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The second scene of act 2 (during which the Doctor and Captain taunt Wozzeck about Marie's infidelity), for instance, consists of a prelude and triple fugue. The fourth scene of act 1, focusing on Wozzeck and the Doctor, is a passacaglia. The scenes of the third act move beyond these structures and adopt novel strategies.
From the 1970s onwards there was increasing innovation; the Leipzig Die Walküre began the trend of placing the opening scene of Act II within Valhalla rather than on a mountain-top; [63] Harry Kupfer at Bayreuth in 1988 set the whole cycle in a post-nuclear dystopia; [63] Jürgen Flimm's Bayreuth 2000 production had Wotan as a corrupt ...
Scene 1: The Family. Two oboes d'amore play the "love theme" from act 2. Akhnaten, Nefertiti and their six daughters, sing wordlessly in contemplation. They are oblivious to what happens outside of the palace. As the music switches from E minor to F minor, the Narrator reads letters from Syrian vassals, asking for help against their enemies ...
When Montagu visited Einstein in June 1946, Einstein reviewed the script and responded positively, calling the title One World or None an excellent choice and declaring the script "just right" without suggesting any changes. Einstein strongly supported the idea of using the film as a means of educating the public about the control of atomic energy.
The title, a reference to the English people, is a phrase from John of Gaunt's monologue in Act II, Scene 1 of Shakespeare's Richard II. The story of the play concerns the lower middle-class [1] [2] Gibbons family between the end of World War I and the outbreak of World War II. It anticipates the non-violent ways in which social justice issues ...
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The Other is a 1972 American horror [4] psychological thriller film, much in the vein of Stephen King and The Twilight Zone, directed by Robert Mulligan, adapted for film by Thomas Tryon from his 1971 novel of the same name.
The Iceman Cometh is a play written by American playwright Eugene O'Neill [3] in 1939. First published in 1946, [3] the play premiered on Broadway at the Martin Beck Theatre on October 9, 1946, directed by Eddie Dowling, where it ran for 136 performances before closing on March 15, 1947.