Question: 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?

full_context: Document 1: Pantomime: Pantomime (informally panto), is a type of musical comedy stage production, designed for family entertainment. It was developed in England and is still performed throughout the United Kingdom, generally during the Christmas and New Year season and, to a lesser extent, in other English-speaking countries. Modern pantomime includes songs, gags, slapstick comedy and dancing, employs gender-crossing actors, and combines topical humour with a story loosely based on a well-known fairy tale, fable or folk tale. It is a participatory form of theatre, in which the audience is expected to sing along with certain parts of the music and shout out phrases to the performers.
Document 2: Shakespearean comedy: In the First Folio, the plays of William Shakespeare were grouped into three categories: comedies, histories, and tragedies, though today many scholars recognize a fourth category, romance, to describe the specific types of comedies that appear as Shakespeare's later works.
Document 3: Satire: Satire is a genre of literature, and sometimes graphic and performing arts, in which vices, follies, abuses, and shortcomings are held up to ridicule, ideally with the intent of shaming individuals, corporations, government, or society itself into improvement. Although satire is usually meant to be humorous, its greater purpose is often constructive social criticism, using wit to draw attention to both particular and wider issues in society.
Document 4: Fidele and Fortunio: Fidele and Fortunio was a comedy written by Anthony Munday and first published in 1584. Its authorship has been disputed but scholars are now generally agreed that the initials "A.M." appearing in the first edition of the play refer to Anthony Munday. Its chief interest nowadays lies in its possible influence on Shakespeare as the play was performed around the time he arrived in London and established himself as an actor and later as a playwright. It also gives us a view of the English language prior to the influence of Shakespeare on the language. The play is loosely based on the Italian play "Il Fedele" by Luigi Pasqualigo.
Document 5: Spieloper: In the 19th century, Spieloper ('opera play') was understood to mean a light opera genre, developed from Singspiel. Works typical of the genre include those by Albert Lortzing, such as "Zar und Zimmermann", and Otto Nicolai's "The Merry Wives of Windsor". A key difference between Spieloper and Singspiel on the one hand, and opera buffa on the other, is that the two former genres contain spoken dialogues instead of recitatives, which is why Conradin Kreutzer's "Das Nachtlager in Granada" and Friedrich von Flotow's "Martha" do not belong to this genre.
Document 6: Absurdist fiction: Absurdist fiction is a genre of fictional narrative (traditionally, literary fiction), most often in the form of a novel, play, poem, or film, that focuses on the experiences of characters in situations where they cannot find any inherent purpose in life, most often represented by ultimately meaningless actions and events that call into question the certainty of existential concepts such as truth or value. Common elements in absurdist fiction include satire, dark humor, incongruity, the abasement of reason, and controversy regarding the philosophical condition of being "nothing." Works of absurdist fiction often explore agnostic or nihilistic topics.
Document 7: 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.
Document 8: Measure for Measure: Measure for Measure is a play by William Shakespeare, believed to have been written in 1603 or 1604. Originally published in the "First Folio" of 1623, where it was listed as a comedy, the play's first recorded performance occurred in 1604. The play's main themes include justice, "mortality and mercy in Vienna," and the dichotomy between corruption and purity: "some rise by sin, and some by virtue fall." Mercy and virtue prevail, as the play does not end tragically, with virtues such as compassion and forgiveness being exercised at the end of the production. While the play focuses on justice overall, the final scene illustrates that Shakespeare intended for moral justice to temper strict civil justice: a number of the characters receive understanding and leniency, instead of the harsh punishment to which they, according to the law, could have been sentenced.
Document 9: Stand-up comedy: Stand-up comedy is a comic style in which a comedian performs in front of a live audience, usually speaking directly to them. The performer is commonly known as a comic, stand-up comic, stand-up comedian, or simply a stand-up. In stand-up comedy, the comedian usually recites a grouping of humorous stories, jokes and one-liners typically called a monologue, routine, or act. Some stand-up comedians use props, music, or magic tricks to "enhance" their acts. Stand-up comedy is often performed in comedy clubs, bars and pubs, nightclubs, neo-burlesques, colleges and theatres. Outside of live performance, stand-up is often distributed commercially via television, DVD, CD and the internet.
Document 10: Straight man (stock character): The straight man is a stock character in a comedy performance, especially a double act, sketch comedy, or farce. When a comedy partner behaves eccentrically, a straight man's response may range from aplomb to outrage, or from patience to frustration, but "never" laughter, making the partner look all the more ridiculous by being completely serious. The ability to maintain a serious demeanor in the face of even the most preposterous comedy is crucial to a successful straight man. Whatever direct contribution to the comedy a straight man provides usually comes in the form of deadpan. A straight man with no direct comedic role has historically been known as a stooge.
Document 11: Farsa: Farsa (Italian, literally: "farce", plural: "farse") is a genre of opera, associated with Venice in the late 18th and early 19th centuries. It is also sometimes called "farsetta".
Document 12: Love's Labour's Lost: Love's Labour's Lost is one of William Shakespeare's early comedies, believed to have been written in the mid-1590s for a performance at the Inns of Court before Queen Elizabeth I. It follows the King of Navarre and his three companions as they attempt to forswear the company of women for three years of study and fasting, and their subsequent infatuation with the Princess of France and her ladies. In an untraditional ending for a comedy, the play closes with the death of the Princess's father, and all weddings are delayed for a year. The play draws on themes of masculine love and desire, reckoning and rationalization, and reality versus fantasy.
Document 13: Tartuffe: Tartuffe, or The Impostor, or The Hypocrite ( ; French: "Tartuffe, ou l'Imposteur" , ] ), first performed in 1664, is one of the most famous theatrical comedies by Molière. The characters of Tartuffe, Elmire, and Orgon are considered among the greatest classical theatre roles.
Document 14: Shakespearean problem play: In Shakespeare studies, the problem plays are three plays that William Shakespeare wrote between the late 1590s and the first years of the seventeenth century: "All's Well That Ends Well", "Measure for Measure" and "Troilus and Cressida". Shakespeare's problem-plays are characterised by their complex and ambiguous tone, which shifts violently between dark, psychological drama and more straightforward comic material; compare tragicomedy.
Document 15: Farce: In theatre, a farce is a comedy that aims at entertaining the audience through situations that are highly exaggerated, extravagant, and thus improbable. Farce is also characterized by physical humor, the use of deliberate absurdity or nonsense, and broadly stylized performances. Farces have been written for the stage and film. Furthermore, a farce is also often set in one particular location, where all events occur.
ground_truth: farce