|
Tricky Slave
The tricky slave is a stock character. He is a clever, lower-class person who brings about the happy ending of a comedy for the lovers. He is more clever than the upper-class people about him, both the lovers and the characters who block their love, and typically also looking out for his own interests. In the New Comedy, the tricky slave (dolosus servus or servus callidus) aimed to get his freedom by assisting his young master in love.Northrop Frye, ''Anatomy of Criticism'', p 173, Besides the actual slaves of classical theater, he also appears as the scheming valet in Renaissance comedy, called the ''gracioso'' in Spanish. The zanni of Commedia dell'arte are often tricky slaves, as are Puss-in-Boots in Perrault's fairy tale, Jeeves in P. G. Wodehouse's work, Figaro in the opera The Barber of Seville and Serpina in the opera La serva padrona. In fairy tales, the same function is often fulfilled by fairy godmothers, talking animals, and like creatures. Northrop Frye ide ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Actor Slave Massimo
An actor (masculine/gender-neutral), or actress (feminine), is a person who portrays a character in a production. The actor performs "in the flesh" in the traditional medium of the theatre or in modern media such as film, radio, and television. The analogous Greek term is (), literally "one who answers".''Hypokrites'' (related to our word for Hypocrisy, hypocrite) also means, less often, "to answer" the Tragedy, tragic Greek chorus, chorus. See Weimann (1978, 2); see also Csapo and Slater, who offer translations of classical source material using the term ''hypocrisis'' (acting) (1994, 257, 265–267). The actor's interpretation of a rolethe art of acting pertains to the role played, whether based on a real person or fictional character. This can also be considered an "actor's role", which was called this due to scrolls being used in the theaters. Interpretation occurs even when the actor is "playing themselves", as in some forms of experimental performance art. Formerly, in an ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Figaro (character In Operas And Plays)
''The Barber of Seville or the Useless Precaution'' () is a French play by Pierre Beaumarchais, with original music by Antoine-Laurent Baudron. It was initially conceived as an ''opéra comique'', and was rejected as such in 1772 by the Comédie-Italienne. The play as it is now known was written in 1773, but, due to legal and political problems of the author, it was not performed until February 23, 1775, at the Comédie-Française in the Tuileries. It is the first play in a trilogy of which the other constituents are ''The Marriage of Figaro'' and ''The Guilty Mother''. Though the play was poorly received at first, Beaumarchais worked some fast editing of the script, turning it into a roaring success after three days. The play's title might be a pun on Tirso de Molina's earlier play '' El Burlador de Sevilla'' (''The Trickster of Seville''). Mozart wrote a set of 12 variations, K. 354, on one of Baudron's songs, "". Synopsis The story follows a traditional ''commedia del ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Stock Characters In Ancient Greek Comedy
Stocks (also capital stock, or sometimes interchangeably, shares) consist of all the shares by which ownership of a corporation or company is divided. A single share of the stock means fractional ownership of the corporation in proportion to the total number of shares. This typically entitles the shareholder (stockholder) to that fraction of the company's earnings, proceeds from liquidation of assets (after discharge of all senior claims such as secured and unsecured debt), or voting power, often dividing these up in proportion to the number of like shares each stockholder owns. Not all stock is necessarily equal, as certain classes of stock may be issued, for example, without voting rights, with enhanced voting rights, or with a certain priority to receive profits or liquidation proceeds before or after other classes of shareholders. Stock can be bought and sold privately or on stock exchanges. Transactions of the former are closely overseen by governments and regulatory ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
The Cunning Servant
