[PDF/EPUB] Tragedy and Comedy A Da Capo paperback By Walter Kerr
Alice incarnate of Iago to drive him to his tragic actOr take the
COMIC ENDINGS AND HE NAILED ITendings and he nailed it Moli re s Tartuffe a comedy I loved but felt flawed because of its deus ex machina ending The artificiality and arbitrariness of the endings of many comedies Kerr argues convincingly is really a mockery of all happy endings The very fun that is in them resides in the fact that they are patently not true Fixing the plot is easy he claims because any hack any amateur could do it if he cared to
The obvious fact of the matter is that Moli re who possessed asobvious fact of the matter is that Moli re who possessed as skill in plotting as any man who ever wrote comedy is simply being cavalier So it makes sense to assume that the artificial ending of Tartuffe was intentional and it was supposed to be preposterous There are many many other insights in this book such as the characteristics of comedy and how Chekhov s plays are not tragedies but comedies that make fun of the human intellect and this is a must read for anyone who wants to deepen their understanding of drama and its twin genres If you can find it at the library or a used copy somewhere I d get it and see if this is you cup of tea. Day stage He is one of the few critics able to instruct and entertain #without pedantry or playing to the balcony He has never been in better form than in this #pedantry or playing to the balcony He has never been in better form than in this which will benefit working dramatists literary theorists or the most casual theater goe.
Walter Kerr À 4 DownloadDavid s book get from him PleaseIf I #ever say i m going to read another #say I m going to read another which examines comedy please slap it from my hands I ve tried at least 3 Can t believe this is out of print I got this book back in my college days at the recommendation of Cornel West I was fortunate enough to take his class on tragicomedy and it does not disappoint Kerr an eminent drama critic of his day vivisects comedy and tragedy with so much insight that I could not help Underline SO Many Passages SO many passages delivered in the old school generalizingruminating tone that s irresistible for me One eg His main argument is that tragedy is intertwined with comedy or specifically that comedy is born of tragedy and hence secondary in the sense that the clown needs someone and something to make fun of His argument is much multifaceted and complex than that but that s the nutshell To uickly illustrate comedy s reliance on tragedy imagine an old lady in a wheel chai and send her spinning down a slope toward a stone wall FunnyThere is something terribly funny something uite terribly funny about the real old lady racing toward a wall Dare we laugh We want to The impul. In this superb critical study of tragedy and comedy their sources masks and meanings Walter
Kerr former drama critic for the New York Times examines masterpieces from Aristophanes and Shakespeare to Chekhovformer drama critic for the New York Times examines masterpieces from Aristophanes and Shakespeare to Chekhov Beckett His imaginative thesis that the Se is there dark beckoning conspiratorial We are even aware That If We Can Laugh The Laughter Will Be Deeper if we can laugh the laughter will be deeper located candid But see here now The old lady may be hurt She may be illed Comedy at is most penetrating derives from what we normally regard as tragicWhile he deploys his lyrically and philosophically pleasing argument he corrects some misconceptions of the genres along the way Hubris is one He argues that tragedy isn t really about a hero from grace because of hubris or other tragic flaws as #from grace because of hubris or other tragic flaws as understood in lit classes In tragedy the hero recklessly claims something divine and suffers but in the end may be granted that divinity or achieve something eually good Thus Arrogance even hubris may after a searing period of transformation end in sanctification as it does with OedipusAnd the whole idea of tragic flaw is not borne out by the evidence at hand it s substantiated only in Christian moral plays but not so much in Greek or even some of Renaissance plays such as Shakespeare s Othello or King Lear If Othello s tragic flaw was that he was innately jealous Kerr points out then why did it take the Wo masks the theater shows us are in actuality the same face worn by the same man reporting the same event is here worked out with typical seriousness and style His conclusions point toward a reevaluation of both the theater of the past and the present.