Most comedies can be criticised for a lack of seriousness - Is this affirmation true or not?

By definition, comedy is a species of the dramatic genre which satirizes events, be them social or moral (moral conduct of a people, a social group). It does that by ridiculing characters, among which conflicts can arise. Comedy aims to straighten those hard (defects) social and human laughter, therefore, having a moralizing role. The main ways of achieving comic are irony, satire and sarcasm. used to create a ridiculous grotesque, illustrating both immoral aspects (standards) that happen in our society as well as human character dominated by strong moral.

The main artistic medium is comic, an aesthetic category includes situations and ridiculous characters, vices and habits, being sanctioned by laughing and watching it, so straighten them. Comedian illustrates the contrast between essence and appearance. of serious and ridiculous, between illusion and reality, between effort and its results, between goals and means, etc. Forms of comic are very different: the comic situation, comic character, comic language, manners comic, comic cover, comic name etc.

Comedy appeared as tragedy, in ancient Greece, manifesting as a joyful procession with the public in the end of a party organized in honor of the god Dionysus, with acid jokes, satirical songs with lyrics lines causing ironic laughter and fun needed for the revival of this God. Tragedy and comedy are the oldest theatrical events as they expressed their two most relevant specific reactions man, crying and laughing. Moreover, much later, Francois Rabelais would say that "laughter is proper to man." Aristophanes comedy is considered as the ancient Father, creator of satirical and political texts and puffs: "Wasps", "locks", "birds".

In ancient times, the comedy was defined in contrast with tragedy, being conceived as "rude imitation of men, but not an imitation of totality aspects offered by a lower nature, but those who make ridiculous part of ugliness. Ridicule can be defined as a blemish and ugliness of some sort, which is without pain or injury, as comedian mask is ugly and knead, but not to suffer. "(Aristotle). Depending on these "imitations" comedy can be: comedy of character , comedy of manners and comedy of situation (example: One Man Two Guvnors).

However, some people would argue that modern comedies lack that little bit of seriousness, which is specific to the dramatic genre. In order to agree with or decline this affirmation, I am going to review a highly popular play: "One Man, Two Guvnors" by Richard Bean. The play is actually an adaptation of the Italian act "Il servitore di due padroni" (Servant of Two Masters), a comedy which was released to the public in 1743. "One Man, Two Guvnors" got to see light of the day in 1963, as of 2011 being also available in e-book format as well as played at local UK Theaters.

The "One Man, Two Guvnors" play has Francis H. in the main role. In 1960s Brighton, an effortlessly befuddled Francis Henshall gets to be independently hired by two men – Roscoe Crabbe, a neighborhood hoodlum and Stanley Stubbers, a high society criminal. Francis tries to keep the two from gathering, with a specific end goal to evade each of them discovering that Francis is additionally meeting the tasks of the other person. Notwithstanding, it would appear Roscoe is truly Rachel Crabbe under the mask, her twin sibling Roscoe having been executed by her mate, who is none other than Stanley Stubbers. Blended in with these riotous occasions is Pauline Clench who was initially intended to wed Roscoe however is currently situated to steal away with over the top novice performing artist Alan Dangle. The play incorporates two broadened sections of spontaneous creation, where group of onlookers parts are elected into the play.

Landing in Bath as a major aspect of a mammoth UK visit, One Man Two Guvnors demonstrates that the generation joys much after the shadow that unique star James Corden has since a long time ago gone. Richard Bean's variant of Goldoni's A Servant of Two Masters is a paean to the vaudeville's of British satire past, of Carry On and Ealing Comedies. In excess of over two hours the crowd are conveyed into a condition of blissfull happiness, as we see Francis Henshall's endeavors to juggle work with two experts, the luxurious toff executioner Stanley Stubbers (Patrick Warner) and his mate Rachel Crabbe (Alicia Davies) who has camouflaged herself as her twin sibling Roscoe, who incidentally was the man Stanley has killed. With loveable hoodlums, curvy affection engages and an over the top on-screen character all fixings are set up to convey a shocking invention of English comic drama one thought lost.

This is my third time seeing the creation firstly with compelling James Corden and afterward the very Welsh, boyish Owain Arthur however Gavin Spokes is all the more than a match. Maybe to a lesser extent a characteristic entertainer then the other two, he may be the best performing artist of the three and he permeates Francis with a kind, balletic elegance that brings the crowd onside promptly. It's a brute of a part, the comic drama form of playing Hamlet, and he tosses himself around the stage with verve and vitality to smolder. Whether joshing with the gathering of people, tumbling over an easy chair or slamming himself against the head with a refuse can at no time does he flag by the window ornament call he looks noticeably depleted. Then, he suddenly vanquish.

One Man, Two Guvnors hits top-notch performance toward the end of the first half when Alfie (Michael Dylan), the 87 year old servant with ligament appendages and a tragic affinity for remaining behind forthcoming swung open entryways makes his door. Like Michael Frayn's comparative showstopping Act 2 in Noises Off the play would take its place on this set piece alone, often in theater drama is met with a well mannered snicker, here individuals are coming in the walkways. Nothing in the second half can match that crest along these lines it does tail off yet it doesn't make a difference, it has accomplished the rarest of things in enchanting a crowd of people.

Adam Penford's recovery of Nicholas Hytner's unique generation draws solid exhibitions in all cases yet specific champions are the two "experts" who wind up practically unavoidably with their trousers round their lower legs, Emma Barton as Dolly, the pneumatic adoration interest who murmurs wonderfully and Shaun Williamson who is leaving his Eastenders and Extras persona behind to make a pleasant little sideline in heading No. 1 voyages through huge West End shows.

To answer the question of whether modern comedies lack comedy or not can be difficult, especially as plays generally differ a lot in terms of plot. However, when it comes to comedies of situation such as "One Man, Two Guvnors", it can be said that seriousness is not something which appears to be present. The entire play leaves spectators with a smile on the face, and none of the characters seem to be too heavily worried about the situation.
On one side, this could be a positive aspect, as the reader/viewer is still entertained regardless of the fact that serious moments are extremely rare throughout the play. Francis Henshall seems to be quite caught in his servant role, yet he always acts subtly and manages to delight the audience. However, some critics would argue that such comedies could greatly benefit from more dramatic moments, as these would only build suspense and allow viewers to create a tighter bond with the characters.
In conclusion, it can be said that most comedies (especially modern ones) lack the seriousness and dramatics specific to the first operas of this genre. However, this aspect can be counter-balanced by an inventive play of the actors and a carefully-planned plot, as is the case of "One Man, Two Guvnors" play. Although this opera lacks the seriousness specific to dramatic genre, it still manages to teach viewers some aspects related to modern, quotidian life, all while amusing them in a significant manner.