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** The Narrator suffers from this worse. He thought he was in a classic fairy tale and his job was to tell the story from the safe side of a thick fourth wall.
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** The Narrator suffers from this worse. He thought he was in a classic fairy tale and his job was to tell the story from the safe side of a thick fourth wall. Instead, the characters, who are well aware of his existence, pull him into the story in an attempt to appease the murderous Giantess, leading to his death.
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* Done in two ways in ''Theatre/ADollsHouse'':
** In universe, Nora sees herself as the heroine of a typical Victorian domestic drama, acting in public as the cheerful and sightly airhead wife of most of those kind of plays while hiding her very crafty real personality, and she expects that her troubles with a secret not-very-legal thing she did to save her husband's life will unfold the way those drama goes (usually with the secret being revealed and the "wrongdoer" being pardoned on virtue of their good intentions or deciding on a more [[DrivenToSuicide final way to redeem themselves]]). When her husband doesn't follow her expected script by instead exploding towards her and inadvertently revealing that he flat out ignored her hard work and only saw her as her superficial airhead persona, is when she realizes that ThisIsReality and finally makes her turn on him.
** In a more meta way, the play initially seems to use the five traditional archetypes of Norwegian theatre of the time, and then it goes into subverting and even deconstructing them, leaving the public who expected a typical"room family" drama receiving a rather realistic relationship drama and having no clue how the plot would unfold.
** In universe, Nora sees herself as the heroine of a typical Victorian domestic drama, acting in public as the cheerful and sightly airhead wife of most of those kind of plays while hiding her very crafty real personality, and she expects that her troubles with a secret not-very-legal thing she did to save her husband's life will unfold the way those drama goes (usually with the secret being revealed and the "wrongdoer" being pardoned on virtue of their good intentions or deciding on a more [[DrivenToSuicide final way to redeem themselves]]). When her husband doesn't follow her expected script by instead exploding towards her and inadvertently revealing that he flat out ignored her hard work and only saw her as her superficial airhead persona, is when she realizes that ThisIsReality and finally makes her turn on him.
** In a more meta way, the play initially seems to use the five traditional archetypes of Norwegian theatre of the time, and then it goes into subverting and even deconstructing them, leaving the public who expected a typical"room family" drama receiving a rather realistic relationship drama and having no clue how the plot would unfold.
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* In ''Cromwell'' by Victor Hugo, Rochester, one of the men who conspires against Cromwell, thinks he's in a romance, and that his forbidden love with Cromwell's daughter will prevail. Unfortunately for him, he's in a political drama and she never noticed that he existed.
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* In ''Cromwell'' ''Theatre/{{Cromwell}}'' by Victor Hugo, Rochester, one of the men who conspires against Cromwell, thinks he's in a romance, and that his forbidden love with Cromwell's daughter will prevail. Unfortunately for him, he's in a political drama and she never noticed that he existed.
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*** When Horatio first confronts the ghost, he asks it if 1) some ''good'' deed may be done to quiet it, 2) it comes to warn the country against some fate, or 3) it comes to tell where it buried the treasure in its life--which were all common tropes in different Elizabethian dramas and comedies, and would be perfectly plausible . . . if this were something other than a {{revenge}} {{tragedy}}.
to:
*** When Horatio first confronts the ghost, he asks it if 1) some ''good'' deed may be done to quiet it, 2) it comes to warn the country against some fate, or 3) it comes to tell where it buried the treasure in its life--which were all common tropes in different Elizabethian Elizabethan dramas and comedies, and would be perfectly plausible . . . if this were something other than a {{revenge}} {{tragedy}}.
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* In the 18th century play ''Nathan the Wise'', Nathan's servant Daya is reasonably savvy of the "Columbine" role in CommediaDellArte and thus sees it as her duty to find a mate for Nathan's daughter. However, the young crusader that Daya tries to fix up with the daughter [[SurpriseIncest turns out to be the daughter's long-lost brother]]. In commedia del'arte, this kind of ContrivedCoincidence is fairly common, so you could say that the guy would either be the love interest or the long-lost brother, and Daya made the wrong conclusion. There's also an aspect that although Daya knows that Nathan is a nice guy, she has antisemitic prejudices, and thus tends to act like the play she is in is ''Theatre/TheMerchantOfVenice''.
to:
* In the 18th century play ''Nathan the Wise'', Nathan's servant Daya is reasonably savvy of the "Columbine" role in CommediaDellArte and thus sees it as her duty to find a mate for Nathan's daughter. However, the young crusader that Daya tries to fix up with the daughter [[SurpriseIncest turns out to be the daughter's long-lost brother]]. In commedia del'arte, dell'arte, this kind of ContrivedCoincidence is fairly common, so you could say that the guy would either be the love interest or the long-lost brother, and Daya made drew the wrong conclusion. There's also an aspect that although Daya knows that Nathan is a nice guy, she has antisemitic prejudices, and thus tends to act like the play she is in is ''Theatre/TheMerchantOfVenice''.
