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Much Ado About Nothing
William Shakespeare
AQA English Literature – Unit 2 Dramatic Genres
Week 2 of Comedy Lesson 1 and 2

INTRODUCTION!
What is comedy?
TASK: In pairs or on your own Using the clip I am about to show you or
your own choices of comedies discuss and then answer the following
questions on aspects of comedy:
1.
2.
3.
4.

What are the common features?
How are the storylines generally structured?
What makes the storylines comic?
What types of comedy do you most enjoy?

Jot down notes and be ready to feedback on all points.

Remember: We are looking at Dramatic Comedy in this Unit. Whilst
modern day stand up-comedy may have some similarities it is a
different genre of comedy essentially.
What is comedy?
TASK: In pairs or on your own Using the clip I am about to show you or
In short:
your own choicescomedy is disorderand then answer the following
At the heart of of comedies discuss (so inversion of the normal
questions on aspects of comedy:

order of society) which may be funny or threatening. This
disorder1. overcomethe common return to normal.
is What are and things features?

2. How are the storylines generally structured?
Beyond the What makes the storylinesidea that human life and
3. laughter element is the comic?
experience are actuallyof comedy do you most enjoy? presented
4. What types are a charade and whenever

with a point of order humans have a natural ability to act
Jot down notes and be ready to feedback on all points.
foolish.
The structure can be summed up as exposition, complication
Remember: We are looking at Dramatic Comedy in this Unit. Whilst
and resolution.

modern day stand up-comedy may have some similarities it is a
different genre of comedy essentially.
•
•
•
•
•
•

TV shows- http://www.youtube.com/watch?v=9v2EjaujbZQ Alfie
http://www.youtube.com/watch?v=OutWeyHnc9Y Alfie joke
http://www.youtube.com/watch?v=WxB1gB6K-2A tate
TV shows 2http://www.youtube.com/watch?v=4QzcL0J9MWk tv clips
http://www.youtube.com/watch?v=yfl6Lu3xQW0 war

• Films- http://www.youtube.com/watch?v=6OLmxzmID3s clips
• Films 2- http://www.youtube.com/watch?v=9YUaQGEQ8-Q mean
girls
• Films 3• http://www.youtube.com/watch?v=iBFVCaLkbXM movies 2007
onwards
Characteristics of Dramatic Comedy
 Love as the driving force (love makes us foolish and makes us do foolish
things)
 That whilst there are serious difficulties to be faced, human beings have
a tendency to take themselves too seriously
 Makes fun of human beings using caricature
 Human endeavour as pretentious and ludicrous therefore needing to be
exposed as foolish.
 Expose foolishness of society’s customs & manners or an era’s rules and
laws this is (characters very often hold one opinion about societies rules
and customs but then undermine them)
 Exaggerations of stereotypes are often used
 Sometimes characters are placed in bizarre or absurd situations they
can not escape from – reflecting how we sometimes feel – that the
order of the world is a veneer and can easily be removed
 Seven deadly sins (in particular pride, lust and greed) are all prime
targets for satire within comic writing.

Is there a
serious side to
comedy?
Characteristics of Dramatic Comedy
 Love as the driving force (love makes us foolish and makes us do foolish
things)
 That whilst there are serious difficulties to be faced, human beings have
a tendency to take themselves too seriously
Life does using caricature
 Makes fun of human beingsnot always go to plan.
 Human endeavour as pretentious and ludicrous therefore needing to be
Comedy understands this and
exposed as foolish.
uses these difficulties to show
 Expose foolishnessus the folly customs & manners or an era’s rules and
of society’s of human beings
laws this is (characters their often hold one opinion about societies rules
and very behaviour. This is its
and customs but then undermine them)
very serious intent. By laughing
 Exaggerations of stereotypes are often used
at the misfortunes of characters
 Sometimes characters are placed in bizarre or absurd situations they
on stage, we how we sometimes
can not escape from – reflectingcontemplate our feel – that the
own weakness can realise removed
order of the world is a veneer and andeasily bewe
may do the lust and
 Seven deadly sins (in particular pride,same. greed) are all prime
targets for satire within comic writing.

Comedy ...no
laughing matter

Is there a
serious side to
comedy?
Stop and think
Within a comedy, there is always an overall movement towards happiness or fulfilment.

