Maryann, a lawyer from Westchester County, volunteered to write our playlet.
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Randy Newman: Dark Matter (Nonesuch) It begins with an eight-minute playlet enacting a Godsplaining rally in the Research Triangle.
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The playlet is like a jack-in-the-box, startling you with the energy that pops from its short script.
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Rapid-fire dialogue is slowed down by face-the-audience soliloquies, and the playlet focusses on the alchemy of relationships.
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The way he portrays their relationship, both in old age and the afterlife, begins modestly and evolves into a lovely and melancholy playlet.
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Even a comedy like the ace Jaclyn Backhaus playlet "The National Foosball Championship" (part of an omnibus of short works) revolved around a battle of the sexes.
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All three show up in different roles in the subsequent playlet, set in a small-town hotel, with Mr. Stacey appearing as the absent father from the first play.
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Chuck Berry, who wrote six of these songs, was not a blues artist, and neither was Bo Diddley, who gets three including the previously bootleg-only "Cops and Robbers" playlet (theirs is fine, Bo's better).
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Each encounter feels like a fully achieved playlet, with Matthew Seadon-Young, in particular, especially touching as the kind but out-of-place Theo, who wants nothing more than to abandon Manhattan for Cape Cod.
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" Peden explained it was "one of the most popular magic acts presented by the magicians Maskelyne and Cooke at London's Egyptian Hall, and was presented as a magical playlet that ran for about 30 minutes.
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A playlet in four acts, set in the Drama Book Shop, 543 West 40th Street, near Eighth Avenue, starring A BURST PIPE as the villain, and LIN-MANUEL MIRANDA, the creator of "Hamilton," as one of many heroes.
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Mr. Enrigue finds a way to incorporate documents from the mid 15th century and (apocryphal?) 21st-century email exchanges with an editor, and writes one chapter as a kind of playlet whose actors are Pope Pius IV and two courtiers.
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Murray Rothbard's satirical playlet, "Mozart was a Red" (available on YouTube), did less than justice, however, to her demonstration of the vital connection between individual freedom and scientific discovery and innovation (although she did praise America's mission to the moon).
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In 1922, the film was edited down to 3 reels, and released as a "Pathé Playlet".
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In 1922, the film was edited down to 3 reels, and released as a "Pathé Playlet".
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In 1922, the film was edited down to 3 reels, and released as a "Pathé Playlet".
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The playlet was published in The New Leader on 29 November 1936.T. F. Evans, Shaw and Politics, Pennsylvania State University Press, 1991, p.222. Shaw later wrote a similar playlet about the origin of party politics entitled The British Party System. A Jewish chemist based on Weizmann is portrayed in similar terms in Shaw's later play Farfetched Fables.
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In its fragmentary form, the playlet was not intended for stage performance, and was left in an incomplete state. It was not published until 1934. According to A.M. Gibbs the playlet is influenced by the characterisation of Mr. Guppy in Dickens' novel Bleak House.Gibbs, A.N., "Heartbreak House", in Bertolini, J.A. (ed), Shaw and Other Playwrights, Penn State Press, 1993, P.131.
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Confession is a 1929 American black and white short film directed by Lionel Barrymore and starring Robert Ames and Carroll Nye. It is based on a playlet by Kenyon Nicholson.
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Bernard Frank Dukore (ed), 1992, Shaw and the Last Hundred Years, Penn State Press, 1994, pp.83-91 Weizmann had previously been portrayed in similar terms in Shaw's 1936 "playlet" Arthur and the Acetone.
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The playlet is designed to show the old miser the error of his ways, by depicting a very similar figure. The strategy fails: Philargus sympathizes with the stage miser and persists in his stubborn course. Domitian, as is his way, sentences the old man to death for his recalcitrance; Parthenius's plea for mercy is ignored. The playlet fails in its purpose — but Paris's performance captivates the attention of Domitia; she quickly becomes obsessed with the actor, and begins spending her time with him and his troupe.
