Two sets of twins are separated at birth by a storm at sea: a pair of masters (both named Antipholus) and a pair of servants (both named Dromio). Years later, the Antipholus-and-Dromio pair raised in Syracuse happen to visit Ephesus, where the respective twins reside—providing the basis for ongoing incidents of mistaken identity, within a lively plot of quarrels, arrests, and a grand courtroom denouement.
Based on a pair of comic dramas from ancient Rome, The Comedy of Errors presents a spectacle of pure farce in the spirit of utmost fun and—as the title suggests—hilarious confusion. One of Shakespeare's earliest dramatic efforts, the play abounds in his trademark conceits, puns, and other forms of fanciful wordplay. It also foreshadows his later and greatest comedies, offering students and scholars a valuable key to the playwright's development.
William Shakespeare (baptised 26 April 1564) was an English poet and playwright, widely regarded as the greatest writer in the English language and the world's pre-eminent dramatist. He is often called England's national poet and the "Bard of Avon" (or simply "The Bard"). His surviving works consist of 38 plays, 154 sonnets, two long narrative poems, and several other poems. His plays have been translated into every major living language, and are performed more often than those of any other playwright.
Shakespeare was born and raised in Stratford-upon-Avon. Scholars believe that he died on his fifty-second birthday, coinciding with St George’s Day.
At the age of 18 he married Anne Hathaway, who bore him three children: Susanna, and twins Hamnet and Judith. Between 1585 and 1592 he began a successful career in London as an actor, writer, and part owner of the playing company the Lord Chamberlain's Men, later known as the King's Men. He appears to have retired to Stratford around 1613, where he died three years later. Few records of Shakespeare's private life survive, and there has been considerable speculation about such matters as his sexuality, religious beliefs, and whether the works attributed to him were written by others.
Shakespeare produced most of his known work between 1590 and 1613. His early plays were mainly comedies and histories, genres he raised to the peak of sophistication and artistry by the end of the sixteenth century. Next he wrote mainly tragedies until about 1608, including Hamlet, King Lear, and Macbeth, considered some of the finest examples in the English language. In his last phase, he wrote tragicomedies, also known as romances, and collaborated with other playwrights. Many of his plays were published in editions of varying quality and accuracy during his lifetime, and in 1623, two of his former theatrical colleagues published the First Folio, a collected edition of his dramatic works that included all but two of the plays now recognised as Shakespeare's.
Shakespeare was a respected poet and playwright in his own day, but his reputation did not rise to its present heights until the nineteenth century. The Romantics, in particular, acclaimed Shakespeare's genius, and the Victorians hero-worshipped Shakespeare with a reverence that George Bernard Shaw called "bardolatry". In the twentieth century, his work was repeatedly adopted and rediscovered by new movements in scholarship and performance. His plays remain highly popular today and are consistently performed and reinterpreted in diverse cultural and political contexts throughout the world.
According to historians, Shakespeare wrote 37 plays and 154 sonnets throughout the span of his life. Shakespeare's writing average was 1.5 plays a year since he first started writing in 1589. There have been plays and sonnets attributed to Shakespeare that were not authentically written by the great master of language and literature.
Set in the Greek city of Ephesus, The Comedy of Errors tells the story of two sets of identical twins who were accidentally separated at birth.
Antipholus of Syracuse and his servant, Dromio of Syracuse, arrive in Ephesus, which turns out to be the home of their twin brothers, Antipholus of Ephesus and his servant, Dromio of Ephesus.
When the Syracusans encounter the friends and families of their twins, a series of wild mishaps based on mistaken identities lead to wrongful beatings, a near-seduction, the arrest of Antipholus of Ephesus, and false accusations of infidelity, theft, madness, and demonic possession. ...
