Comic Dramas


Book Description




Laugh Lines


Book Description

This one-of-a-kind anthology features thirty-six hilarious short plays by major American playwrights and emerging new voices, all guaranteed to send readers and audiences into peals of laughter. From the surrealistic wit of Steve Martin's "The Zig-Zag Woman" to the biting political satire of Steven Dietz's "The Spot," from Christopher Durang's wonderfully loopy "Wanda's Visit" to Shel Silverstein's supremely twisted "The Best Daddy," there's something in here to make everyone laugh. There are plays for casts of all sizes, from monologues to large ensembles, with diverse and challenging roles for actors of every age and type. Even the titles are funny: Mark O'Donnell's "There Shall Be No Bottom (a bad play for worse actors)," Elaine May's "The Way of All Fish," and Alan Ball's "Your Mother's Butt." A bonanza for theatergoers, performers, and comedy fans, Laugh Lines will bring down the house. From the Trade Paperback edition.










Drama: A Graphic Novel


Book Description

From Raina Telgemeier, the #1 New York Times bestselling, multiple Eisner Award-winning author of Smile and Sisters! Callie loves theater. And while she would totally try out for her middle school's production of Moon over Mississippi, she can't really sing. Instead she's the set designer for the drama department's stage crew, and this year she's determined to create a set worthy of Broadway on a middle-school budget. But how can she, when she doesn't know much about carpentry, ticket sales are down, and the crew members are having trouble working together? Not to mention the onstage AND offstage drama that occurs once the actors are chosen. And when two cute brothers enter the picture, things get even crazier!




Comic Drama


Book Description

Ever since comedies were first performed in the ancient world, the definition of the term ‘comedy’ has been debated by both playwrights and critics. Originally published in 1978, this volume does not attempt a precise definition, but reviews the various interpretations that have been put forward through the ages, taking as evidence important theoretical writings as well as the plays themselves, and pointing out not only common features but also notable exceptions. The comic drama of Western Europe since the Renaissance is here surveyed in a series of chapters devoted principally to the tradition of European comedy as it developed in the major national literatures. The perspective is expanded to include, on the one hand, the origins in classical Greece and Rome and, on the other, the influence of cinema, radio and television comedy at the time – American as well as European. A structural basis for the volume as a whole is provided in an analytical introduction, where the essential problems are defined: such issues as the relationship between comedy and satire, comedy and farce; the distinction between laughter and smile; the respective claims of realism and fantasy; the role of plot and of dialogue; the place of sentiment and of moral teaching; and the possibility of comic catharsis. In this way the nature and evolution of European comedy is presented in an original and coherent form, not only offering an invaluable aid to students seeking guidance in literature of which they are not making a specialist study, but stimulating the more experienced reader to think again about familiar plays.










Slaves and Slavery in Ancient Greek Comic Drama


Book Description

How did audiences of ancient Greek comedy react to the spectacle of masters and slaves? If they were expected to laugh at a slave threatened with a beating by his master at one moment but laugh with him when they bantered familiarly at the next, what does this tell us about ancient Greek slavery? This volume presents ten essays by leading specialists in ancient Greek literature, culture and history, exploring the changing roles and representations of slaves in comic drama from Aristophanes at the height of the Athenian Empire to the New Comedy of Menander and the Hellenistic World. The contributors focus variously on individual comic dramas or on particular historical periods, analysing a wide range of textual, material-culture and comparative data for the practices of slavery and their representation on the ancient Greek comic stage.







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