Many genres are characterised by a particular shape of action. Most obvious, perhaps, is
romantic comedy, which begins in discord and ends in accord […] The plots of many
romantic comedies also briefly contain, and all suggest, a time of harmony before the
disharmony. The feeling that there is a natural order of things to be returned to … Plays that
work towards a happy final synthesis are said to have a comic structure.
Mick Wallis and Simon Shepherd: Studying Plays (2010)
Beyond laughter and jesting, for both performers and audiences in the theatre, comedy
exists as a narrative form or structure. This form is based on the expectation that the
delightful temporary disorder of the tale will be resolved with reincorporation into normal
society.
Penny Gay: The Cambridge Introduction to Shakespeare’s Comedies (2008)
SOME HEAVY QUESTIONS TO START...

What is heavier, love or hate?
What is better to have, love or wealth?
What is more important, friends or family?
The Beginnings of Dramatic Comedy
In the 5th Century BC. Greek writers (such as
Sophocles) wrote a number of comedies that seemed
to establish some rules.

The Greek
word Komos
means a
revel or
celebration
The Beginnings of Dramatic Comedy
F.L. Lucas in Greek Drama for the Modern Reader summarises
these Greek rules:
1. Some character has a bright but often ridiculous idea
2. A chorus, sympathetic or hostile enters (this may be one
character)
3. There is a debate about the proposal
4. The chorus turns and address the audience directly
5. Series of farcical episodes arise
6. At the end there is a scene of revelling, such as a feast or
wedding
TASK: In groups, discuss and be ready to feed back.
These values are from a long time ago but...

Can any of them be applied to comedies you know well?
What connections can you see?
Are these statements about comedy still relevant?
The Greek Philosopher

Aristotle
...on Tragedy v Comedy
Tragedy: depicts the downfall of a basically good person through some fatal
error or misjudgement, producing suffering and insight on the part of the
protagonist and arousing pity and fear on the part of the audience. It and comedy
are two of the oldest forms of drama, hence the masks.


The fatal flaw of the tragic hero leads
to their downfall.



The bigger they are, the harder they fall
presenting the audience with a man of excessive
wealth or power, makes his eventual downfall
more tragic.



Tragic heroes fall victim to external pressures. Fate, evil spirits and manipulative
characters all play a hand in the hero’s downfall.
Comedy, from the Greek komoida:
a story of the rise in fortune of a sympathetic central character.


Imitation of the ordinary man (so not Kings, gods, nobility)



Laughing at ‘the species which is disgraceful’ – we laugh
when we witness the disgraceful behaviour of others,
behaviour we would not do ourselves but that we might
like to do.



Watching comedy must not be ‘painful or destructive’ –
whereas watching tragedy is more mentally anguishing.
Roman Comedy
The Romans (now around 50 BC) enjoyed comedy.
They developed the genre but knew they were indebted to the Greeks.
TASK: Look at the following conventions developed by Roman dramatists.
How many of them do you see in modern comedies?













Stereotypical characters (e.g. Young lovers, villain, grumpy old man)
Sub-plot
Unity of place (action takes place in one place)
Mistaken identity
Comical confusion of words (malapropism)
Lovable comic servants
Hidden characters
Extension Question: Do
Chance encounters and coincidence
you think any of the above
Asides to the audience
elements could be applied
Interlocking plots
to any Shakespearian
Division into acts and scenes
comedies you already
Long lost siblings or rivals returning
know?
Homework:
1.On the following slides are key
terms. Match these up to the
definitions you have been given on
your handout 1.

2.You then need to find examples of
at least 3 of the key terms from
Much Ado Nothing.
• Antagonist
•Bathos
•Bawdy
•Caricature
•Charade
•Chorus
•Conventions
•Disorder
•Double entendre
•Exposition,
complication and
resolution

•Farcical
•Folly
•Humanist
•Malapropism
•Parody
•Protagonist
•Pun
•Repartee
•Revel
•Slapstick
•Tragi-comedies
Comedy lesson 1 and 2

