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Twelfth Night, or What You Will is a romantic comedy by William Shakespeare, believed to have been written around 1601–1602 as a Twelfth Night entertainment for the close of the Christmas season. The play centres on the twins Viola and Sebastian , who are separated in a shipwreck.
Illyria is a musical with book, music, and lyrics by Peter Mills, based on William Shakespeare's Twelfth Night, written in 2002. [4] Illyria is a traditional adaptation of Twelfth Night, but features a more contemporary score. [5] [6] Illyria began as Prospect Theater Company's musical production of Twelfth Night in Central Park in 2001. [7]
Viola's actions produce all of the play's momentum. She is a young woman of Messaline. In the beginning, Viola is found shipwrecked on the shores of Illyria and separated from her twin brother, not knowing whether he is alive or dead, the Sea Captain tells her that this place is ruled by the Duke Orsino, who is in love with Countess Olivia.
Twelfth Night, a film by John Gorrie for BBC Television Shakespeare; Twelfth Night, an Australian film; Twelfth Night, a television adaptation of Kenneth Branagh's 1987 stage production; Twelfth Night, a film by Trevor Nunn; Twelfth Night, or What You Will, a 1998 TV film by Nicholas Hytner
The set is one of Telemann's collections of fantasias for unaccompanied instruments, the others being a set of thirty-six for harpsichord , also published in 1732–33, and two sets published in 1735: twelve for solo violin and twelve for viola da gamba. [2]
The Masque of Blackness was an early Jacobean era masque, first performed at the Stuart Court in the Banqueting Hall of Whitehall Palace on Twelfth Night, 6 January 1605. It was written by Ben Jonson at the request of Anne of Denmark , the queen consort of King James I , who wished the masquers to be disguised as Africans .
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Twelfth Night is an 1815 satirical cartoon by the British caricaturist George Cruikshank. [1] It was published in January 1815, between the first defeat of Napoleon and his return for the Waterloo Campaign. It focuses on the ongoing Congress of Vienna which Cruikshank depicts as the "Theatre Royal, Europe". [2]