Therefore, it is the purpose of this paper to analyze Tristan Bernard’s play titled “I’m Going! A Comedy in One Act” using the formalist approach. “I’m Going! A Comedy in One Act” is a farce about a married-life conversation between Henri and Jeanne that is “…exaggerated to a ridiculous level to create humor–and comment on inflexible human behavior” (Clugston, 2010). Moreover, a farce according to our text is “a comedy; a short play, in which both subtle humor and hilarity are developed through improbable situations, exaggeration and (often) ridiculous antics (Clugston, 2010). In addition, author Irving Howe suggests “the events of farce are quite as probable as those of tragedy” (Howe, 1990). When asked what captured my interest with this particular genre of literature would be the ease and flow of the writing and the use of ambiguity. According to our text, Clugston states that ambiguity is the “use of language that has more than one meaning, creating uncertainty about how to interpret what has been stated” (Clugston, 2010). For example, Jeanne responds to Henri after he complains to her that he doesn’t have fun at the horse races when she comes with him with the following line; “Yes, up the Champs-Elysees together! And have you looking daggers at me all the time! Whenever I do go with you, you're always making disagreeable remarks” (Clugston, 2010). Another reason for the interest in “I’m Going! A Comedy in One Act” simply lies on the foundation of comedy; it was quite
In studying William Shakespeare’s Twelfth Night, or What You Will, it becomes clear that the theme of “Inside/Outside” is visible at many different levels. One of the comedic methods applied is the mistaken identity of Viola and Sebastian. Another case is Malvolio’s sudden change of character and clothes. Furthermore, Feste, who acts as a professional fool in the play, turns out to be a bright and wise character, against the expectations of the readers. Without these important elements where the characters show to be entirely different on the outside than on the inside, the play would be less intriguing, and moreover, they are essential to develop major scenes.
Theatre is a complex art that attempts to weave stories of varying degrees of intricacies with the hope that feelings will be elicited from the audience. Samuel Beckett’s most famous work in the theatre world, however, is Waiting for Godot, the play in which, according to well-known Irish critic Vivian Mercier, “nothing happens, twice.” Beckett pioneered many different levels of groundbreaking and avant-garde theatre and had a large influence on the section of the modern idea of presentational theatre as opposed to the representational. His career seemingly marks the end of modernism in theatre and the creation of what is known as the “Theatre of the Absurd.”
It comprises of one act. In the content play of “Trifles”, male and female characters are plainly introduced as a binary pair of ‘unrivaled’ vs. ‘substandard’.
In I Henry IV and II Henry IV, William Shakespeare brings together drama and comedy to create two of the most compelling history plays ever written. Many of Shakespeare's other works are nearly absolute in their adherence to either the comic or tragic traditions, but in the two Henry IV plays Shakespeare combines comedy and drama in ways that seem to bring a certain realism to his characters, and thus the plays. The present essay is an examination of the various and significant effects that Shakespeare's comedic scenes have on I Henry IV and II Henry IV. The Diversity of Society
Comedy and tragedy would not seem to mix well, as they have opposite conclusions of happiness or sadness. To have comic and tragic plots within one play, then, can be argued as being too distinct to be coherent. In The Insatiate Countess, however, it is the differences between the tragic plot of the countess, Isabella, and the comic plot of Abigail and Thais, that strengthen the play’s message supporting loyalty in friendship.
Complete mastery of a language is challenging for most people, but if one does master it, it can be useful in life. However, it is not in the case for Cyrano, the protagonist in the famous comedy, Cyrano de Bergerac, by Edmond Rostand. Cyrano is a French soldier who can create figurative language with a blink of an eye and De Guiche, Cyrano’s colonel, is also a witty person, but is not respected. In this play, Rostand argues that a person with the power of wit cannot conceal their own insecurities.
During the play Cyrano de Bergerac there are often very deep and depressing moments and to pick the audience up Edmund Rostand used humor. This is seen in all of the acts throughout the play and is one of the main uses of humor in the play. This is not the only use of humor in this play it is also used by Cyrano to hide his insecurities. Throughout the play, Cyrano makes fun of his own nose to make it seem like he is comfortable with it and so others can not make fun of it. Humor definitely plays an important role in Cyrano de Bergerac and through this essay, I will be examining the role of Humor in the play in depth.