تاریخ نخستین خوانش: روز شانزدهم ماه نوامبر سال 2015میلادی
عنوان: اشتباهات مضحک؛ نویسنده: ویلیام شکسپیر؛ به روایت و اقتباس: چارلز و مری لمب؛ مترجم: علی اکبر عبداللهی؛ مشخصات نشر تهران، نقش قلم، سال 1393، در 48ص، شابک 9789648008067؛ چاپ دیگر تهران، نقش قلم، انتشارات دبیر، 1396؛ در 48ص؛ چاپ دیگر، تهران، اکباتان، سال 1398، در 48ص؛ شابک: 9786229608241؛ موضوع: قصه های نویسندگان بریتانیا - سده 16م
برای نگارش نمایشنامه ی «کمدی اشتباهات مضحک»؛ از «دوقلوها» اثر «پلاتوس»، که ماخذ اصلی این نمایشنامه است، استفاده شده، تشابه دو خدمتکار دوقلو و اربابان دوقلو، و همچنین پرده ی سوم نمایشنامه، احتمالاً از نمایش «آمفیترو»، که باز اثر دیگری از «پلاتوس» است، اقتباس شده است؛ این نمایش در پنج پرده تدوین شده، و دارای سیزده شخصیت، و تعدادی سیاهی لشکر است؛
شخصیتهای اصلی نمایشنامه عبارتند از: «سولینوس: دوک افه سوس، حاکمی که عدل و داد را با ترحم معتدل میکند»؛ «اژئون: تاجر پیری از جزیره سیراکیوس»؛ «امیلیا: راهبه ای در شهر افه سوس که معلوم میشود زن اژئون است»؛ «آنتی فلوس افه سوس، و آنتی فلوس سیراکیوس: برادران دوقلو، فرزندان اژئون و امیلیا»؛ «درومیوی افه سوس و درومیوی سیراکیوس: برادران دوقلو و خدمتکاران آنتی فلوسها»؛ «آدریانا»؛ «لوسیانا»؛ «یک رقاصه»؛ «پینچ»؛ «بالتازار»؛ «آنجلو»؛ «زندانبانان»، «افسران»، «تاجران» و «پیشخدمتهای در خدمت دوک»؛
چکیده ای از نمایشنامه: به دلیل دشمنی طولانی بین اهالی دو شهر «افه سوس» و «سیراکیوس» در «روم غربی»، «اژئون» که بازرگانی مسن و اهل «سیراکیوس» است، در سفر به شهر رقیب و دشمن، به وسیله مردان «سولینوس» دستگیر و محکوم به مرگ میشود؛ هنگامی که «اژئون» در حضور دوک است، با تعریف زندگی غم آلود و پردرد خود، احساس ترحم دوک را برمیانگیزد، و از او یک روز مهلت میگیرد، تا پولی را که برای فدیه، و آزادسازی او مقرر شده، فراهم کند...؛
تاریخ بهنگام رسانی 27/06/1399هجری خورشیدی؛ 03/06/1400هجری خورشیدی؛ ا. شربیانی
This play is so light it practically floats, a marvelous, silly absurdity of mistaken identity that will put a smile on your face even the cranky ...may laugh. The plot was old when Shakespeare wrote it back in the 1590's. Still not just a set of twins in this comedy but two, the writer wanted to double the amusement in the convoluted story. Antipholus born in the Greek settled city of Syracuse in Sicily, in ancient times no specific year stated but somewhere between the start of the Christian era and the fifteenth century. He the Greek baby had a brother born on the same day and nearby about the same hour another set of twins arrive to a poor family. The father of Antipholus , Egeon, a wealthy merchant has a bright idea that isn't , buying the poor twins as companions and servants ( slaves) to his boys, here it gets quite confusing...the four children have only two names. Antipholus for the rich kids , Dromio for the not. Never contented in Syracuse the merchant along with his wife Emilia and all the twins travel by ship for an opportunity to make more money in a foreign city. So to scramble and eventually spice the narrative, you'll see why later, the vessel founders, in a storm , off the coast of what will be Albania, someday, the family becomes divided, all are rescued but by different boats and for many years the relatives don't know if the others are alive or dead...The father who has one of the twins and his son's servant, continues to search for his wife , the other child and companion, unsuccessful....Until Egeon lands in the Greek city in Asia Minor of Ephesus ( in modern day Turkey) bad mistake...the two towns of Syracuse and Ephesus are big rivals and hate the other. Death is the prescribed punishment for arrivals from the Sicilian town . Poor man alone, imprisoned, his son had gone before him in their never ending quest, not enough money to pay the fine so he must perish. Yet unknown to the father his second son is a prosperous merchant here, soon Antipholus of Syracuse joins the circus, if I may call it that as people confuse the twins , servants, and the boys from Syracuse think this is a friendly but crazy metropolis, full of witches, strange people greet them by their names , treated like close friends, given money, jewelry and women they have never seen before, call them husbands...And the men from Ephesus think something is amiss, errands are not performed properly, friends called them liars and thieves...wives say the husbands are insane. Turmoil follows turmoil, until the final awakening. A fun trifle and the incomparable writer begins to show his enormous talent and the reader... gets a brief break from the world's unrest.