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Bastard Boyfriend is no longer a trope
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* A large fraction of the characters in ''Theatre/LittleShopOfHorrors'' are Wrong Genre Savvy. The main character, Seymour, and his employer Mr. Mushnik, think they're in a rags-to-riches story. Seymour's love interest, Audrey, thinks she's in a romance. Orin seems to think that he's a BastardBoyfriend, or perhaps [[VideoGameCrueltyPotential the player character of a videogame]].
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* A large fraction of the characters in ''Theatre/LittleShopOfHorrors'' are Wrong Genre Savvy. The main character, Seymour, and his employer Mr. Mushnik, think they're in a rags-to-riches story. Seymour's love interest, Audrey, thinks she's in a romance. Orin seems to think that he's a BastardBoyfriend, FetishizedAbuser, or perhaps [[VideoGameCrueltyPotential the player character of a videogame]].
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* In ''Theatre/DonGiovanni'' by Mozart, Donna Elvira makes two wrong conclusions. When she's in her {{Love Martyr}} mode, she thinks she's the heroine of a romance story, destined to [[ICanChangeMyBeloved redeem]] [[AllGirlsWantBadBoys the roguish]] [[DracoInLeatherPants anti-hero]] with her love. When she's in her {{Woman Scorned}} mode, she correctly realizes that she's in a story of an irredeemable rake's divinely-ordaned punishment, but wrongly assumes that ''she'' will be the one to punish him. Actually, she's just a tragicomic supporting character, and the real agent of the Don's punishment is [[LivingStatue a much]] [[OurGhostsAreDifferent more imposing]] [[NightmareFuel figure]].
* ''Theatre/LesMiserables'': Gavroche believes that ImprobableInfantSurvival and WouldNotHurtAChild will keep him safe when he heads outside the barricade to loot the corpses for ammunition. Sorry kid, this ain't that kind of play....
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* In ''Theatre/DonGiovanni'' by Mozart, Donna Elvira makes two wrong conclusions. When she's in her {{Love Martyr}} mode, she thinks she's the heroine of a romance story, destined to [[ICanChangeMyBeloved redeem]] [[AllGirlsWantBadBoys the roguish]] [[DracoInLeatherPants anti-hero]] with her love. When she's in her {{Woman Scorned}} mode, she correctly realizes that she's in a story of an irredeemable rake's divinely-ordaned punishment, but wrongly assumes that ''she'' will be the one to punish him. Actually, she's just a tragicomic supporting character, and the real agent of the Don's punishment is [[LivingStatue a much]] [[OurGhostsAreDifferent more imposing]] [[NightmareFuel figure]].
* ''Theatre/LesMiserables'': Gavroche believes that ImprobableInfantSurvival and WouldNotHurtAChild will keep him safe when he heads outside the barricade to loot the corpses for ammunition. Sorry kid, this ain't that kind of play....
* ''Theatre/LesMiserables'': Gavroche believes that ImprobableInfantSurvival and WouldNotHurtAChild will keep him safe when he heads outside the barricade to loot the corpses for ammunition. Sorry kid, this ain't that kind of play....
to:
* ''Theatre/LesMiserables'': Gavroche believes that ImprobableInfantSurvival and WouldNotHurtAChild will keep him safe when he heads outside the barricade to loot the corpses for ammunition. Sorry kid, this ain't that kind of play....
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Hamlet got mentioned twice
Deleted line(s) 3,5 (click to see context) :
* Theatre/{{Hamlet}}:
** When Horatio first confronts the ghost, he asks it if 1) some ''good'' deed may be done to quiet it, 2) it comes to warn the country against some fate, or 3) it comes to tell where it buried the treasure in its life--which were all common tropes in different Elizabethian dramas and comedies, and would be perfectly plausible . . . if this were something other than a {{revenge}} {{tragedy}}.
** Polonius, meanwhile, seems to think he's in some sort of StarCrossedLovers Romantic Comedy, where he, Claudius and Gertrude must get Hamlet and Ophelia together again in order to cure the Prince's madness.