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How These Doctors Love One Another! is a short playlet written in 1931 by George Bernard Shaw which satirises a dispute between two doctors about the use of antiseptics in surgery. Shaw regularly attacked conventional medicine in his works.
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The initial heroine of the play is the later famous soprano singer Li Guyi. As a playlet taking root in folk life, Flower-drum Opera has been experiencing continuous improvement under the joint efforts of old and newly-arising artists.
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Beauty's Duty (1913) is a short uncompleted "playlet" by George Bernard Shaw. It is a dialogue between a man and his lawyer about the man's wife. The husband has traditional views on marriage. The wife is more idiosyncratic in her thinking.
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Arthur and the Acetone (1936) is a satirical playlet by George Bernard Shaw which dramatises an imaginary conversation between the Zionist Chaim Weizmann and the British Foreign Secretary Arthur Balfour, which Shaw presents as the "true" story of how the Balfour Declaration came into being.
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UL AGRFT in 1969 L'École des Veuves (School for Widows) is a 1936 one-act play (or playlet) written by French dramatist Jean Cocteau. He wrote it originally for the actress Arletty. Cocteau's world: An anthology of writings by Jean Cocteau. Ed. Margaret Crosland.
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The playlet in Act V of The Playhouse to Be Let has been called "the earliest burlesque dramatic piece in the English language."James Maidment and W. H, Logan, eds., The Dramatic Works of Sir William Davenant, Vol. 4, Edinburgh, William Paterson, 1873; p. 6.
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These acts were often a talented singing team or repartee. The third spot was sure-fire entertainment such as a humorous playlet or fast paced revue featuring singing or dancing spectacle. The fourth position was a comedian or singer who were audience favorites. These performers excited audiences even more.
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The British Party System (1944) is a "playlet" by George Bernard Shaw satirically analysing the origins of the party system in British politics in the form of a pair of conversations between scheming power-brokers at various points in history, who devise it and adapt it to suit their personal ends.
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In A Midsummer Night's Dream, the playlet of the mechanicals in Act V bears a resemblance with Clyomon and Clamydes, though in this case the resemblance is clearly in a spirit of parody.Salingar, pp. 69-70. And the late romance Cymbeline bears a significant relationship with Clyomon and Clamydes.Forsythe, pp. 313-14.
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It is centered on a song "Coal Black Rose", which predated the playlet. Rice played Cuff, boss of the bootblacks, and he wins the girl, Rose, away from the black dandy Sambo Johnson, a former bootblack who made money by winning a lottery.Lott, Eric. Love and Theft: Blackface Minstrelsy and the American Working Class.
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In fact, he wrote one of his works, Prasasti Ratnavali in sixteen languages. Some of his major works include Chandrakala Natika (playlet), Prabhavati Parinaya (drama), Raghava Vilasa (long poem), Raghava Vilapa (poem), Kuvalayasva Charita (poem in Prakrit), Prasasti Ratnavali (poem in sixteen languages), Narasimha Vijaya (poem), Sahityadarpana (study in aesthetics), Kavyaprakasha darpana (criticism), Kamsavadha (poem), and Lakshmistava (verses).
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She also appeared in On the Eve at the Hollis Street Theatre in Boston in 1909. She initiated her vaudeville career in 1912 in a playlet, The Tyranny of Fate, in Atlantic City. The following year, she co-authored Getting the Goods, a play for vaudeville. Hammerstein appeared in the films The Ace of Death (1915), Anna Karenina (1915), and Social Hypocrites (1918).
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The term "play" can be either a general term, or more specifically refer to a non-musical play. Sometimes the term "straight play" is used in contrast to "musical", which refers to a play based on music, dance, and songs sung by the play's characters. For a short play, the term "playlet" is sometimes used. The term "script" refers to the written text of the play.
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9-12 In addition, during that season, Trial by Jury was preceded by an original short play, Dramatic Licence by William Douglas-Home, in which Gilbert, Sullivan and Richard D'Oyly Carte plan the birth of Trial in 1875. Sandford played W. S. Gilbert in the playlet. He remained with the company for twenty-five years, ending on the company's last night, 27 February 1982.