“Good comedy is tragedy narrowly averted”: these words were spoken by Jonathon Bate and Eric Rasmussen in their publishing of ‘William Shakespeare: Complete Works’. They show how many elements of comedy could be interpreted as almost tragic. The comedy in Much Ado About Nothing is often created when the audience can see that something could go horribly wrong, however it is saved in the nick of time. A sense of relief and light-heartedness is created, as customarily comedy is known to end in a meeting of characters at a gleeful point in time or occasion; most frequently with a wedding.
At first glance or giving a slight ear to the two plays “Trifles” and “Othello” the differences can be very noticeable. “Othello” was written by a man William Shakespeare and “Trifles” by a women Susan Glaspell. While Glaspell authored her play in the twentieth century, Shakespeare on the other hand penned his play in the seventeenth century. “Trifles” theme dealt with isolation whereas jealousy was the theme in “Othello”. When taking a closer look and compare the two the use of verbal irony, situational irony, and dramatic irony are used in the same way to keep the audience intrigued and full of suspense.
Without doubt, Edgar Allan Poe’s story is one of the author’s masterpiece. The story is an exhibit of artistic genius with various literary features well incorporated. Among them, irony, defined as, “A figure of speech which is a contradiction or incongruity between what is expected and what actually occurs”, is the most evident. Allan Poe demonstrates the use of various types of irony throughout the play, which he uses to pass the intended message to the audience.
"Nowadays the plays' meaning is usually blurred by the fact that the actor plays to the audiences hearts. The figures portrayed are foisted on the audience and are falsified in the process. Contrary to present custom they ought to be presented quite coldly, classically and objectively. For they are not matter for empathy; they are there to be understood and politely added
The story Don Quixote is a burlesque, mock epic of the romances of chivalry, in which Cervantes teaches the reader the truth by creating laughter that ridicules. Through the protagonist, he succeeds in satirizing Spain’s obsession with the noble knights as being absurdly old fashioned. The dynamics of the comedy in this story are simple, Don Quixote believes the romances he has read and strives to live them out, and it is his actions and the situations that he finds himself in during his adventures that make the reader laugh. We can define comedy as something that entertains the reader and that makes us want to laugh out loud and Cervantes succeeds in doing this through his use of
Crying over spilled milk is silly, right? Worrying about the little, mundane things is pointless and a waste of time. In Susan Glaspell’s one-act play Trifles, she demonstrates how being sensitive to the subtle details can be vital to solving a mystery. Throughout the one-act play, Glaspell highlights the theme of gender roles through the women’s worries, irony, and symbolism.
Susan Glaspell’s play, Trifles, shows the importance of staging, gestures, and props to create the proper atmosphere of a play. Without the development of the proper atmosphere through directions from the author, the whole point of the play may be missed. Words definitely do not tell the whole story in Trifles - the dialog only complements the unspoken.
Satire is a specific classification of writing that occasionally makes utilization of realistic and performing expressions with the aim of scorning society into self-change. With social criticism being its fundamental objective, it uses dark sarcasm as its primary device to get the point across. Satire impacts people to reconsider themselves so as to alter senseless thoughts and behaviors. Different techniques are utilized in delivering the satirical impact, those of which use wit as their primary weapon. These methodologies mix the acing of matching unimportant and authentic matters as one joke, demonstrating compliment yet meaning the contrary to show ambiguity, and asking rhetorical questions. Moreover, the creator may downplay an issue keeping in mind the end goal to move the group of audience towards the genuine significance of the theme, antagonistically; distortion is utilized to bring down the effect of an issue to its lesser quality. Aggregately, these procedures are practiced to draw out the human follies and vices in society. In Molière 's Tartuffe and Jonathan Swift 's article A Modest Proposal, both diagonally condemn and criticize human conduct and the discernment we have towards others. Through a comedian conveyance, these creators offer an understanding past the apparently self-evident, and expect to enhance this flawed custom of one sidedness as opposed to disposing of it.