A dramatic work is described as a play. The play is the German-speaking counterpart to comedy, just as the trauers game is the counterpart to tragedy. The term is often used synonymously for comedy and has been used in this use since 1536. As a German-language translation of the comedy, however, Johann Christoph Gottsched’s theoretical treatises on the art of poetry had been unanimous in the 18th century. Often, the attempt was then made to distinguish between these two forms – comedy and play. The play of the game is then regarded as a typical German form of comedy, which mainly shows bourgeois figures and a fine comedy, with realistic actions being the main focus. A well-known example in this tradition is Minna von Barnhelm of the poet Gotthold Ephraim Lessing. Forms, which are related to the play of the play, but represent the coarser genres of comedic theater, are Posse and Schwank (comparative: bourgeois mourning).

The play-play thus always means a form of comedy, but it differs in that the comedy’s comedy comes from the comedy, but the play is primarily based on humor. Comic means the pointed play with the expectations or values ​​of the audience or the changing of known proportions for the purpose of the wit (for example, Klamauk, disguises, etc.), while the humor in the play of the play is rather a distanced attitude toward the theme shown Happening on the stage (eg entanglements of the protagonists).

Many comedies are therefore fun because they make things ridiculous. People are portrayed as exaggerated, or go into comical situations because of their inadequacies. Often a comedian appeared in such comedies, the characteristics of which had already been determined in advance, and which was characterized by improper behavior, stupidity, or even cunning. In the 19th century the clown developed from these plants.

The play is funny, however, because the spectator is aware of the entanglement of the protagonists of the play, and is exhilarated by their arrogance and their human impulses, whereby the characters of the play are mostly individual characters, and are not funny figures that characterize the essence of the Comedies at that time often coined. It was Gottsched who rejected such a jolly person. In 1737 an allegorical play by Friederike Caroline Neuber in Leipzig was followed by the banishment of Hanswurst, a derby-comic figure of the German-language Stegreifkomedy.

Since the play is not based primarily on comedy, but on a distant humor, for most works, a balancing act between fun and sadness is usually characteristic. This means that not only the comic and the entertaining play a part in the play, but also the emotion of the audience. In this context one speaks also of touching comedies, that is, of comedies, which should stir the spectator to tears (cf stirring).

Important: Basically, the concept of gambling is simply the German term for the Greek word “comedy”. The presented differences and the following characteristics are therefore not to be found in every piece, but only “a” possible approach to the distinction between the two forms. Consequently, it must be checked whether the listed characteristics are available in the respective plant.
Characteristics of the game
Lusts are a form of drama. The drama is fundamentally divided into tragedy and comedy. Such games are a subspecies of comedy, or, which is much more frequently associated with the term, simply a synonymous term for ebendiese. If the play is distinguished from the comedy, the following are usually the following.
The funny figure disappears from the works or is drawn much more finely and more differently, loses the grotesque and is shown in the context of the bourgeois everyday life. This means that the figurative staff of the musical play consists above all of individual – that is, not defined – characters.
As a result, the musical as well as the body-accented elements of the theater, which are often found in comedies, are placed in the background and are replaced by an increased concentration on the dialogues of the acting figures. Furthermore, a realistic action is usually the focus.
Lustspiele mostly tell of bourgeois protagonists and not of the life of noblemen. Thematically, it is mainly about bourgeois issues such as money, marriage (money marriage), love, inheritance or economic problems. Thus the genre is also a form of expression of a self-conscious bourgeoisie after the French Revolution (1789).
As a demarcation from the comedy often the distant humor, which is different from the comedy is led. Furthermore, there is no mocking (comedy) or a humor (posse), but cheerfulness in the foreground.
From these plants developed also the touching or even lingering play. This was represented above all in the sensitivity, a current that arose from the Enlightenment. Here, the comic elements were strongly displaced by the sensitive. Lessing vehemently rejected such an expression and argued that such a work would miss the essence of the genre, if it were only to stir and not to encourage laughter.
Nevertheless, the game of play always remains a form of comedy. Consequently, the comical and the amusing is also the focus here. Such a game is intended to make the viewer laugh and ends with a happy ending. What is essential is that the Klamauk, which is often found in the comedic, is suppressed by humor.

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