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Comedy lesson 1 and 2

  • 1. Much Ado About Nothing William Shakespeare AQA English Literature – Unit 2 Dramatic Genres Week 2 of Comedy Lesson 1 and 2 INTRODUCTION!
  • 2. What is comedy? TASK: In pairs or on your own Using the clip I am about to show you or your own choices of comedies discuss and then answer the following questions on aspects of comedy: 1. 2. 3. 4. What are the common features? How are the storylines generally structured? What makes the storylines comic? What types of comedy do you most enjoy? Jot down notes and be ready to feedback on all points. Remember: We are looking at Dramatic Comedy in this Unit. Whilst modern day stand up-comedy may have some similarities it is a different genre of comedy essentially.
  • 3. What is comedy? TASK: In pairs or on your own Using the clip I am about to show you or In short: your own choicescomedy is disorderand then answer the following At the heart of of comedies discuss (so inversion of the normal questions on aspects of comedy: order of society) which may be funny or threatening. This disorder1. overcomethe common return to normal. is What are and things features? 2. How are the storylines generally structured? Beyond the What makes the storylinesidea that human life and 3. laughter element is the comic? experience are actuallyof comedy do you most enjoy? presented 4. What types are a charade and whenever with a point of order humans have a natural ability to act Jot down notes and be ready to feedback on all points. foolish. The structure can be summed up as exposition, complication Remember: We are looking at Dramatic Comedy in this Unit. Whilst and resolution. modern day stand up-comedy may have some similarities it is a different genre of comedy essentially.
  • 4. • • • • • • TV shows- http://www.youtube.com/watch?v=9v2EjaujbZQ Alfie http://www.youtube.com/watch?v=OutWeyHnc9Y Alfie joke http://www.youtube.com/watch?v=WxB1gB6K-2A tate TV shows 2http://www.youtube.com/watch?v=4QzcL0J9MWk tv clips http://www.youtube.com/watch?v=yfl6Lu3xQW0 war • Films- http://www.youtube.com/watch?v=6OLmxzmID3s clips • Films 2- http://www.youtube.com/watch?v=9YUaQGEQ8-Q mean girls • Films 3• http://www.youtube.com/watch?v=iBFVCaLkbXM movies 2007 onwards
  • 5. Characteristics of Dramatic Comedy  Love as the driving force (love makes us foolish and makes us do foolish things)  That whilst there are serious difficulties to be faced, human beings have a tendency to take themselves too seriously  Makes fun of human beings using caricature  Human endeavour as pretentious and ludicrous therefore needing to be exposed as foolish.  Expose foolishness of society’s customs & manners or an era’s rules and laws this is (characters very often hold one opinion about societies rules and customs but then undermine them)  Exaggerations of stereotypes are often used  Sometimes characters are placed in bizarre or absurd situations they can not escape from – reflecting how we sometimes feel – that the order of the world is a veneer and can easily be removed  Seven deadly sins (in particular pride, lust and greed) are all prime targets for satire within comic writing. Is there a serious side to comedy?
  • 6. Characteristics of Dramatic Comedy  Love as the driving force (love makes us foolish and makes us do foolish things)  That whilst there are serious difficulties to be faced, human beings have a tendency to take themselves too seriously Life does using caricature  Makes fun of human beingsnot always go to plan.  Human endeavour as pretentious and ludicrous therefore needing to be Comedy understands this and exposed as foolish. uses these difficulties to show  Expose foolishnessus the folly customs & manners or an era’s rules and of society’s of human beings laws this is (characters their often hold one opinion about societies rules and very behaviour. This is its and customs but then undermine them) very serious intent. By laughing  Exaggerations of stereotypes are often used at the misfortunes of characters  Sometimes characters are placed in bizarre or absurd situations they on stage, we how we sometimes can not escape from – reflectingcontemplate our feel – that the own weakness can realise removed order of the world is a veneer and andeasily bewe may do the lust and  Seven deadly sins (in particular pride,same. greed) are all prime targets for satire within comic writing. Comedy ...no laughing matter Is there a serious side to comedy?
