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Prologue (1–25): ia6 (25 lines) Terence defends himself against critics who accuse him of adding a scene from a play by Diphilus to a comedy by Menander; [ 11 ] and also those who say that he received help in his writing.
Show Boat is a musical with music by Jerome Kern and book and lyrics by Oscar Hammerstein II.It is based on Edna Ferber's best-selling 1926 novel of the same name.The musical follows the lives of the performers, stagehands and dock workers on the Cotton Blossom, a Mississippi River show boat, over 40 years from 1887 to 1927.
[1]: 1 In ushering the audience from reality into the world of the play, the prologue straddles boundaries between audience, actors, characters, playwrights—basically, it creates a distinction between the imaginary space within the play and the outside world. [1]: 2 Ben Jonson has often been noted as using the prologue to remind the audience ...
The play opens with a Prologue (by a figure otherwise unidentified), who stresses that the audience will see a serious play, and appeals to the audience members: "The first and happiest hearers of the town," to "Be sad, as we would make ye." Act I opens with a conversation between the Dukes of Norfolk and Buckingham and Lord Abergavenny.
Anastasia is a musical play with music and lyrics by Stephen Flaherty and Lynn Ahrens, and a book by Terrence McNally.Based on the 20th Century Fox Animation 1997 film of the same name, the musical adapts the legend of the Grand Duchess Anastasia Nikolaevna of Russia, who was rumored to have escaped and survived the execution of the Russian Imperial family.
The play is the allegorical accounting of the life of Everyman, who represents all mankind. In the course of the action, Everyman tries to convince other characters to accompany him in the hope of improving his life. All the characters are also mystical; the conflict between good and evil is shown by the interactions between the characters.
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This Spanish prologue is specifically characterized by praise and laudatory language for various people and places, often the royal court for example, to introduce the full-length play. The loa was also popular with Latin American or "New World" playwrights during the 17th and 18th centuries through Spanish colonization. [1] [2] [3]