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Coopersmith wrote the first act, a playlet based on Mark Twain's stories "The Diary of Adam and Eve" and "Eve's Diary". Bock and Harnick wrote the other two playlets based on Frank R. Stockton's "The Lady or the Tiger?" and Jules Feiffer's "Passionella". The musical, produced by Stuart Ostrow, opened on Broadway in 1966 at the Shubert Theatre, where it ran for 463 performances.
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Thomas Bewick applies the fable to the choice of sexual partner in his Select Fables of Aesop (1784),Bewick's 1784 version of the fable, on the 'Aesopica' website. while the Canadian author Robertson Davies converts it to a playlet satirising devotees of the Readers Digest in his A Masque of Aesop (1955).Citation for the version by Robertson Davies A Masque of Aesop, 1955. Creighton University.
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After a number of successful years on the legitimate stage, Countiss made her formal debut in vaudeville on 30 March 1913 at B. F. Keith's Union Square Theatre in New York City in the one-act dramatic playlet The Birthday Present, playing the role of Gwendolyn. Written especially for her by Fannie Whitehouse, the playlet would continue a short out-of-town tryout tour that spring commencing in St. Louis on 21 April, after performing in Baltimore at the Maryland Theatre. "The Birthday Present" 1913 At the end of the tour, Countiss headed to her summer home in Denver to rest and visit family and friends, as was her habit. Her reviews of The Birthday Present proved so successful that Martin Beck engaged her to do a full 40-week tour on the Orpheum circuit with a premiere at the Brighton Beach Music Hall beginning in August.
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The Times obituary referred to: "his energy, enthusiasm, and cultured mind" which "did much to stimulate the study of international law".The Times, 13 March 1925 Piggott published two novels under the penname Hope Dawlish and a ‘musical playlet’. In addition, he wrote books and articles on Japanese arts and exhibited his paintings in London. His legal writings included more than a dozen major books and several articles.
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Things changed in 1936, when radio's leading impresario Rudy Vallée used a short radio playlet of Oboler's titled Rich Kid. The success of Rich Kid landed Oboler a lucrative 52-week stint writing plays for Don Ameche for The Chase and Sanborn Hour. During this time, Oboler wrote a number of idea plays and some were aired, in shortened form, on The Rudy Vallée Show and The Magic Key of RCA.
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His first serious association with the creative industry started with his joining Kalabharathi, founded by Jandhyala Subramanya Sastry (who he considers his guru) in 1972. Here, he started acting in various plays and wrote his first playlet "Konark Vastunondi" in 1973. His play "Chaitanyam" was aired on All India Radio in 1974 and Vennela Keretam in 1976. In 1979, he was taken by Jandhyala Subramanya Sastry as his writing assistant.
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Churchill has said she sees the play as a political event. Anyone wishing to produce it may do so for free so long as they take a collection for the people of Gaza after the performance, with proceeds to be sent to Medical Aid for Palestinians, a British medical aid and political advocacy organization.Healy, Patrick. Readings and Talks for Pro-Gaza Playlet, The New York Times, 15 March 2009.
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An afterpiece is a short, usually humorous one-act playlet or musical work following the main attraction, the full-length play, and concluding the theatrical evening.p24 "The Chambers Dictionary"Edinburgh, Chambers,2003 This short comedy, farce, opera or pantomime was a popular theatrical form in the 18th and 19th centuries. It was presented to lighten the five-act tragedy that was commonly performed. A similar piece preceding the main attraction is a curtain raiser.
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The playlet involves a young woman coming home, tired, after a busy day at a war plant. Each time she comes in there is a letter from her husband overseas, and she remembers their conversations before he went off to war. She was concerned about him, because she felt it was a "young man's war" and he should stay home with her and the baby. However he was insistent that his country needed him.
