Please Let This Be Much Ado about Nothing: ‘Kill Claudio’ and the Laughter of Release
This article centers on the oft-criticized and baffling laughter elicited by Beatrice’s ‘Kill Claudio’ in Shakespeare’s Much Ado about Nothing. Although many productions take pains to avoid this laughter response, the tensions built in the aborted wedding of Hero and Claudio require release. In his theory of relief, Freud posits that laughter is the means by which psychic tension is released. Laughter in the moments up to and including Beatrice’s order does not carry the same emotional tension as that elicited by Dogberry’s malapropisms, the early witty banter between Beatrice and Benedick, nor the farce or slapstick of other Shakespearean plays. Instead, the laughter in this moment is a byproduct of an audience’s desire to expel the tension amassed at the scathing dismissal and fall of Hero, to return to the comic tone of earlier scenes, and most importantly to return to safety. Rather than avoiding this audience reaction, productions should recognize the laughter’s role as a communal emotional response.
- There are currently no refbacks.
All articles and reviews published by Ceræ: An Australasian Journal of Medieval and Early Modern Studies are published under a CC BY-NC-ND license, unless otherwise specified.