Posts Tagged ‘comedy’

Shakespeare: Much Ado About Nothing

January 27, 2016

51NjXWbSjBL._AA160_When I wrote about The Taming of the Shrew last month, I mentioned that I’d come late to the enjoyment of Shakespeare’s comedies, and considered some of the reasons. I’m back here again, having revisited Much Ado About Nothing, which I realise has some similarities with the former, particularly in the central male/ female relationship.

The idea of a comedy being a story – a drama – that ends happily, rather than something that you spend a lot of time laughing at, is a difficult one for us to take on board, although if tragedy is a story with an unhappy ending, then the contrast is logical. And in a Shakespearean comedy there is usually a good deal to laugh at, even if it isn’t the primary focus. And then there is the tragi-comedy – a drama of tragedy averted – as it was so succinctly put by my English teacher at school. There are certainly tragi-comic elements in Much Ado.

I don’t find the sharpness and the displays of wit between Beatrice and Benedick anywhere near as funny or as enjoyable as those between Petruchio and Katherine, though I do like the idea of their being so ‘up themselves’ that they can be manipulated into admitting that they fancy each other, love each other, and will marry. I do find the plot which leads to the public shaming of the chaste Hero quite a shocking element in a play which will eventually turn out to have a happy ending, and Claudio’s behaviour seems quite unforgivable: thank heaven for suspension of disbelief, I suppose. And there is a reminder that the first Elizabethans prized different things from us, found different things humorous, and different behaviours acceptable.

And then there’s Dogberry and the watch: I’ve always warmed to this bumbling crew with their hearts in the right place, and the whole happy ending depends on them, of course. Somehow their blundering and their malapropisms mean the mounties get their men, as it were, and we realise how much of the success of this play depends on overheard conversations, and who overhears them and what they do with that eavesdropped knowledge…

Because it’s a comedy, the punishment of the evil Don John is deferred beyond the end of the play: there is no real assurance that he will get what he deserves, unlike what is promised Iago, for example; again an instance of the difference between tragedy and comedy.

I have yet to see a performance of this play; I suspect I will enjoy it much more when it’s brought to life. I have a DVD of the recent RSC production which I must get around to watching.

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Shakespeare: Twelfth Night

December 20, 2015

51drgdDFhEL._AA160_A friend took me to task the other day for omitting Twelfth Night from the list of Shakespearean comedies I liked in my post on The Taming of the Shrew. I was so astonished at my own oversight that I went back to the play…

I recall a wonderful amateur production many years ago at my last school, when we were lucky to have a sufficiently talented group of actors to put on a production (I stage-managed) which went down very well. I think I’ve seen the play once or twice in the theatre, too, but not recently, so there’s something to look forward to one day.

Re-reading the play set me off thinking further about comedy. So much more seems to be riding on the language than in tragedy. Yes, in the tragedies there are the great set-piece speeches and soliloquies too, and I’m not disparaging these at all, but they accompany clear onstage action, and the emotions and responses expected from an audience are clear; in spite of any issues with the sevententh century language, a twenty-first century audience is in no doubt about what’s going on – the deaths and murders that are the stuff of tragedy are obvious.

There seem to me to be rather more obstacles to the appreciation of Shakespearean comedy, which I’ve been aware of in the theatre when I’ve often found myself much readier to laugh than most of the audience (which is fine, as I love laughing). The language is sharper, the exchanges between characters are more rapid, quick-fire wit is the key: a modern audience will surely understand if they have the time to take everything in, if they are as quick-witted as Shakespeare’s characters, but comprehension is often lost: puns, innuendos and obscenities that make up the core of the humour flash by too quickly. And then, there are the changes in the use of the language itself, and the different context of some of the exchanges, before we even get on to the action onstage.

What the actors themselves are up to may also be less easy to interpret: yes, there is cross-dressing and hiding and general silliness which one can usually understand, and there’s certainly lots of this in Twelfth Night, but one also needs to be clear about the very diferent attitudes to courtship and marriage, which are woven into the complexities of the plot.

 

With this re-reading, I was struck quite forcefully by the perfection of the plot of the play, the wonderful symmetry of the story of brother and sister lost in shipwrecks and ending up with weddings at the end, as well as the chaos of the many subplots and distractions so artfully woven together, the Malvolio story and the antics of the two drunken knights, and the Duke and Olivia story that is not to be, with the added complexity in the role of Cesario as the go-between…

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