In Alice Oseman's Loveless, after several failed scenes where Georgia has difficulty acting romantic roles, Pip gets her to try being the clown in Twelfth Night. This goes swimmingly:
"Come away, come away, death," I began, and I felt my breath catch in my throat.
I can do this.
"And in sad cypress let me be laid." I kept my voice soft. "Fly away, fly away, breath; I am slain by a fair cruel maid." And I read the rest of the song. And I felt all of it. I just felt ... all of it. The mourning. The wistfulness. The fantasy of something that could never happen.
I'd never experienced unrequited love. I never would. And Feste, the clown, wasn't even talking about himself—he was telling someone else's story. But I felt it anyway.
From the chapter titled "But If She Cannot Love You" from Part Three
This is such a change from the previous depictions of Georgia's acting that there must be some reason behind it. There's still romantic content in this scene, but it's not affecting her in the same way. Her ability to connect with the material seems important. It's something which probably should have an explanation, based on where her character is at this point. But I can't figure out what that is. Why does Georgia connect so well with the clown's song?