  • 7. Stop and think Within a comedy, there is always an overall movement towards happiness or fulfilment. Many genres are characterised by a particular shape of action. Most obvious, perhaps, is romantic comedy, which begins in discord and ends in accord […] The plots of many romantic comedies also briefly contain, and all suggest, a time of harmony before the disharmony. The feeling that there is a natural order of things to be returned to … Plays that work towards a happy final synthesis are said to have a comic structure. Mick Wallis and Simon Shepherd: Studying Plays (2010) Beyond laughter and jesting, for both performers and audiences in the theatre, comedy exists as a narrative form or structure. This form is based on the expectation that the delightful temporary disorder of the tale will be resolved with reincorporation into normal society. Penny Gay: The Cambridge Introduction to Shakespeare’s Comedies (2008)
  • 8. SOME HEAVY QUESTIONS TO START... What is heavier, love or hate? What is better to have, love or wealth? What is more important, friends or family?
  • 9. The Beginnings of Dramatic Comedy In the 5th Century BC. Greek writers (such as Sophocles) wrote a number of comedies that seemed to establish some rules. The Greek word Komos means a revel or celebration
  • 10. The Beginnings of Dramatic Comedy F.L. Lucas in Greek Drama for the Modern Reader summarises these Greek rules: 1. Some character has a bright but often ridiculous idea 2. A chorus, sympathetic or hostile enters (this may be one character) 3. There is a debate about the proposal 4. The chorus turns and address the audience directly 5. Series of farcical episodes arise 6. At the end there is a scene of revelling, such as a feast or wedding TASK: In groups, discuss and be ready to feed back. These values are from a long time ago but... Can any of them be applied to comedies you know well? What connections can you see? Are these statements about comedy still relevant?
  • 11. The Greek Philosopher Aristotle ...on Tragedy v Comedy Tragedy: depicts the downfall of a basically good person through some fatal error or misjudgement, producing suffering and insight on the part of the protagonist and arousing pity and fear on the part of the audience. It and comedy are two of the oldest forms of drama, hence the masks.  The fatal flaw of the tragic hero leads to their downfall.  The bigger they are, the harder they fall presenting the audience with a man of excessive wealth or power, makes his eventual downfall more tragic.  Tragic heroes fall victim to external pressures. Fate, evil spirits and manipulative characters all play a hand in the hero’s downfall.
  • 12. Comedy, from the Greek komoida: a story of the rise in fortune of a sympathetic central character.  Imitation of the ordinary man (so not Kings, gods, nobility)  Laughing at ‘the species which is disgraceful’ – we laugh when we witness the disgraceful behaviour of others, behaviour we would not do ourselves but that we might like to do.  Watching comedy must not be ‘painful or destructive’ – whereas watching tragedy is more mentally anguishing.
  • 13. Roman Comedy The Romans (now around 50 BC) enjoyed comedy. They developed the genre but knew they were indebted to the Greeks. TASK: Look at the following conventions developed by Roman dramatists. How many of them do you see in modern comedies?             Stereotypical characters (e.g. Young lovers, villain, grumpy old man) Sub-plot Unity of place (action takes place in one place) Mistaken identity Comical confusion of words (malapropism) Lovable comic servants Hidden characters Extension Question: Do Chance encounters and coincidence you think any of the above Asides to the audience elements could be applied Interlocking plots to any Shakespearian Division into acts and scenes comedies you already Long lost siblings or rivals returning know?
  • 14. Homework: 1.On the following slides are key terms. Match these up to the definitions you have been given on your handout 1. 2.You then need to find examples of at least 3 of the key terms from Much Ado Nothing.
  • 15. • Antagonist •Bathos •Bawdy •Caricature •Charade •Chorus •Conventions •Disorder •Double entendre •Exposition, complication and resolution •Farcical •Folly •Humanist •Malapropism •Parody •Protagonist •Pun •Repartee •Revel •Slapstick •Tragi-comedies

Notes de l'éditeur

  1. These values are still highly relevant when looking at later or contemporary comedy. For example you often get a character coming up with some mad-cap idea to save the world and a second character either supporting or disagreeing with them (just like the chorus in Greek theatre). Although we, the audience, usually realise their idea is foolish we usually support them and are sympathetic towards them. The chorus might turn to the audience directly – BBC series Miranda is very good at making use of this convention. Farcical episodes are very similar to Only Fools and Horses or Dad’s Army.Lots of modern comedy ends with celebration as in Greek comedy.
  2. Terms, bathoshttp://tvtropes.org/pmwiki/pmwiki.php/Main/Bathos