** When Horatio first confronts the ghost, he asks it if 1) some ''good'' deed may be done to quiet it, 2) it comes to warn the country against some fate, or 3) it comes to tell where it buried the treasure in its life--which were all common tropes in different Elizabethian dramas and comedies, and would be perfectly plausible . . . if this were something other than a {{revenge}} {{tragedy}}.
** Polonius, meanwhile, seems to think he's in some sort of StarCrossedLovers Romantic Comedy, where he, Claudius and Gertrude must get Hamlet and Ophelia together again in order to cure the Prince's madness.
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** Polonius in ''Theatre/{{Hamlet}}'' thinks that he's the Dottore or the Pantalone in a Commedia dell'Arte play, where every problem is caused by unrequited love and can be solved with eavesdropping. Unfortunately for him, he's in a revenge tragedy.
to:
** Polonius in ''Theatre/{{Hamlet}}'' thinks that he's Theatre/{{Hamlet}}:
*** When Horatio first confronts theDottore or ghost, he asks it if 1) some ''good'' deed may be done to quiet it, 2) it comes to warn the Pantalone in a Commedia dell'Arte play, country against some fate, or 3) it comes to tell where every problem is caused by unrequited love it buried the treasure in its life--which were all common tropes in different Elizabethian dramas and can comedies, and would be solved with eavesdropping. Unfortunately for him, perfectly plausible . . . if this were something other than a {{revenge}} {{tragedy}}.
*** Polonius, meanwhile, seems to think he's ina revenge tragedy.some sort of StarCrossedLovers Romantic Comedy, where he, Claudius and Gertrude must get Hamlet and Ophelia together again in order to cure the Prince's madness.
*** When Horatio first confronts the
*** Polonius, meanwhile, seems to think he's in
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* ''Theater/LesMiserables'': Gavroche believes that ImprobableInfantSurvival and WouldNotHurtAChild will keep him safe when he heads outside the barricade to loot the corpses for ammunition. Sorry kid, this ain't that kind of play....
to:
* ''Theater/LesMiserables'': ''Theatre/LesMiserables'': Gavroche believes that ImprobableInfantSurvival and WouldNotHurtAChild will keep him safe when he heads outside the barricade to loot the corpses for ammunition. Sorry kid, this ain't that kind of play....
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to:
* ''Theater/LesMiserables'': Gavroche believes that ImprobableInfantSurvival and WouldNotHurtAChild will keep him safe when he heads outside the barricade to loot the corpses for ammunition. Sorry kid, this ain't that kind of play....
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* In the 18th century play ''Nathan the Wise'', Nathan's servant Daya is reasonably savvy of the "Columbine" role in CommediaDellArte and thus sees it as her duty to find a mate for Nathan's daughter. However, the young crusader that Daya tries to fix up with the daughter [[IncestIsRelative turns out to be the daughter's long-lost brother]]. In commedia del'arte, this kind of ContrivedCoincidence is fairly common, so you could say that the guy would either be the love interest or the long-lost brother, and Daya made the wrong conclusion. There's also an aspect that although Daya knows that Nathan is a nice guy, she has antisemitic prejudices, and thus tends to act like the play she is in is ''Theatre/TheMerchantOfVenice''.
to:
* In the 18th century play ''Nathan the Wise'', Nathan's servant Daya is reasonably savvy of the "Columbine" role in CommediaDellArte and thus sees it as her duty to find a mate for Nathan's daughter. However, the young crusader that Daya tries to fix up with the daughter [[IncestIsRelative [[SurpriseIncest turns out to be the daughter's long-lost brother]]. In commedia del'arte, this kind of ContrivedCoincidence is fairly common, so you could say that the guy would either be the love interest or the long-lost brother, and Daya made the wrong conclusion. There's also an aspect that although Daya knows that Nathan is a nice guy, she has antisemitic prejudices, and thus tends to act like the play she is in is ''Theatre/TheMerchantOfVenice''.
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That's not WGS if he's right about what genre tropes apply but doesn't follow his own advice.
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* ''Theatre/ArsenicAndOldLace'': Mortimer Brewster is a theatre critic, and brags that he'd have the sense to avoid getting killed if he were stuck in a house full of murders... even though he very nearly gets killed by his criminally insane older brother Jonathan [[TooDumbToLive making the same mistakes he's sworn to avoid]].
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* ''Theatre/ArsenicAndOldLace'': Mortimer Brewster is a theatre critic, and brags that he'd have the sense to avoid getting killed if he were stuck in a house full of murders... even though he very nearly gets killed by his criminally insane older brother Jonathan [[TooDumbToLive making the same mistakes he's sworn to avoid]].
