000			02154 a2200325 4500
001			1351885340
005			20250317111624.0
008			250312042017GB eng
020			_a9781351885348
037			_bTaylor & Francis _cGBP 42.99 _fBB
040			_a01
041			_aeng
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072	7		_aLIT020000 _2bisac
072	7		_aLIT000000 _2bisac
072	7		_a809.2523 _2bisac
100	1		_aVerna A. Foster
245	1	0	_aName and Nature of Tragicomedy
250			_a1
260			_aOxford _bRoutledge _c20170302
300			_a232 p
520			_bFocusing on European tragicomedy from the early modern period to the theatre of the absurd, Verna Foster here argues for the independence of tragicomedy as a genre that perceives and communicates human experience differently from the various forms of tragedy, comedy, and the drame (serious drama that is neither comic nor tragic). Foster posits that, in the sense of the dramaturgical and emotional fusion of tragic and comic elements to create a distinguishable new genre, tragicomedy has emerged only twice in the history of drama. She argues that tragicomedy first emerged and was controversial in the Renaissance; and that it has in modern times replaced tragedy itself as the most serious and moving of all dramatic genres. In the first section of the book, the author analyzes the name 'tragicomedy' and the genre's problems of identity; then goes on to explore early modern tragicomedies by Shakespeare, Beaumont and Fletcher, and Massinger. A transitional chapter addresses cognate genres. The final section of the book focuses on modern tragicomedies by Ibsen, Chekhov, Synge, O'Casey, Williams, Ionesco, Beckett and Pinter. By exploring dramaturgical similarities between early modern and modern tragicomedies, Foster demonstrates the persistence of tragicomedy's generic markers and provides a more precise conceptual framework for the genre than has so far been available.
999			_c6014 _d6014