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Although he lamented that "the Pierrot figure was inherently alien to the German-speaking world", the playwright Franz Blei introduced him enthusiastically into his playlet The Kissy-Face: A Columbiade (1895), and his fellow-Austrians Richard Specht and Richard Beer-Hofmann made an effort to naturalize Pierrot--in their plays Pierrot-Hunchback (1896) and Pierrot-Hypnotist (1892, first pub. 1984), respectively--by linking his fortunes with those of Goethe's Faust.Vilain, pp. 69, 77, 79.
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She appeared in her first motion picture, a short film for Thanhouser Film Company, in 1910. In 1913, she appeared with George Arliss in the play Disraeli. In September 1925, Variety reported that Heming would appear in a "playlet" for the De Forest Phonofilm sound-on-film system. Though Heming appeared in several films and television throughout the decades, she is best remembered as a dependable Broadway star with a long list of theatrical credits.
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These were extensive sets of visual signs that could be used to communicate with a largely illiterate audience. These performances developed into liturgical dramas, the earliest of which is the Whom do you Seek (Quem-Quaeritis) Easter trope, dating from ca. 925. Liturgical drama was sung responsively by two groups and did not involve actors impersonating characters. However, sometime between 965 and 975, Æthelwold of Winchester composed the Regularis Concordia (Monastic Agreement) which contains a playlet complete with directions for performance.
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William Archer, colleague and benefactor of Shaw Shaw's next attempt at drama was a one-act playlet in French, Un Petit Drame, written in 1884 but not published in his lifetime. In the same year the critic William Archer suggested a collaboration, with a plot by Archer and dialogue by Shaw. The project foundered, but Shaw returned to the draft as the basis of Widowers' Houses in 1892, and the connection with Archer proved of immense value to Shaw's career.
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These were extensive sets of visual signs that could be used to communicate with a largely illiterate audience. These performances developed into liturgical dramas, the earliest of which is the Whom do you Seek (Quem-Quaeritis) Easter trope, dating from ca. 925. Liturgical drama was sung responsively by two groups and did not involve actors impersonating characters. However, sometime between 965 and 975, Æthelwold of Winchester composed the Regularis Concordia (Monastic Agreement) which contains a playlet complete with directions for performance.
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Reviewers generally agreed that the episode was darker than previous episodes, but not as funny. However, Will Dean, writing in The Independent, said that his observation that the episode "wasn't really in the slightest bit funny" was "no complaint". The critical response to "Tom & Gerri" was overwhelmingly positive; Dean was "moved by its sad brilliance", while Gerald Gilbert, also writing in The Independent, called it "another finely worked playlet". Bruce Dessau said viewers would be "totally immersed from start to finish".
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Featuring intense rustic traits, repertoires of Flower-drum Opera mainly reflect laboring activities, love, family conflicts and other contents in folk life. Performing forms of Flower- drum Opera were fixed in the Qing Dynasty to be cored with three roles: Dan (the female character type), Sheng (the young male character type) and Chou (clown). Flower-drum Opera at the initial stage was a life-oriented playlet cored with folk chansons. In later period, repertoires focusing on folk legends with strong narrative nature came into existence.
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Credo in Us is a musical composition by the American experimental music composer, writer and visual artist John Cage. It was written in July 1942 and revised in October of that year. In the wake of Pearl Harbor, this piece avoided the populist tendencies of fellow American composers at the time, while the piece's title is thought to be a call to collective unity. Styled as "a dramatic playlet for Two Characters", Cage described Credo in Us as "a suite with a satirical character".
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Critics responded very positively to "The Riddle of the Sphinx", which was variously called a "brilliant episode" of Inside No. 9, comfortably the best thus far of the third series, and even "one of the best" episodes ever. It was praised by Ben Lawrence of Telegraph.co.uk for its "near brilliance", while Dessau characterised it as a "beautiful constructed playlet". At the end of the fourth series, Butler listed "The Riddle of the Sphinx" as the second strongest episode of Inside No. 9, describing it as "sheer brilliance".
