I’m Going! A Comedy in One Act by Tristan Bernard

Frances Gasparino of Rochester Institute of Technology suggests “the generative methodology offers the capability for the jokes and segments… to be analyzed against Burkean theory of comedic enlightenment. By looking to show that a means-end joke is an appropriate way in which to convey a message it would be seen that the message… would not be eclipsed by… the underlying message, to question the media and not take what is said for fact [got] across to the audience.” This tool of comedic critique can be dually entertaining as well as enlightening. The seemingly realistic script coupled with the serious expressions and tone of the actors creates the perfect milieu to reach the intellectual viewer as well as the average, blue-collar viewer; thus, increasing their total

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.

“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.

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.

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.

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.

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.

"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

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.

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

The play "Waiting for Godot” performed at the NYU Skirball Center for the Performing Arts provides an impressive adaptation of Samuel Beckett’s original work. First off, the Irish theatrical troupe, Gare St Lazare, is one of the foremost specialist on Beckett’s work, which includes modern interpretations of his work in “Waiting for Godot. This production combines a strong does of slapstick comedy, which is typically found in the way Vladimir (Nathan Lane) and Estragon (Bill Irwin) are often seen physically interacting with each other when taking off boots, running about the circular stage, and other back-slapping styles of “Laurel and Hardy” methods of interaction. In comparison, Beckett’s play tends to reveal the absurdity of poverty of the two men, which is depicted in a more serious depiction of their wretched lives. For instance, in one scene Beckett’s Vladimir is more prone to somber bouts of violence in the original play: “Enter Vladimir, somber. He shoulders Lucky out of his way, kicks over the stool, comes and goes agitatedly” (36). In the Gare St Lazare production, the slapstick style of comedy is far less violent in terms of projecting a more comedic view of poverty in the dire circumstances portrayed by Lane’s portrayal of Vladimir. However, there are some elements of the absurd, which are dictated by the presentation of Beckett’s play in a smaller venue, such as the Skirball Theater at New York University.

The first thing to address before we dive too deeply into the exploration of comedy and farce specifically in A Sentimental Journey, we must first dissect what is meant by the term “farce” itself. The Concise Oxford Dictionary of Literary Terms describes it as ‘a kind

A Contrast and Comparison of I’m Going! A Comedy in One Act. Vs. The Proposal