepts, expresses a primarily realistic view of the real world while also adding or revealing magical elements. It is sometimes called fabulism, in reference to the conventions of fables, myths, and allegory. "Magical realism", perhaps the most common term, often refers to fiction and literature in particular, with magic or the supernatural presented in an otherwise real-world or mundane setting.
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Vaudeville Vaudeville ( ; ] ) is a theatrical genre of variety entertainment. It was especially popular in the United States and Canada from the early 1880s until the early 1930s. A typical vaudeville performance was made up of a series of separate, unrelated acts grouped together on a common bill. Types of acts have included popular and classical musicians, singers, dancers, comedians, trained animals, magicians, strongmen, female and male impersonators, acrobats, illustrated songs, jugglers, one-act plays or scenes from plays, athletes, lecturing celebrities, minstrels, and movies. A vaudeville performer is often referred to as a "vaudevillian".
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Melodrama (disambiguation) Melodrama refers to a dramatic work which exaggerates plot and characters in order to appeal to the emotions
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Dialogue Dialogue (sometimes spelled dialog in American English) is a written or spoken conversational exchange between two or more people, and a literary and theatrical form that depicts such an exchange. As a narrative, philosophical or didactic device, it is chiefly associated in the West with the Socratic dialogue as developed by Plato, but antecedents are also found in other traditions including Indian literature.
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Comedy In a modern sense, comedy (from the Greek: κωμῳδία , "kōmōidía") refers to any discourse or work generally intended to be humorous or amusing by inducing laughter, especially in theatre, television, film, and stand-up comedy. The origins of the term are found in Ancient Greece. In the Athenian democracy, the public opinion of voters was influenced by the political satire performed by the comic poets at the theaters. The theatrical genre of Greek comedy can be described as a dramatic performance which pits two groups or societies against each other in an amusing agon or conflict. Northrop Frye depicted these two opposing sides as a "Society of Youth" and a "Society of the Old". A revised view characterizes the essential agon of comedy as a struggle between a relatively powerless youth and the societal conventions that pose obstacles to his hopes. In this struggle, the youth is understood to be constrained by his lack of social authority, and is left with little choice but to take recourse in ruses which engender very dramatic irony which provokes laughter.
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Characterization Characterization or characterisation is the representation of persons (or other beings or creatures) in narrative and dramatic works of art. This representation may include direct methods like the attribution of qualities in description or commentary, and indirect (or "dramatic") methods inviting readers to infer qualities from characters' actions, dialogue, or appearance. Such a personage is called a character. Character is a literary element.