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After producer Edward Franklin Albee learned that Mollie Fuller was nearly blind and living in poverty in Chicago, he brought her back to New York where he asked writer Blanche Merrill to write a piece for her to perform in.The Rotarian – December, 1924 With the help of friends Fuller, returned to the stage in December 1922 to appear in the playlet Twilight staged in Brooklyn and later at the Strand Theatre in Hoboken, New Jersey.Mollie Fuller Acts Again. - New York Times, 29 December 1922; p.
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In 2014 Diet of Worms produced a television series, The Walshes (based on their characters from Taste of Home) with Graham Linehan with BBC Television. It was broadcast on BBC Four and RTÉ In 2016 the Diet of Worms wrote and performed a well-received television "playlet" called "Quints" for Sky Arts. In 2017 the Worms produced a radio comedy programme called Kult set in a Norwegian Ikea-style furniture store based in Dublin. The programme was broadcast on BBC Radio 4 and also starred Adam Buxton.
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' The Guardian referred to the short play, in published form, as 'a fine playlet that I was very impressed by'. In 2017, he performed with composer Nikki Franklin in the Speaker's Chambers at the House of Commons for LGBT History Month. In 2018-9, he featured in the British Library's Windrush Stories exhibition, performing a poem based on the Lord's Prayer. In 2019, his poem 'Bone Railroad', about slavery and the Middle Passage was selected as Poem of the Week by The Yorkshire Times.
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The other is to cause drama to represent a revenge symbol with the fall of Babel. "By imagining Spain to be Babylon and by making the villains of his playlet be Turks, Hieronimo reinforces his earlier idea that heaven is at work in his revenge".(Murray 140) Therefore, Hieronimo thinks that this allows him to play the murderer. He envisions himself to be "God's agent for the punishment of a whole nation" consequently letting him think that there is no need for him to differentiate between the innocent and the guilty.
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Ohio Impromptu is a "playlet"Letter to Alan Schneider dated 3 December 1980. Quoted in Ackerley, C. J. and Gontarski, S. E., (Eds.) The Faber Companion to Samuel Beckett, (London: Faber and Faber, 2006), p 418 by Samuel Beckett. Written in English in 1980, it began as a favour to S.E. Gontarski, who requested a dramatic piece to be performed at an academic symposium in Columbus, Ohio in honour of Beckett’s seventy-fifth birthday. Beckett was uncomfortable writing to order and struggled with the piece for nine months before it was ready.
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The beggars' playlet reveals that Oldrents' grandfather had taken advantage of a neighbour named Wrought-on, acquiring his land and reducing the man the beggary. The Patrico, the leader of the beggars, turns out to be the grandson of that Wrought-on; he is also the fortune-teller who had given Oldrents the original forecast of his daughters' beggary. And the Patrico also explains Oldrents' strangely strong affection for Springlove: the young beggar/steward is Oldrents' illegitimate son, born of a beggar-woman who was Patrico's sister. The family linkage allows the play's reconciliation: Oldrents embraces his son, and restores Wrought-on's property.
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She desired to live some time abroad in order to learn German; she learnt it so swiftly that she lost no time in finishing composing some allegorical playlet in German verses to be played by her schoolmates. Back from Darmstadt, the vivacious child had become a young lady who, under the mask of good manners, calm and even temper, was concealing powerful feelings and an extraordinary sensitiveness. She did not write her first work until she was 17. She attended a girls' school, called l'Ecole Supérieure des Jeunes Demoiselles, where her first compositions acquired some popularity.
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Craig Thompson was the first presenter of 'Kiddies Corner'. Recalling the first ever recording of the children's programme Thompson noted: 'On the program, I was known as "Uncle Craig" or "Craig Maåma"...where I would join in and read stories, sing songs like "Gilly, Gilly Ossenfeffer, Katzen-Ellen- Bogen-By-the-Sea" "Tickery, Tickery Leea" and other fun activities. We even spent several weeks putting together a playlet called "The Necklace of Truth" ...and had children participate in the various parts on the program. We recorded my first episode on Thursday, June 6, 1963 and our second episode on Friday, June 14, 1963.
