Inequality, uncertainty and the financial system all play a part
In
Robert Carsen's new Metropolitan Opera production of Verdi's
'Falstaff,' 1950s England stands in for the Windsor of Shakespearean
antiquity. David Patrick Stearns writes that the conceit mostly works.
Have you seen 'Falstaff' yet? Do you plan to?
Have you seen 'Falstaff' yet? Do you plan to?
A Doll's House (Norwegian: Et dukkehjem) is an 1879 play by Norwegian playwright Henrik Ibsen. Written one year after The Pillars of Society, the play was the first of Ibsen's to create a sensation and is now perhaps his most famous play, and required reading in many secondary schools and universities. The play was controversial when first published, as it is sharply critical of 19th century marriage norms.[1] It follows the formula of well-made play up until the final act, when it breaks convention by ending with a discussion, not an unravelling. It is often called the first true feminist play. The play is also an important work of the naturalist movement, in which real events and situations are depicted on stage in a departure from previous forms such as romanticism. The influence of the play was recognized by UNESCO in 2001 when Henrik Ibsen's autographed manuscripts of A Doll's House were inscribed on the Memory of the World Register in recognition of their historical value.[2]
The well-made play (French: pièce bien faite) is a genre of drama from the 19th century that Eugène Scribe first codified and that Victorien Sardou developed. By the mid-19th century, it had entered into common use as a derogatory term.[1] This did not prevent Henrik Ibsen and the other realistic dramatists of the later 19th century (August Strindberg, Gerhart Hauptmann, Émile Zola, Anton Chekhov) employing its technique of careful construction and preparation of effects. "Through their example", Marvin Carlson explains, "the well-made play became and still remains the traditional model of play construction." [2]
In the English language, that tradition found its early twentieth-century codification in Britain in the form of William Archer's Play-Making: A Manual of Craftmanship (1912), and in the United States with George Pierce Baker's Dramatic Technique (1919).[3]
Examples
Oscar Wilde's The Importance of Being Earnest exaggerates many of the conventions of the well-made play, such as the missing papers conceit (the hero, as an infant, was confused with the manuscript of a novel) and a final revelation (which, in this play, occurs about thirty seconds before the final curtain).Henrik Ibsen's A Doll's House follows most of the conceits of the well-made play, but transcends the genre when, after incriminating papers are recovered, Nora (rather shockingly) rejects the expected return to normality. Several of Ibsen's subsequent plays seem to build on the general construction principles of the Well-Made Play. The Wild Duck (1884) can be seen as a deliberate, meta-theatrical deconstruction of the Scribean formula. Ibsen sought a compromise between Naturalism and the Well-Made Play which was fraught with difficulties since life does not fall easily into the syllogistic of either form.[4]
Although George Bernard Shaw scorned the "well-made play", he accepted them and even thrived by them for by necessity they concentrated his skills on the conversation between characters, his greatest asset as a dramatist.[5] Other classic twists on the well-made play can be seen in his use of the General's coat and the hidden photograph in "Arms and the Man".
The problem play is a form of drama that emerged during the 19th century as part of the wider movement of realism in the arts. It deals with contentious social issues through debates between the characters on stage, who typically represent conflicting points of view within a realistic social context.
The critic F. S. Boas adapted the term to characterise certain plays by Shakespeare that he considered to have characteristics similar to Ibsen's 19th-century problem plays. Boas's term caught on, and Measure for Measure, The Merchant of Venice, Timon of Athens, Troilus and Cressida, and All's Well That Ends Well are still referred to as "Shakespeare's problem plays". As a result, the term is used more broadly and retrospectively to describe pre-19th-century, tragicomic dramas that do not fit easily into the classical generic distinction between comedy and tragedy.[1]
Play a part definition: If something or someone plays a large or important part in an event or situation , they... |
play a part 役をする; しらばくれる, お芝居をする.conceit
Syllabification: (con·ceit)
Pronunciation: /kənˈsēt/
Translate conceit | into French | into German | into Italian | into Spanish noun
Origin:
late Middle English (in the sense 'idea or notion', also 'quaintly decorative article'): from conceive, on the pattern of pairs such as deceive, deceit
[名]
2 奇抜な思いつき, 気まぐれ, 妄想；凝った比喩；[C]凝った比喩の使用.
3 意匠を凝らした小物.
［中英語. CONCEIVE（考え出す）とCONCEPT（概念）の語形の混合］
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