The story opens with this guy, who is maybe about to be executed, telling a sad tale about the search for his missing family, in an effort to explain to the duke why he is illegally in his city. <--this shit is nuts, let me tell you. Buckle up.
So way back in the day, his lovely wife gives birth to identical TWIN boys. Because everyone knows Shakespeare fucking loves twins. They also buy a set of newborn identical twins so they can grow up and be slaves to their own twins. And in an act of complete idiocy, they name BOTH of their identical twin boys Antipholus, and BOTH of the identical twin slave boys Dromio.
Unbelievably, this causes problems in the future. I know! Who would have thought? The happy couple then goes on a cruise with the babies. And like most cruises, things go terribly wrong. Except instead of bedbugs or food poisoning, their ship starts to take on water.
The crew jumps in the boat meant for passengers and abandons them. That's what you fucking get for hopping on a cruise ship, Susan.
The couple ends up each taking one Antipholus & one Dromio apiece, and then lashing themselves to separate masts while the ship swirls around in the storm. And just when all seems lost?
What ho?! Boats in the distance?! But before their ship gets close to the boats, a big ass rock (or something) cuts the ship in half, sending Dad & his half of the twins towards the boat headed in one direction, whilst sending Mom and the other babies toward the boat headed in the opposite direction. NEVER TO SEE EACH OTHER AGAIN.
Stay with me here. Our story picks up 30 plus years later, with one set of Antipholus & Dromio showing up in the same town that the other set of Antipholus & Dromio grew up. What are they doing there, you ask? SEARCHING FOR THEIR LONG LOST TWINS. Now, it's not long before the visiting Antipholus & Dromio soon become convinced that this town is populated by witches and fairies.
Because how else are they to explain that everyone in this town thinks they know them? I mean, it's not like they're on the lookout for a town that has their identical twin goddamn brothers in it or anything. So, yeah. William left a few plot holes in his story. <--it's ok. Roll with it, baby.
Now, the other Antipholus & Dromio are plagued by all sorts of problems that these visiting doppelgangers have unknowingly caused as they bumble through their city. An angry merchant leads to a bit of jail time, and an angrier wife leads to an exorcism. The duke gets called in to referee, which allows the original old man to see the Antipholus & Dromio who don't know him. And that causes even more confusion. But then fate ushers in an abbess who has some pertinent information that might just solve the problem. PHEW!
I listened to the full-cast audio that included Alan Cox, Brendan Coyle, & David Tennant. I've said it before, but I highly recommend these full-cast audios because they're just chock full of fun stuff like sound effects and music that make the experience even better.
The Comedy of Errors is perfect, but it is perfection of a low order. In this early play, Shakespeare sets out to master the complex mechanisms and simple humor of farce, and succeeds completely.
It is enjoyable and well-crafted--like a really good episode of The Beverly Hillbillies or Three's Company--and represents an important early step on Shakespeare's journey as an absolute master of drama in all its forms.
I have always said that Much Ado is Shakespeare's funniest play -- but Comedy of Errors is just hilarious! It's pretty similar to Twelfth Night, so if you liked that I think you'll like COE.
This play is also drowning in early modern politics though. It draws on tensions surrounding empire, racism and immigration in the 1590s which, shockingly, remain just as relevant today as they did then.
Book Review 3 out of 5 stars to The Comedy of Errors, a comedy (seriously, did you think with that title it was one of his tragedies... oh my) published in 1594 by William Shakespeare. So... who knew Shakespeare invented the humor of mistaken identity? Wow! Think of this as a cross between any daytime television soap opera, "Dumb and Dumber" and "Dude, Where's My Car?"
And if you don't know what that clip is from, you have no watched the right kinds of movies. So go figure it out and come back to chat. That said... this is definitely one of the funniest plays he's written, as you'd expect. But it's not just a single set of twins, there are two pairs. And no one knows who is who. Sometimes you might get lost too. But that's what I've learned to love when reading Shakespeare. If it's a historical play or a tragedy, make it serious. If it's a comedy, then do whatever you'd like. I'll make up my own interpretation.
And that's what I did with this one. And when finished, I talked about it with some fellow students. We all agreed... I had the most interesting interpretation. And then when we got into class, the professor talked about what he thought it was about. And what do you know... I had the closest version. Woo Hoo! I'm good for something, I remember thinking to myself. On a serious note, this is worth a read if you want to get into more Shakespeare. Don't make it your first one tho... you'll regret it.
