Audiences may ponder the issue of fate the moment presented with Oedipus, afterlife once thinking of Antigone, and motherhood and marital life when confronted by Medea. Additional, modern takes on often offer this type of finishing as well. As an example, Tennessee Williams’ The Glass Menagerie enables audience members to consider the theme of love and romance, superimposed with relatives. At the end of the story, target audience members must contemplate if Tom needs to have ever helped bring Jim brand name Laura. This forces those to ask the typical question – is it far better to leave someone in obvious misery or risk the possibility of providing them with false expect? In addition , followers can request the even more general problem – is it wrong to hope? Finally, Arp’s state can be accurate because of skill. Even a awfully sad ending, if done beautifully, can leave the reader with a a sense of satisfaction rather than depression. This is correct with Shakespeare’s Hamlet. Rather than leaving the reader depressed, a final bloody scene of the perform, just before Hamlet is privileged as a slain warrior, leaves the audience certainly not depressed yet shocked with the beauty of it, the beauty of Hamlet’s valor and sacrifice. As a result, Arp’s declaration that good tragedy will not leave the audience depressed applies, but once again it can only be true using a caveat – successful theatre does not leave the audience depressed if the viewers is capable of appreciating the drama due to its unlikable personas, moral or perhaps greater topic, or magnificence.
Finally, Arp’s statement concludes with the rather straightforward: “Some funny takes on have sad endings. inches This affirmation further supports the argument that the distinctions between comedies and tragedies are not conveniently conceived. The simple fact that funny plays may well have miserable endings produces in mind the genre of situational humor, a genre which encouraged the ever-popular television sitcom. But before there were sitcoms, there was clearly Ibsen, in whose plays occur society generally draw the line between funny and misfortune. A Doll’s House, around the one experienced, can be seen as a funny play – a situational humor. One person knows a secret with regards to a woman besides making her do absurd issues so that her husband would not find out. This can be a stuff of 20th and 21st century sitcoms like The Simpsons and Relatives Guy, implies that people rarely took significantly, although they generally did incorporate painful cultural commentary for individuals who were cautious enough to point it. Still A Doll’s Residence would not be easily classified as a comedy. Perhaps one could possess called it that whether it ended with Torvald’s make an effort to dismiss the remarks he had made about Laura only seconds just before he found that the circumstance had been solved – Krogstad would not expose Nora’s indiscretion. At that point, we would have all jeered awkwardly, because Trovald and Nora and Krogstand and Christine may have happily removed into their next comedic misconception. But it would not end this way, as the ending signifies Nora leaves her family for good.
Hence, Arp’s statement regarding comedies and tragedies is one that cannot be acknowledged in whole, although he shares some regarding the matter. In the end, it can be said that the audience is the best determiner of whether a perform can be considered a comedy or maybe a tragedy – the audience as well as the company. What was a tragedy can become a comedy in the eyes of the audience member who quite heatedly disapprovals the character whom meets an untimely loss of life at the end of the play. And what was a comedy can be a misfortune at the hands of a company who highlights the doubtful ending or moral or perhaps point from the story, that could be a painful 1.