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----
Changed line(s) 3 (click to see context) from:
** Polonius, meanwhile, seems to think he's in some sort of StarCrossedLovers Romantic Comedy, where he, Claudius and Gertrude must get Hamlet and Ophelia together again in order to cure the Prince's madness.
to:
** Polonius, meanwhile, seems to think he's in some sort of StarCrossedLovers Romantic Comedy, where he, Claudius and Gertrude must get Hamlet and Ophelia together again in order to cure the Prince's madness.madness.
* In ''Cromwell'' by Victor Hugo, Rochester, one of the men who conspires against Cromwell, thinks he's in a romance, and that his forbidden love with Cromwell's daughter will prevail. Unfortunately for him, he's in a political drama and she never noticed that he existed.
* [[LampshadeHanging Lampshaded]] in Music/StephenSondheim's ''Theatre/IntoTheWoods'' -- when the Baker's Wife is being seduced by Cinderella's Prince, she sings, "This is ridiculous, what am I doing here, I'm in the wrong story..."
** The Narrator suffers from this worse. He thought he was in a classic fairy tale and his job was to tell the story from the safe side of a thick fourth wall.
* A large fraction of the characters in ''Theatre/LittleShopOfHorrors'' are Wrong Genre Savvy. The main character, Seymour, and his employer Mr. Mushnik, think they're in a rags-to-riches story. Seymour's love interest, Audrey, thinks she's in a romance. Orin seems to think that he's a BastardBoyfriend, or perhaps [[VideoGameCrueltyPotential the player character of a videogame]].
* In the 18th century play ''Nathan the Wise'', Nathan's servant Daya is reasonably savvy of the "Columbine" role in CommediaDellArte and thus sees it as her duty to find a mate for Nathan's daughter. However, the young crusader that Daya tries to fix up with the daughter [[IncestIsRelative turns out to be the daughter's long-lost brother]]. In commedia del'arte, this kind of ContrivedCoincidence is fairly common, so you could say that the guy would either be the love interest or the long-lost brother, and Daya made the wrong conclusion. There's also an aspect that although Daya knows that Nathan is a nice guy, she has antisemitic prejudices, and thus tends to act like the play she is in is ''Theatre/TheMerchantOfVenice''.
* Creator/WilliamShakespeare:
** Rodrigo of ''Theatre/{{Othello}}'' thinks that he's the Captain character in a CommediaDellArte play, who seduces the [[MayDecemberRomance pretty young wife of an old man]]. But he's actually more like a CasanovaWannabe-type, who is conned by the conniving servant. Making things worse is that he's in a tragedy, not a comedy, and the conniving servant is [[TheChessmaster Iago]].
** Polonius in ''Theatre/{{Hamlet}}'' thinks that he's the Dottore or the Pantalone in a Commedia dell'Arte play, where every problem is caused by unrequited love and can be solved with eavesdropping. Unfortunately for him, he's in a revenge tragedy.
** Deconstructed with Tybalt in ''Theatre/RomeoAndJuliet'', who doesn't realise he's in a romantic comedy, and winds up [[HalfwayPlotSwitch derailing the plot]] into a tragedy with his killing of Mercutio.
%%* In ''Theatre/SweeneyToddTheDemonBarberOfFleetStreet'', Anthony thinks that he's the hero, who rescues the beautiful maiden who's been locked in a tower by an evil old man. Unfortunately, he's in a Music/StephenSondheim musical ...
* In ''Theatre/DonGiovanni'' by Mozart, Donna Elvira makes two wrong conclusions. When she's in her {{Love Martyr}} mode, she thinks she's the heroine of a romance story, destined to [[ICanChangeMyBeloved redeem]] [[AllGirlsWantBadBoys the roguish]] [[DracoInLeatherPants anti-hero]] with her love. When she's in her {{Woman Scorned}} mode, she correctly realizes that she's in a story of an irredeemable rake's divinely-ordaned punishment, but wrongly assumes that ''she'' will be the one to punish him. Actually, she's just a tragicomic supporting character, and the real agent of the Don's punishment is [[LivingStatue a much]] [[OurGhostsAreDifferent more imposing]] [[NightmareFuel figure]].
----
* In ''Cromwell'' by Victor Hugo, Rochester, one of the men who conspires against Cromwell, thinks he's in a romance, and that his forbidden love with Cromwell's daughter will prevail. Unfortunately for him, he's in a political drama and she never noticed that he existed.