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“If she lives till doomsday, she'll burn a week longer than the whole world.” ― William Shakespeare, The Comedy of Errors, Act III.2
Look. It isn't brilliant Shakespeare, but it is worth the price of admission for just the banter, puns, etc. There really isn't a major character that jumps out. Perhaps, that is due to the constraints of the premise, but anyway. It was 80 pages of drama and I rather enjoyed it. I'm just not sure how much of it will stick (Like Hamlet, Othello, etc) years from now. If you are looking for top level dialogue, but not worried about plot or uncovering the meaning of life or the essential elements of humanity, this book might just be the thing.
Some of my favorite quotes:
― “He that commends me to mine own content Commends me to the thing I cannot get. I to the world am like a drop of water That in the ocean seeks another drop, 200 Who, falling there to find his fellow forth, Unseen, inquisitive, confounds himself: So I, to find a mother and a brother, In quest of them, unhappy, lose myself.” (Act I.2)
― “I to the world am like a drop of water That in the ocean seeks another drop, Who, falling there to find his fellow forth, Unseen, inquisitive, confounds himself.” (Act I.2)
― "A wretched soul bruised with adversity, We bid be quiet when we hear it cry; But were we burdened with like weight of pain, As much, or more, we should ourselves complain." (Act II.1.)
― "Every why hath a wherefore. (Act II.2)
― “Since mine own doors refuse to entertain me, I'll knock elsewhere, to see if they'll disdain me” (Act III.1)
― “If she lives till doomsday, she'll burn a week longer than the whole world.” (Act III.2)
― “Ill deeds is doubled with an evil word.” (Act III.2)
― "One of these men is Genius to the other; And so of these. Which is the natural man, And which the spirit? who deciphers them? " (Act V.1)
This review is a work in progress, as I am going to the Pop Up Globe in Auckland to see it next month. Really looking forward to it.
As far as reading online- I had a few chuckles, but I found it confusing. I'm sure All Will Become Clear on the night.
Edit: Overall I did enjoy the show which had been given a bit of modernistation - (the Syracusean pair arrived dressed as tourists & posed for selfies!) but remained true in it's essence. Lot of interaction with the audience! In spite of a great cast I thought the story dragged on a bit long & can see why this is not considered one of Shakespeare's great plays.
The ceiling near the front of the stage
View of the stage (taken from where we were sitting
“The Comedy of Errors” is regarded as a slight work of Shakespeare’s. As if the fact that it is a farce somehow diminishes it. That is ridiculous. Accept this play on its own terms. This early play of the Bard’s is one of Shakespeare’s shortest and quickest reads. There is not a lot of depth or subtext, and that is fine. I gave "The Comedy of Errors” a 3 star rating compared to other Shakespeare, not to literature as a whole. The Bard is in a class of his own. The Introduction by Frances Dolan (in this edition) is fine. It contains nothing earth shattering, but some nice points are made, especially about the use of violence in comedy. As mentioned, this play is a farce, lots of mistaken identity, near misses, etc. Two sets of twins (unknown to the other) are in the same place at the same time. The mayhem reaches a fever pitch in the delightful Act IV. “The Comedy of Errors” when well done would be a lot of fun in performance. Although it is a bit simple, I really enjoyed the minor subplot of Dromio of Syracuse running from the amorous attentions of a large kitchen maid that we never see. The fact that Shakespeare never lets us see this woman is genius as nothing could be funnier than the version of her each reader creates in their head. The same device was used to perfection in the sitcom “Frasier” in the character of the oft mentioned and never seen Maris. The text has a happy dénouement and conclusion, as farce must, and it is one of the swiftest in Shakespeare. Succinct, unquestioned, and done! In “The Comedy of Errors” one sees the budding that later blooms in Shakespeare’s mature works. And this play’s influence has been felt in dramatic literature as it clearly influences most of the great farces that followed it, from Feydeau’s “A Flea in her Ear” to TV’s aforementioned “Frasier”. The Pelican editions of Shakespeare contain some simple yet informative essays, “Theatrical World” & “The Texts of Shakespeare” that preface every play in this Pelican series. They are worth a read. As for the Pelican Shakespeare series, they are one of my two favorite editions since the scholarly research is usually top notch and the editions themselves look good as an aesthetic unit. It looks and feels like a play and this compliments the text's contents admirably. The Pelican series was recently reedited and has the latest scholarship on Shakespeare and his time period. Well priced and well worth it.
