Comedies of the Green World

2018 ◽  
pp. 519-536
Author(s):  
Lisa Hopkins
Keyword(s):  
New World ◽  
The Other ◽  
Twelfth Night ◽  
Midsummer Night's Dream ◽  
As You Like It ◽  
A Midsummer Night's Dream ◽  
First Contact ◽  
Green World

The green world is the space where different peoples meet each other: Illyrians and Messenians in Twelfth Night, humans and fairies in A Midsummer Night’s Dream, courtiers and country-dwellers in As You Like It. In essence these plays are all first contact narratives in which each group sheds light on the other. As You Like It offers echoes of the English colonial enterprise and the push to conquer Guiana. In A Midsummer Night’s Dream, the wood outside Athens proves to be the repository of England’s hidden self, containing its past, both classical and Celtic. Above all Twelfth Night offers images of both a new world and of a new. This essay traces the dynamics of the encounters in each of these three plays, but focusing on Twelfth Night, the comedy in which comedy itself is interrogated as it is forced to confront its own limits and functions.

North Star and Southern Cross: Shakespeare's Comedies in Australia, 1903–1904

2010 ◽  
Vol 26 (4) ◽  
pp. 383-394
Author(s):  
Veronica Kelly
Keyword(s):  
Vietnam War ◽  
Twelfth Night ◽  
Midsummer Night's Dream ◽  
As You Like It ◽  
Performance Traditions ◽  
A Midsummer Night's Dream ◽  
Costume Drama ◽  
The University

Michael Gow's celebrated play Away (1986) commences with a tatty school version of Shakespeare's A Midsummer Night's Dream. Set in the era of anti-Vietnam War protests, Away ironically salutes the iconic performance traditions of the ‘romantic’ Dream. At the Prince's Theatre, Manchester, in 1901–02, actor-manager Robert Courtneidge directed elaborate productions of this play and As You Like It, and under the management of George Musgrove toured them to Australia, where Twelfth Night was added. These productions' ensemble casting was central to Courtneidge's and Musgrove's ambitions for addressing the ‘distinctive geographies’ of regional taste. Veronica Kelly is an Honorary Research Advisor at the University of Queensland. Her book The Empire Actors: Stars of Australasian Costume Drama 1890s–1920s is published by Currency House (2010).

5. Shakespeare and comic form

2015 ◽  
Author(s):  
Stanley Wells
Keyword(s):  
Merchant Of Venice ◽  
Twelfth Night ◽  
Midsummer Night's Dream ◽  
Much Ado About Nothing ◽  
The Merchant Of Venice ◽  
As You Like It ◽  
Wide Range ◽  
A Midsummer Night's Dream ◽  
Love's Labour's Lost

Nearly half of Shakespeare’s plays, extending throughout his career, are written in comic form though they play a wide range of variations on it. ‘Shakespeare and comic form’ describes the five earliest as the lightest in tone, but in the five that follow, Shakespeare introduces an antagonist who must be expelled before the play can end happily. The later comedies were written for the Lord Chamberlain’s Men. The plays considered are The Two Gentlemen of Verona, The Taming of the Shrew, The Comedy of Errors, Love’s Labour’s Lost, A Midsummer Night’s Dream, The Merchant of Venice, The Merry Wives of Windsor, Much Ado About Nothing, As You Like It, and Twelfth Night.

Introduction: The Saturnalian Pattern

2011 ◽  
Author(s):  
C. L. Barber
Keyword(s):  
Twelfth Night ◽  
Midsummer Night's Dream ◽  
As You Like It ◽  
Henry Iv ◽  
A Midsummer Night's Dream ◽  
Love's Labour's Lost ◽  
Many Sources ◽  
Direct Use ◽  
Artistic Tradition

This chapter explores the connections between Shakespeare's comedies and Elizabethan holidays. It argues that the saturnalian pattern came to Shakespeare from many sources, both in social and artistic tradition. It appeared in the theatrical institution of clowning: the clown or Vice, when Shakespeare started to write, was a recognized anarchist who made aberration obvious by carrying release to absurd extremes. The cult of fools and folly, half social and half literary, embodied a similar polarization of experience. One could formulate the saturnalian pattern effectively by referring first to these traditions: Shakespeare's first completely masterful comic scenes were written for the clowns. But the festival occasion provides the clearest paradigm. It can illuminate not only those comedies where Shakespeare drew largely and directly on holiday motifs, like Love's Labour's Lost, A Midsummer Night's Dream, and Twelfth Night, but also plays where there is relatively little direct use of holiday, notably As You Like It and Henry IV.