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BBC Radio refused to play the follow-up, "Headlights", because of its controversial content (a truck driver menaces lone girl on isolated back road), and because it was completely at odds with the novelty aspect of "Car 67". A subsequent dispute over royalties dragged on for two years, after which Phillips, completely disillusioned with the record industry, returned to journalism. The album he and Zorn made, Hey Mr Record Man, included a satire on A&R; men, and a spoken word playlet in two acts about the end of the world. The album ended with another satire on the illegal copying of music, addressing listeners as "You Stupid Turkeys".
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The song is a "playlet," a word Stoller used for the glimpses into teenage life that characterized the songs Leiber and Stoller wrote and produced. The lyrics describe the listing of household chores to a kid, presumably a teenager, the teenager's response ("yakety yak") and the parents' retort ("don't talk back") — an experience very familiar to a middle-class teenager of the day. Leiber has said the Coasters portrayed "a white kid’s view of a black person’s conception of white society." The serio-comic street-smart “playlets” etched out by the songwriters were sung by the Coasters with a sly clowning humor, while the saxophone of King Curtis filled in, in the up-tempo doo-wop style.
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In a familiar dichotomy of the Symbolists, Pierrot lunaire occupies a divided space: a public realm, over which the sun presides, and a private realm, dominated by the moon.In Giraud's playlet Pierrot Narcisse (1887), Pierrot explains to Eliane that "there are two races" of men—"one enamored of activity and reality" and "entranced/By the splendid banality of life"; the other a "race of dreamers, of visionaries" who are "born under Saturn's sign". He concludes: "The one comes from the sun, the other from the moon;/And you would be doing better to unite the antelope with the shark/Than the sons of Pierrot with the daughters of Harlequin": in Giraud (1898), p. 223; tr. Storey (1978), p.
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Pretty Polly is a one-act playlet by Basil Hood, with music composed by François Cellier. The ten-minute long piece concerns the difficulties of a shy fellow who tries to use a talking parrot as a matrimonial agent. The piece was first produced at the Theatre Royal, Colchester, 26 April 1900, and then at the Savoy Theatre, from 19 May 1900 to 28 June 1900 as a companion piece to Hood and Sir Arthur Sullivan's The Rose of Persia, a run of 26 performances. It then played from 8 December 1900 to 20 April 1901, together with the first revival of Gilbert and Sullivan's 1881 hit, Patience, a run of 102 performances.
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The success of Arms and the Man was not immediately replicated. Candida, which presented a young woman making a conventional romantic choice for unconventional reasons, received a single performance in South Shields in 1895; in 1897 a playlet about Napoleon called The Man of Destiny had a single staging at Croydon. In the 1890s Shaw's plays were better known in print than on the West End stage; his biggest success of the decade was in New York in 1897, when Richard Mansfield's production of the historical melodrama The Devil's Disciple earned the author more than £2,000 in royalties. In January 1893, as a Fabian delegate, Shaw attended the Bradford conference which led to the foundation of the Independent Labour Party.
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The comedy gradually shifted to observation, with a less strong emphasis on a narrative. The playlet "Look Back in Hunger" (spoofing John Osborne's Look Back in Anger) in the episode "The East Cheam Drama Festival" from the fifth series, showed that writers Galton and Simpson were in touch with developments in the British theatre, in the use of sighs and silent pauses, something Osborne's style had in common with the plays of Harold Pinter, whose work began to emerge towards the end of the series' run. In addition, the measured pacing of the episodes was unusual in an era of fast-talking radio comedians, such as Ted Ray, who typically used a machine- gun style of delivery to fill every single second of airtime.
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Goudouna's book Beckett's Breath: Antitheatricality and the Visual Arts was published by Edinburgh University Press in 2018 and released in the US by Oxford University Press. Samuel Beckett wrote Breath (play), a thirty-second playlet for the stage that does not include actors, text, characters or drama but only stage directions. Goudouna's monograph analyses the ways the piece became emblematic of the intermedia exchanges that occur in Beckett's later writings, as well as the cross-fertilisation of the theatre with the visual arts. The book examines Beckett's ultimate venture to define the borders between a theatrical performance and purely visual representation and juxtaposes Beckett's Breath with breath-related artworks by visual artists including Valie Export, Feminist Art Workers, Marcel Duchamp, Piero Manzoni, Gerhard Richter, Bridget Riley, Giuseppe Penone, John Latham, Vito Acconci, Chris Burden, Nancy Spero, Lygia Clark, Art & Language, Marina Abramović.