The shortest of his catalog, this is one of Shakespeare's earliest plays and a popular one during his lifetime. It is the only one, along with the Tempest, that follows the Aristotelian structure of unity (same day, same place, unified plot). It is the story of mistaken identity which is all resolved in time for dinner. It has its moments, but it was not really a belly-laugh kind of play for me.
اساس "كمدى اشتباهات" مثل "رؤیای یک شب نیمه تابستان"، بر اشتباه گرفتن ها و جا به جا شدن هاست، شخصيت اول به جاى شخصيت دومى گرفته میشه و دومى به جاى سومى و اين كلاف سر در گم وضعيت مضحكى پديد میاره كه بار طنز نمايشنامه بر اونه. به نظرم اين شيوه در "رؤيا" هنرمندانه تر و طنازانه تر به كار گرفته شده تا كمدى اشتباهات، هر چند كمدى اشتباهات هم به قدر كافى مفرّح بود.
بعد التحریر: با دیدن فیلم اجرای نمایش در یوتیوب، متوجه شدم که کل کل های شخصیت ها قافیه دار بوده، و این خودش موجب خنده دارتر شدن میشه. ولی هم قافیه در ترجمه از دست رفته، و هم طنز ماجرا.
بعد بعد التحریر: شاید این که همه ی دیالوگ ها مقفّا باشه، چندان هم جالب نباشه. گفتگوهای طنز بین ارباب و نوکر یا بین دو متخاصم به صورت مقفّا خنده دارتر میشن، ولی نه گفتگوهای معمولی.
YouTube kanalımda Shakespeare'in hayatı, mutlaka okunması gereken kitapları ve kronolojik okuma sırası hakkında bilgi edinebilirsiniz: https://youtu.be/rGxh2RVjmNU
Yanlışlıklar içinde bulunmadan doğruluklara ulaşabilir miyiz? Yaptığımız hatalar kendi amaç çemberimizden uzaklaşmamıza neden olmuyor mu? Ama o çemberden uzaklaştığımız kadar da bu çemberin varlığının farkına varmaz mıyız?
Doğumumuzdan beri yanlış ve doğru adında iki yol öğretilir bize, Mavi Sakal'ın "İki yol var demiştim. Hangisini seçeyim?" sorusu gibi biz de hayatımızda pek çok kez iki yoldan birini seçmeye odaklanmışızdır, belki de bu iki yolun sonu da aynıdır. Fakat bu seçimlerin girdabı arasında insanların esas düşüncelerine aslında ne kadar az önem veriyoruzdur ve dış görünüş oltasına takılan bir balıktan ibaret oluyoruzdur. Büyük hikayeyi görmek uğruna yaptığımız bütün atılımlar bizi konudan uzaklaştırmaktan başka bir şeye yaramıyordur...
Dış görünüşlerin insan gözündeki dansı şizofreniktir. Yanlış dış görünüşlere kanmadan doğru iç görünüşlere ulaşamayacağımız kesindir. Belki de zikzaklı ve dengesiz yaşamlarımıza aynı şekilde dengesiz dış görünüşler transpoze etmek isteriz. Fakat bunu da yine karşımızdakini dinlemeden tamamen kendimiz konuşacak şekilde yaparız. Sadece kendimizin konuştuğu ses dalgaları, akşamdan kalmış düşünce sarhoşluğunun sabahki mide bulantısından başka bir şey olmayabilir çoğu zaman.
Sonra Shakespeare gelir, 8 kitap okudun benden der, ne öğrendin peki? diye sorar. İnsan ilişkilerinde konuşmanın bir sanat olduğu gibi dinlemenin de bir sanat olduğunu öğrenebildin mi? Dış görünüşte yılanların sık sık ve düzenli olarak değiştirdiği derinin yerine iç görünüşteki magmaya odaklanabildin mi? Sen de o magmada birileriyle yandın mı? Yanlışlıklarla kar��ılaşmadan bilince ve doğruya ulaşamayacağını da mı anlamadın? Proust da Kayıp Zamanın İzinde serisinde insanın verimli zaman geçirebilmesi için saçma sapan insanlarla takılıp zamanını harcaması gerektiğini söylememiş miydi? diye türlü türlü soru sorar Shakespeare.
