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in Génération Père Noël (Grenier 1994), Veber’s autobiographical account of his unusual career (Veber 2010), and critical writing on comedy in French and in English (e.g. Harris 1998; Moine 2007 ; Lanzoni 2014 ). Some of these sources help to establish direct connections between screenwriting and comic theory (Defays 1996; Critchley 2002; Stott 2005), while others reveal connections with modes of
history of comic theory, from medieval reformulations of Aristotle and Cicero to film theory’s much more recent interventions. In a sixteenth-century response to one of the many routine puritan attacks on the theatre, Thomas Lodge, author of the source story for Shakespeare’s As You Like It , starts his defence by quoting from the late Roman grammarian Aelius Donatus on the origins of both comedy and tragedy in ritual