Types of Comic Drama
See also: History of theatre- Ancient Greek comedy, as practiced by Aristophanes and Menander
- Ancient Roman comedy, as practiced by Plautus and Terence
- Ancient Indian comedy, as practiced in Sanskrit drama
- Burlesque, from Music hall and Vaudeville to Performance art
- Citizen comedy, as practiced by Thomas Dekker, Thomas Middleton and Ben Jonson
- Clowns such as Richard Tarlton, William Kempe and Robert Armin
- Comedy of humours, as practiced by Ben Jonson and George Chapman
- Comedy of intrigue, as practiced by Niccolò Machiavelli and Lope de Vega
- Comedy of manners, as practiced by Molière, William Wycherley and William Congreve
- Comedy of menace, as practiced by David Campton and Harold Pinter
- comédie larmoyante or 'tearful comedy', as practiced by Pierre-Claude Nivelle de La Chaussée and Louis-Sébastien Mercier
- Commedia dell'arte, as practiced in the twentieth-century by Dario Fo, Vsevolod Meyerhold and Jacques Copeau
- Farce, from Georges Feydeau to Joe Orton and Alan Ayckbourn
- Jester
- Laughing comedy, as practiced by Oliver Goldsmith and Richard Brinsley Sheridan
- Restoration comedy, as practiced by George Etherege, Aphra Behn and John Vanbrugh
- Sentimental comedy, as practiced by Colley Cibber and Richard Steele
- Shakespearean comedy, as practiced by William Shakespeare
- Dadaist and Surrealist performance, usually in cabaret form
- Theatre of the Absurd, used by some to describe Samuel Beckett, Harold Pinter, Jean Genet and Eugène Ionesco
Read more about this topic: Comedy (drama)
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“Our children evaluate themselves based on the opinions we have of them. When we use harsh words, biting comments, and a sarcastic tone of voice, we plant the seeds of self-doubt in their developing minds.... Children who receive a steady diet of these types of messages end up feeling powerless, inadequate, and unimportant. They start to believe that they are bad, and that they can never do enough.”
—Stephanie Martson (20th century)
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—Mother Jones (1830–1930)
“The comic is the perception of the opposite; humor is the feeling of it.”
—Umberto Eco (b. 1932)
“Our true history is scarcely ever deciphered by others. The chief part of the drama is a monologue, or rather an intimate debate between God, our conscience, and ourselves. Tears, griefs, depressions, disappointments, irritations, good and evil thoughts, decisions, uncertainties, deliberations—all these belong to our secret, and are almost all incommunicable and intransmissible, even when we try to speak of them, and even when we write them down.”
—Henri-Frédéric Amiel (1821–1881)