Cevaplardan sonra değil aslında sorulardan sonra insan kişisel olarak gelişir. Bertrand Russell felsefenin tanımını yaparken; "Felsefe, onun sorularına kesin yanıtlar almak için değil, çünkü kural olarak kesin yanıtların doğruluğu bilinemez, soruların kendileri için öğrenilmelidir" demiş ya. Hah, evet işte! Ben de diyorum ki:
"Shakespeare, onun sorularına kesin yanıtlar almak için değil, çünkü kural olarak kesin yanıtların doğruluğu bilinemez, Shakespeare'in oyunlarının kendileri için öğrenilmelidir."
Bir edebiyat yemeği düşünün ve bu yemeğin çok sağlıklı göründüğünün farkındasınız. İçerisinde Yunan mitolojisi çorbası, İtalyan Edebiyatı ara sıcağı, insan ilişkileri ana yemeği, kadın-erkek çıkmazları içeceği ve dönemin siyasi karışıklıkları tatlısı var. İşte... Ben de Shakespeare okurken edebi olarak bu kadar doyuyorum.
şimdiye kadar okuduğum en eğlenceli shakespeare kitabıydı. tek sıkıntım olayın çabucak tatlıya bağlanması. ya ben o an çok dalgındım ve neler olduğunu kaçırdım veya roman kafasıyla düşündüğüm için öyle ilerlemesini bekledim.
What a wonderful play this was! And without doubt, this was my quickest read ever. It was hilarious and I couldn't help laughing aloud all along.
The key theme is mistaken identity and the chaos that ensues in the wake of that mistaken identity. It looks like Shakespeare was in love with the theme of mistaken identity which he used later in his comedy, Twelfth Night.
In this play, there are two sets of master and servant who are identical. In fact, the master pair and the servant pair are twins who have been estranged at birth. Neither one knows that he has a twin brother. In this light, only confusion can follow when the two set were thrown in the same city.
It was an entertaining read. And by far, this is the funniest Shakespearean play I have read. Enjoyed it.
Consta que foi a primeira peça escrita por Shakespeare, inspirada no teatro grego. Não se saiu mal; apesar de bastante previsível é leve, divertida e com umas alfinetadas que iria manter e aprimorar em obras futuras.
After the brilliance of The Taming of the Shrew with its pitch-perfect comedy of cruelty, The Comedy of Errors, Shakespeare’s (likely) follow-up, is a let-down that will probably appeal to uncouth readers with puritanical leanings more so than to enlightened and cultured readers, such as myself. TCoE is a slapstick farce involving a pair of twins (as in an actual pair of twins) separated at birth and the zaniness that ensues when the two sets'—each sporting a nobleman and a bawdy servant—paths cross in Ephesus. The play is one continuous “Who’s on 1st?” gag that irreverently jounces around domestic unrest and dirty puns. This is probably the most workman of the plays I’ve read by our hydrocephalic bard, but the careful reader can still manage to gleam a few tentative peeps of the inimitable mastery of the English language that indisputably defines Shakespeare as an artist wholly unto himself.
Aslında adı "Yanılgılar Komedyası" olan; fakat dilimize "The Comedy of Errors / Yanlışlıklar Komedyası" olarak geçen William Shakespeare'in mizah dolu oyunu oldukça zekice ve titizlikle yazılmış harika bir eser. Meşhur Shakespeare tesadüflerinin bulunduğu kitapta karakterlerin birbirleriyle karşıtırılmasıyla gelişen olayları okurken gülmekten yarılıyorsunuz. Gerçekten yazarın ne kadar yetenekli olduğu her bir satırda tekrar tekrar tanıklık ettiğiniz eserin Shakespeare'e başlamak için en ideal eserler arasında olduğunu söyleyebilirim.
Bugün ikinci defa okudum ve bir defa daha çok eğlenerek; keyif alarak okudum. Bazı sahnelerde kahkaha atmamak için kendimi zor tuttum. Hiç izlemedim ama okurken bu kadar keyif alınıyorsa izlemesine doyum olmamalı. Esinlendiği tiyatro olan Plautus'un eserini de okumuştum fakat kesinlikle Shakespeare kendine özgü bir dokunuş katmış.