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What Can We Do with Aunt Sally? (1922),Bell Elliott Palmer, What Can We Do with Aunt Sally? A Comedy in Two Acts (Eldridge Entertainment House 1922). In the Garden of Life (1924),Bell Elliott Palmer, In the Garden of Life: A One-Act Easter Play (Eldridge Entertainment House 1924). Fighting it Out at the Cheer Club (1924),Bell Elliott Palmer, Fighting it Out at the Cheer Club: A Playlet in One Act (Eldridge Entertainment House 1924). Setting the Nation Right (1924),Bell Elliott Palmer, Setting the Nation Right (Eldridge Entertainment House 1924). Not So Turribul (1925),Bell Elliott Palmer, Not So Turribul: A Sketch (Eldridge Entertainment House 1925). It Can't Be Done (1925),Bell Elliott Palmer, It Can't Be Done: A Comedy in One Act (Fitzgerald Publishing 1925). Rest a Bit, Mother (1925),Bell Elliott Palmer, Rest a Bit, Mother: A Three-Act Play (Eldridge Entertainment House 1925).
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In 1920, French writer and diplomat Paul Morand met an aged Frank Harris in Nice and borrowed much of his personality to create the character of O'Patah, a larger than life writer, publisher and Irish patriot, "the last of the Irish bards" in his short story La nuit de Portofino kulm (part of the famed collection of short stories Fermé la nuit) published in 1923 by Gallimard. In 1922, Whittaker Chambers published a "blasphemous" and "sacrilegious" playlet called "A Play for Puppets" in The Morningside, a Columbia University student magazine, based on Frank Harris' 1919 play Miracle of the Stigmata, for which Chambers quit school to avoid expulsion. ("The greater part of it is so plainly sacrilegious that it cannot be reproduced.") In 1929, Cole Porter's song "After All, I'm Only a Schoolgirl" references Harris and "My Life and Loves", in a tale about a girl who is learning about adult relationships from a private tutor.
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In 1936 a Special Commission created by the left-wing group the "Independent Labour Forty" had written a report about the 1917 Balfour declaration, which had committed the British government to bring about a Jewish homeland in Palestine after World War I. The Special Commission concluded that the plan was part of an Imperialist strategy to control the Middle East by promoting support for the British Empire among Jews and obtaining "Jewish finance" for the war effort, with a long term purpose of securing access to India and to Middle Eastern oil. Shaw thought that this explanation attributed far too much Machiavellian brilliance to Balfour, and proposed his own alternative account, represented in the playlet. Shaw says that the declaration was extracted by Weizmann for his contribution to the war effort, in particular his help as a chemist in finding new ways to manufacture acetone cheaply. This claim was in circulation at the time, as it had been expressed by David Lloyd George in his Memoirs, published in 1933.
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The story's narrator, an unnamed character based loosely on Klein himself, goes in search of his long-lost uncle, Melech Davidson, a Holocaust survivor who drifts to Rome and then Casablanca before immigrating to Israel. Just as the narrator is about to catch up to his mercurial uncle, Davidson is murdered by a group of Arabs, leaving the end of the novel open as to whether Davidson was a martyr to the Jewish nation or a false Messiah whose heroic status was inflated by his nephew's eagerness to meet his elusive uncle. Following the main narrative of The Second Scroll is a series of numbered glosses that add further commentary to the narrative in the form of poems, a liturgy, a playlet, and, most notably, a meditative essay on the ceiling of the Sistine Chapel painted by Michelangelo. Although The Second Scroll was not a commercial success in its first edition from Knopf in New York City, a subsequent re-print in Canada's New Canadian Library ensured its survival as one of the significant works of modern Canadian literature.
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