Shakespeare’s tragicomedies

Dillon, Janette

doi:10.1017/ccol9780521886321.012

Cited by 4 publications

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“…Just as we noted above the possibility of a 'non-destructive' conception of tragedy (Takeda), so the category which has been deployed by Shakespearean scholars, 'tragicomedy', invites a further emancipation from classical categories. The term specifies the four 'last plays' or romances, are labelled 'tragicomedies' (Dillon 2010); it has been extended to include other plays in the canon, such as the middle comedies; finally (and one might say contentiously) it describes Shakespeare's 'vision' as a whole (Hartwig 1972).…”

Section: Further Dramatising the Theodramamentioning

confidence: 99%

The Drama of the World, the Drama of Theology

Kirwan

2022

Religions

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Hans Urs von Balthasar speaks of a diversity of contemporary philosophies moving ‘concentrically’ toward a ‘dramatic theology’. This article affirms the coherence of this claim, by establishing some of these convergences, beginning with Gaudium et Spes, and a number of theologians, pre-eminently Balthasar. Attention is then turned to the ‘Dramatic Theology’ project of the Innsbruck School, inspired by Raymund Schwager; a conception of theodrama which builds on Balthasar’s insight, while also utilising the mimetic theory of René Girard. The third section considers ways in which the insights of the Dramatic Theology project can be enhanced, by attention to three specific insights from within dramatic theory: the possibility of expanding the Aristotelian notion of ‘tragedy’; the borrowing of ‘overacceptance’ from theatrical improvision (Wells); a wider deployment of the unsettling category of ‘tragicomedy’, as applied to Shakespeare. The convergence of these insights on ‘theodrama’ is demonstrated by a comment on the Girardian/mimetic significance of each. A distinction between Balthasar and Girard is suggested, with reference to Walter Brüggemann’s dual perspectives of ‘above the fray’ and within the fray’.

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Section: Further Dramatising the Theodramamentioning

confidence: 99%

The Drama of the World, the Drama of Theology

Kirwan

2022

Religions

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“…Thus, The Merchant of Venice cannot be simply classified among the comedies because it seems more a tragicomedy. For Janette Dillon (2010) Bassanio asks when the gentlemen will laugh; Jessica complains of tediousness, says that her house is a hell and she is sad during the whole play. Marjorie Garber, in Shakespeare after all (2004, p. 285) also points out that this uncomic atmosphere does not give much credit to the play to be a comedy.…”

Section: Is the Play A Comedy Or A Tragicomedy?mentioning

confidence: 99%

Is The Merchant of Venice a Comedy or a Tragicomedy?

Ludwig

2021

Let. Hoje (Online)

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This essay aims at discussing some issues in the play The Merchant of Venice, by William Shakespeare. Even though some may assume that the play is a comedy, the problem of its literary genre is a rather problematic issue today. Some critics debate its inclusion in the comedies, because it is not at all a funny play. The label ‘comedy’ did not suggest that it was a funny play in Shakespeare’s age. If some critics think that it is not a funny play, Shakespeare may have designed Shylock as a tragic character. In fact, the play’s effects of Shylock’s energy and tragic dimensions deeply influenced the audience in the moment when it was first staged. This essay first discusses the problem pathos and inwardness in Shylock’s speech. After that, it discusses the issue of literary genre and argues that it should be classified as a tragicomedy.

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Romance and Tragicomedy

Degenhardt¹,

Mulready²

2017

A New Companion to Renaissance Drama

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Shakespeare’s tragicomedies

Cited by 4 publications

References 0 publications

The Drama of the World, the Drama of Theology

The Drama of the World, the Drama of Theology

Is The Merchant of Venice a Comedy or a Tragicomedy?

Romance and Tragicomedy

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