This play relies on a good deal of violence for its humor, which upon reflection kind of makes me uncomfortable. Particularly because Shakespeare's timing coupled with the absurdity of the scenario--twin brothers separated at birth with the same name each have a twin slave separated at birth with the same name--is actually pretty funny. At least I think it is, but I also grew up laughing every time Bud Abbot slapped Lou Costello, so I'm probably conditioned to enjoy this stuff. That is, provided I don't think too much about it. I guess that's maybe the point with these comedies--not to think too much and just enjoy the silly spectacle. Or is it?
Maybe Shakespeare really was trying to get the audience to laugh and then go home, think it over, and feel guilty later. Maybe. He definitely brings up serious husband-wife issues in The Comedy of Errors. And he gives voice to some rather modern thoughts regarding gender relations, although these are easy to miss or minimize amidst the countering sexism--especially because the characters sometimes flip-flop. For example, see the Adriana of Act 2, Scene 1:
Adriana: Why should their liberty than ours be more?
Luciana: Because their business still lies out o' door.
Adriana: Look, when I serve him so, he takes it ill.
Luciana: O, know he is the bridle of your will.
Adriana: There's none but asses will be bridled so.
But later on, Adriana willingly takes the blame for her husband's madness for supposedly being too jealous and strict with him...which, of course, she had every reason to be considering he was off with a courtesan--something she forgives and forgets rather willingly in the end. Moral of the story? Wives: don't be too demanding and jealous, even if you have good cause. Yikes. Or are we to dismiss this conclusion along with everything else that's misunderstood once the play's absurd premise is resolved (i.e. when everyone finds out that these two men are not, in fact, the same man)? Maybe. If you're feeling generous.
Read this as the first out of ten Shakespeare plays for my class. And I can already tell it's going to be rough, because my professor provides very little on-topic discussion about what we're reading, so it's pretty much going to be up to me to read and analyze these on my own.
Honestly, reading Shakespeare is a lot easier than I remember, so this play was actually pretty simple to understand. The only issue, however, is that this play's plot is about mistaken identities, which made the characters soooo difficult to keep straight. I had to write down who did what in order to even be able to follow this. Overall, I didn't really gather anything meaningful out of this play. There was a lot of unnecessary abusiveness that's supposed to be comedic, and the wife of this story says things like "I'm not beautiful because my husband doesn't love me," so I was disappointed.
A story about two pair of twins (4 people in total) and mistaken identities. So, it's a comedy about the errors of not distinguishing between them (hence the title). This is not one of Shakespeare's best, but I enjoyed some parts. It made me laugh out loud at some points, which I guess is a good thing because this is more than 4 centuries old. The plot itself is ridiculous, but I don't think Shakespeare was going for something complex here.
Treba s vremena na vreme pročitati nešto od Šekspira zbog čitalačkog zdravlja, da se makar malo speru čovek čitalačke brljotine savremenosti. „Komedija pometnji”, kako su je preveli Živojinovići, zasigurno ne može da ima ono mesto koje ima „San letnje noći” ili „Kralj Lir”, ali je u svojoj celini jedna izvrsno skrojena drama, gde buja farsična gungula. Od antike znan, čuveni motiv (višestruke) zamene identiteta i razdvojenih bilazanaca (mada, ovde imamo dupliranje – po dva Antifola i dva Dromija – gospodara i slugu), ovde je dobio svoj renesansno razigrani, pa i uveseljavajući oblik, u kome blesne, doduše, čini se, ređe nego inače, i neka okrepljujuća dubokomislenost. Mnogo je ovde prostora ostavljeno, kako to i treba da bude, za dramsku igru i režijske pretumbacije, a uveren sam da bi ovakvi sižeji imali uspeha i kod ljudi kojima je pozorište sasvivm nepoznata teritorija – svi vole akciju, intrige, smešne nesporazume, verbalnu i fizičku komiku.
A ono što znam da ću poneti iz ovog čitanja jeste niz dosetljivih i uvredljivih replika zaljubljenog Dromija iz Sirakuze, gde preuveličano portretiše kuvaricu Sežanu – vlasnicu njegova srca – ali tako da pravi karnevalsku geogfiju tela, gde ceo (ondašnji) globus opisuje deo njenog tela, čineći je u toj igri još nestvarnijom – od Irske do Indije i Amerike. I kad je još Šekspir znao da je telo tekst! Ničeg novog pod suncem, samo su teorijske lego-kockice drukčije poslagane. U telu teksta.
The Bard is a master of irony, wit and plays on words. This play is a light, funny and clever story with cute allusions to life, loyalty, marriage, love and commerce. I always enjoy the "No Fear" versions so I can make sense of the Old English.