* [[LampshadeHanging Lampshaded]] in Music/StephenSondheim's ''Theatre/IntoTheWoods'' -- when the Baker's Wife is being seduced by Cinderella's Prince, she sings, "This is ridiculous, what am I doing here, I'm in the wrong story..."
** The Narrator suffers from this worse. He thought he was in a classic fairy tale and his job was to tell the story from the safe side of a thick fourth wall.
* A large fraction of the characters in ''Theatre/LittleShopOfHorrors'' are Wrong Genre Savvy. The main character, Seymour, and his employer Mr. Mushnik, think they're in a rags-to-riches story. Seymour's love interest, Audrey, thinks she's in a romance. Orin seems to think that he's a BastardBoyfriend, or perhaps [[VideoGameCrueltyPotential the player character of a videogame]].
* In the 18th century play ''Nathan the Wise'', Nathan's servant Daya is reasonably savvy of the "Columbine" role in CommediaDellArte and thus sees it as her duty to find a mate for Nathan's daughter. However, the young crusader that Daya tries to fix up with the daughter [[IncestIsRelative turns out to be the daughter's long-lost brother]]. In commedia del'arte, this kind of ContrivedCoincidence is fairly common, so you could say that the guy would either be the love interest or the long-lost brother, and Daya made the wrong conclusion. There's also an aspect that although Daya knows that Nathan is a nice guy, she has antisemitic prejudices, and thus tends to act like the play she is in is ''Theatre/TheMerchantOfVenice''.
* Creator/WilliamShakespeare:
** Rodrigo of ''Theatre/{{Othello}}'' thinks that he's the Captain character in a CommediaDellArte play, who seduces the [[MayDecemberRomance pretty young wife of an old man]]. But he's actually more like a CasanovaWannabe-type, who is conned by the conniving servant. Making things worse is that he's in a tragedy, not a comedy, and the conniving servant is [[TheChessmaster Iago]].
** Polonius in ''Theatre/{{Hamlet}}'' thinks that he's the Dottore or the Pantalone in a Commedia dell'Arte play, where every problem is caused by unrequited love and can be solved with eavesdropping. Unfortunately for him, he's in a revenge tragedy.
** Deconstructed with Tybalt in ''Theatre/RomeoAndJuliet'', who doesn't realise he's in a romantic comedy, and winds up [[HalfwayPlotSwitch derailing the plot]] into a tragedy with his killing of Mercutio.
%%* In ''Theatre/SweeneyToddTheDemonBarberOfFleetStreet'', Anthony thinks that he's the hero, who rescues the beautiful maiden who's been locked in a tower by an evil old man. Unfortunately, he's in a Music/StephenSondheim musical ...
* In ''Theatre/DonGiovanni'' by Mozart, Donna Elvira makes two wrong conclusions. When she's in her {{Love Martyr}} mode, she thinks she's the heroine of a romance story, destined to [[ICanChangeMyBeloved redeem]] [[AllGirlsWantBadBoys the roguish]] [[DracoInLeatherPants anti-hero]] with her love. When she's in her {{Woman Scorned}} mode, she correctly realizes that she's in a story of an irredeemable rake's divinely-ordaned punishment, but wrongly assumes that ''she'' will be the one to punish him. Actually, she's just a tragicomic supporting character, and the real agent of the Don's punishment is [[LivingStatue a much]] [[OurGhostsAreDifferent more imposing]] [[NightmareFuel figure]].
----
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* Theatre/{{Hamlet}}:
** When Horatio first confronts the ghost, he asks it if 1) some ''good'' deed may be done to quiet it, 2) it comes to warn the country against some fate, or 3) it comes to tell where it buried the treasure in its life--which were all common tropes in different Elizabethian dramas and comedies, and would be perfectly plausible . . . if this were something other than a {{revenge}} {{tragedy}}.
** Polonius, meanwhile, seems to think he's in some sort of StarCrossedLovers Romantic Comedy, where he, Claudius and Gertrude must get Hamlet and Ophelia together again in order to cure the Prince's madness.
** When Horatio first confronts the ghost, he asks it if 1) some ''good'' deed may be done to quiet it, 2) it comes to warn the country against some fate, or 3) it comes to tell where it buried the treasure in its life--which were all common tropes in different Elizabethian dramas and comedies, and would be perfectly plausible . . . if this were something other than a {{revenge}} {{tragedy}}.
** Polonius, meanwhile, seems to think he's in some sort of StarCrossedLovers Romantic Comedy, where he, Claudius and Gertrude must get Hamlet and Ophelia together again in order to cure the Prince's madness.
