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Changed line(s) 14 (click to see context) from:
At this point the scene swings back to comedy, with Benedick and Beatrice flirting for a minute, but then it rockets back to intensity with these lines:
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It makes a little more sense if you read between the lines--according to Beatrice, she and Benedick had a thing before he somehow caused their relationship to end, so she's mistrustful this time around--but the wrong delivery can cause this (and some nervous laughter) in an audience.
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** ''Theatre/MuchAdoAboutNothing'' -- Benedick: "Come, bid me do anything for thee." Beatrice: "Kill Claudio." It makes a little more sense if you read between the lines--according to Beatrice, she and Benedick had a thing before he somehow caused their relationship to end, so she's mistrustful this time around--but the wrong delivery can cause this (and some nervous laughter) in an audience.
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** ''Theatre/MuchAdoAboutNothing'' -- Benedick: "Come, Act IV Scene 1 has a lot of this. The play has been a lighthearted comedy up until this point, with wacky hijinks (tricking the BelligerentSexualTension pair Beatrice and Benedick into falling for each other) and misunderstandings easily cleared up, but the tone shifts to near tragedy as Claudo publicly (and often violently) shames Hero for what he thinks is her unfaithfulness. Hero's father Leonato then joins in, raging at Hero for her supposed behavior. After the friar manages to calm everybody down, Benedick and a weeping Beatrice are left alone. Benedick tries to comfort Beatrice, but she's too distracted to really notice, so he just goes for it:
-->'''Benedick''': I do love nothing in the world so well as you. Is not that strange?
-->'''Beatrice''': As strange as the thing I know not. It were as possible for me to say I loved nothing as well as you.
At this point the scene swings back to comedy, with Benedick and Beatrice flirting for a minute, but then it rockets back to intensity with these lines:
-->'''Benedick:''' Come, bid me do anything forthee." Beatrice: "Kill Claudio." thee.
-->'''Beatrice:''' Kill Claudio.
It makes a little more sense if you read between the lines--according to Beatrice, she and Benedick had a thing before he somehow caused their relationship to end, so she's mistrustful this time around--but the wrong delivery can cause this (and some nervous laughter) in an audience.
-->'''Benedick''': I do love nothing in the world so well as you. Is not that strange?
-->'''Beatrice''': As strange as the thing I know not. It were as possible for me to say I loved nothing as well as you.
At this point the scene swings back to comedy, with Benedick and Beatrice flirting for a minute, but then it rockets back to intensity with these lines:
-->'''Benedick:''' Come, bid me do anything for
-->'''Beatrice:''' Kill Claudio.
It makes a little more sense if you read between the lines--according to Beatrice, she and Benedick had a thing before he somehow caused their relationship to end, so she's mistrustful this time around--but the wrong delivery can cause this (and some nervous laughter) in an audience.
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* Used and lampshaded by Gad Elmaleh in his show "The other, it's me". He says to the audience that this is a special night for him because his mother is here and then [[spoiler: he confess that actually no, she's not]] and then joke about the audience reaction.
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* Used and lampshaded by Gad Elmaleh Creator/GadElmaleh in his show "The other, it's me". He says to the audience that this is a special night for him because his mother is here and then [[spoiler: he confess that actually no, she's not]] and then joke about the audience reaction.
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* The touring 1990s-era revival of ''Theatre/TheSoundOfMusic'' was mostly cute singing kids and nuns, while occasionally adults sitting around a mansion spoke about vaguely troubling developments. Then it was time for the talent contest to take place—and three Nazi banners abruptly dropped down from the ceiling. Cue audience gasp and MoodWhiplash as everyone suddenly remembered just what was on the horizon.
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* The touring 1990s-era revival of ''Theatre/TheSoundOfMusic'' was mostly cute singing kids and nuns, while occasionally adults sitting around a mansion spoke about vaguely troubling developments. Then it was time for the talent contest to take place—and three Nazi banners abruptly dropped down from the ceiling. Cue audience gasp and MoodWhiplash as everyone suddenly remembered just what was on the horizon.
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* The concluding sextet from Mozart's ''Don Giovanni'' was often omitted in productions until the mid-20th century, since its lightheartedness clashes with the intensely melodramatic preceding scene in which Don Giovanni is DraggedOffToHell.
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* The concluding sextet from Mozart's ''Don Giovanni'' ''Theatre/DonGiovanni'' was often omitted in productions until the mid-20th century, since its lightheartedness clashes with the intensely melodramatic preceding scene in which Don Giovanni is DraggedOffToHell.DraggedOffToHell.
** The most shocking moment in the play is when Don Giovanni and Leporello are laughing about the former's new amorous adventure, only to be interrupted by the ghostly voice of the Commendatore's statue telling Don Giovanni: "You don't have much time left for laughter."
** The most shocking moment in the play is when Don Giovanni and Leporello are laughing about the former's new amorous adventure, only to be interrupted by the ghostly voice of the Commendatore's statue telling Don Giovanni: "You don't have much time left for laughter."
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* ''Theatre/MissSaigon'' has a beautifully subverted version, as we, the knowing audience, already know what's going to happen and are already saddened, whereas Kim, the title character, is blissfully ignorant. She's preparing to reunite with her lost love Chris, dressing in wedding gown, joyfully singing. She rushes to his hotel room. . .only to be greeted by Ellen, Chris' ''wife''. The devastation evident in Kim's entire ''body'' is staggering.
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* ''Theatre/MissSaigon'' has a beautifully subverted version, as we, the knowing audience, already know what's going to happen and are already saddened, whereas Kim, the title character, is blissfully ignorant. She's preparing to reunite with her lost love Chris, dressing in wedding gown, joyfully singing. She rushes to his hotel room. . .room... only to be greeted by Ellen, Chris' ''wife''. The devastation evident in Kim's entire ''body'' is staggering.
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* ''Theatre/DonGiovanni'': The most shocking moment is when Don Giovanni and Leporello are laughing about the former's new amorous adventure, only to be interrupted by the ghostly voice of the Commendatore's statue telling Don Giovanni: "You don't have much time left for laughter."
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Up To Eleven is a defunct trope
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* ''Theatre/DonGiovanni'' takes the trope UpToEleven. The most shocking moment is when Don Giovanni and Leporello are laughing about the former's new amorous adventure, only to be interrupted by the ghostly voice of the Commendatore's statue telling Don Giovanni: "You don't have much time left for laughter."
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* ''Theatre/DonGiovanni'' takes the trope UpToEleven. ''Theatre/DonGiovanni'': The most shocking moment is when Don Giovanni and Leporello are laughing about the former's new amorous adventure, only to be interrupted by the ghostly voice of the Commendatore's statue telling Don Giovanni: "You don't have much time left for laughter."
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* The second act of ''Theatre/JasperInDeadland'' begins with a fun, happy flashback of Jasper and Agnes rollicking around in bed, imitating their favourite moments of an old ''Franchise/StarTrek'' movie, before Jasper comments how the world of fiction is so amazing in comparison to reality, lamenting all the awful things that happen every day in his life.
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* The second act of ''Theatre/JasperInDeadland'' begins with a fun, happy flashback of Jasper and Agnes rollicking around in bed, imitating talking about their favourite moments of an old ''Franchise/StarTrek'' movie, before Jasper comments how the world of fiction is so amazing in comparison to reality, lamenting all the awful things that happen every day in his life.