scholarly journals Minor Characters in William Shakespeare's Twelfth Night and A Midsummer Night's Dream

2018 ◽  
Vol 26 (4) ◽  
pp. 122-130
Author(s):  
Zahraa Adnan Baqer
Keyword(s):  
The Other ◽  
Twelfth Night ◽  
Minor Characters ◽  
Midsummer Night's Dream ◽  
Other Hand ◽  
A Midsummer Night's Dream ◽  
Minor Character

This paper aims at discussing the role of the minor characters in William Shakespeare's Twelfth Night and A Midsummer Night's Dream. The study assumes that without the first group of minor characters, associated with Olivia, the play Twelfth Night would lose much of its humor, and without the second group, associated with Sebastian, the play would fall apart. On the other hand, in Shakespeare's A Midsummer Night's Dream minor characters play important roles, without them, the action dose not ran smoothly, or does not ran at all. The paper falls into three sections. Section one deals with the role of each minor character in Twelfth Night.  Section two focuses on the minor characters in A Midsummer Night's Dream. Section three is a conclusion which sums up the findings of the study.

Shakespeare Afoot

2018 ◽  
Author(s):  
John Kerrigan
Keyword(s):  
Early Modern ◽  
Richard Iii ◽  
Midsummer Night's Dream ◽  
As You Like It ◽  
A Midsummer Night's Dream ◽  
History Of ◽  
The Way

That Shakespeare adds a limp to the received characterization of Richard III is only the most conspicuous instance of his interest in how actors walked, ran, danced, and wandered. His attention to actors’ footwork, as an originating condition of performance, can be traced from Richard III through A Midsummer Night’s Dream and As You Like It into Macbeth, which is preoccupied with the topic and activity all the way to the protagonist’s melancholy conclusion that ‘Life’s but a walking shadow, a poor player | That struts and frets his hour upon the stage’. Drawing on classical and early modern accounts of how people walk and should walk, on ideas about time and prosody, and the experience of disability, this chapter cites episodes in the history of performance to show how actors, including Alleyn, Garrick, and Olivier, have worked with the opportunities to dramatize footwork that are provided by Shakespeare’s plays.

scholarly journals Deconstruction of the Construction: Derridean Study of Selected Shakespeare’s Comedies

2020 ◽  
Vol 23 (4) ◽  
pp. 90-120
Author(s):  
Seyyedeh Zahra Nozen ◽  
Pegah Sheikhalipour
Keyword(s):  
William Shakespeare ◽  
The Other ◽  
Literary Texts ◽  
Cultural Norms ◽  
Merchant Of Venice ◽  
Twelfth Night ◽  
The Merchant Of Venice ◽  
As You Like It ◽  
Historical Figure ◽  
The One

Since it was first introduced by Jacques Derrida in the late 1960s, deconstruction, as a method of reading, has been applied to literary texts by critics to reveal the hidden messages of texts and provide opportunities to rethink textual and cultural norms and conventions. While the western tradition has always prioritized tragedy over comedy due to its elegance and graveness, this research tends to focus on comedy as an entity in itself. Tragedy, especially in the Shakespearean sense of the word, has been considered by critics as a “construction” that is well-wrought and perfect in nature. Comedy, on the other hand, is notable for laughing at the laughable and mocking the unfit. Put differently, there has always been a latent, freewheeling “deconstruction” within comedy, especially the Shakespearean. There is, thus, an attempt here to prove, on the one hand, how comedy can be put forth not as an inferior genre but as a supplement to tragedy and, on the other, how comedy moves toward deconstruction and how it tends to subvert or deconstruct the constructions. Investigating a selection of Shakespeare’s comedies including As You Like It, The Merchant of Venice, and Twelfth Night, this study compares and contrasts Shakespearean comedy in light of some Derridean concepts. Along with it, Shakespearean ideas and concepts which are interconnected with those of Derrida are introduced and are buttressed through some meticulously chosen excerpts. Bearing in mind that Derrida is in a habit of deconstructing the so-called established creeds, Shakespeare’s texts are exposed to a deconstructive reading to examine how deceptively simple ideas are dealt with in his selected comedies. Also, as numerous enigmas have for years revolved around the personality of William Shakespeare, this study also aims to take up certain critical idioms of the Derridean canon, elaborate on them and then relate them to the selected plays from the Shakespearean oeuvre in order to disclose some personal aspects of Shakespeare’s personality as a historical figure.

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