The comedy of intrigue, also known as the comedy of situation, is a genre of comedy in which dramatic action is prioritised over the development of character, complicated strategems and conspiracies drive the plot, and in theatre, which is a term that describes a comedy that aims at entertaining the audience through situations that are highly exaggerated, extravagant, and thus improbable?
Comedy of intrigue The comedy of intrigue, also known as the comedy of situation, is a genre of comedy in which dramatic action is prioritised over the development of character, complicated strategems and conspiracies drive the plot, and farcical humour and contrived or ridiculous dramatic situations are often employed. Characterisation tends to be defined only vaguely and the plot gives the illusion of dynamic, constant movement. The German philosopher Hegel argued that characters pursue their aims in such comedies via the use of deception. The genre was first developed in the theatre of classical Rome by Plautus and Terence. Examples of comedies of intrigue include Niccolò Machiavelli's "The Mandrake" (1524), the anonymous Italian play "The Deceived Ones" (1531), Shakespeare's "The Merchant of Venice" (c. 1596) and "Much Ado About Nothing", Thomas Heywood's "The Wise Woman of Hoxton" (c. 1604), Molière's "Scapin the Schemer" (1671), and the plays of Aphra Behn and Thomas D'Urfey.
Deus ex machina Deus ex machina (] : or ; plural: "dei ex machina") is a Latin calque . The term has evolved to mean a plot device whereby a seemingly unsolvable problem is suddenly and abruptly resolved by the inspired and unexpected intervention of some new event, character, ability or object. Its function can be to resolve an otherwise irresolvable plot situation, to surprise the audience, to bring the tale to a happy ending, or act as a comedic device.