The Cunning Servant (''Kkoejaengi hain'') is a comical Korean folktale about a cunning young servant who keeps tricking his master, even into marrying his master’s daughter, and ends up living happily ever after. As a socially underprivileged figure, the protagonist relies solely on his skills to turn the tables and achieve success, which tends to offer a sense of mental liberation from conventions and authority. History and transmission ''Kkoejaengi nain'' is a folktale widely passed down throughout the Korean peninsula and more than twenty variations of the story can be found in major Korean folktale collections including ''Hanguk gubi munhak daegye'' (한국구비문학대계 Compendium of Korean Oral Literature). Trickster tales in which a subordinate plays tricks on a superior commonly exist all over the world. In Korea, ''Seunim gwa sangjwa'' (스님과 상좌 A Monk and a Senior Acolyte) in ''Yongjae chonghwa'' (용재총화 Yongjae’s Essay Collection) qualifies as a ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
One Thousand And One Nights
''One Thousand and One Nights'' (, ), is a collection of Middle Eastern folktales compiled in the Arabic language during the Islamic Golden Age. It is often known in English as ''The Arabian Nights'', from the first English-language edition (), which rendered the title as ''The Arabian Nights' Entertainments''. The work was collected over many centuries by various authors, translators, and scholars across West Asia, Central Asia, South Asia, and North Africa. Some tales trace their roots back to ancient and medieval Arabic, Persian, and Mesopotamian literature. Most tales, however, were originally folk stories from the Abbasid and Mamluk eras, while others, especially the frame story, are probably drawn from the Pahlavi Persian work (, ), which in turn may be translations of older Indian texts. Common to all the editions of the ''Nights'' is the framing device of the story of the ruler Shahryar being narrated the tales by his wife Scheherazade, with one tale told ov ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ali Baba
"Ali Baba and the Forty Thieves" () is a folk tale in Arabic added to the ''One Thousand and One Nights'' in the 18th century by its French translator Antoine Galland, who heard it from Syrian storyteller Hanna Diyab. As one of the most popular ''Arabian Nights'' tales, it has been widely retold and performed in many media across the world, especially for children (for whom the more violent aspects of the story are often removed). In the original version, Ali Baba () is a poor woodcutter and an honest person who discovers the secret treasure of a thieves' den, and enters with the magic phrase " open sesame". The thieves try to kill Ali Baba, and his rich and greedy brother Cassim tries to steal the treasure for himself, but Ali Baba’s faithful slave-girl foils their plots. His son marries her, and Ali Baba keeps the secret of the treasure. Textual history The tale was added to the story collection ''One Thousand and One Nights'' by one of its European translators, Antoine ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
List Of One Thousand And One Nights Characters
This is a list of characters in ''One Thousand and One Nights'' (also known as ''The Arabian Nights''), the classic, medieval collection of Middle-Eastern folk tales. Characters in the frame story Scheherazade Scheherazade or Shahrazad (, ''Šahrzād'', or , ) is the legendary Persian queen who is the storyteller and narrator of ''The Nights''. She is the daughter of the kingdom's vizier and the elder sister of Dunyazad. Against her father's wishes, she marries King Shahryar, who has vowed that he will execute a new bride every morning. For 1,001 nights, Scheherazade tells her husband a story, stopping at dawn with a cliffhanger. This forces the King to keep her alive for another day so that she can resume the tale at night. The name derives from the Persian ''šahr'' () and ''-zâd'' (); or from the Middle-Persian ''čehrāzād'', wherein ''čehr'' means 'lineage' and ''āzād'', 'noble' or 'exalted' (i.e. 'of noble or exalted lineage' or 'of noble appearance/origin'), Dun ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Eiron
In the theatre of ancient Greece, the ''eirōn'' (, “dissembler”) was one of various stock characters in comedy.Carlson (1993, 23) and Janko (1987, 45, 170). The usually succeeded by bringing down his braggart opponent (the "boaster") by understating his own abilities.Frye (1957, 172). The eiron lends his name to the related concept of irony. History The developed in Greek Old Comedy and can be found in many of Aristophanes' plays. For example, in '' The Frogs'', after the God Dionysus claims to have sunk 12 or 13 enemy ships with Cleisthenes (son of Sibyrtius), his slave Xanthias says "Then I woke up." The philosopher Aristotle mentions the in his ''Nicomachean Ethics'', where he says: "in the form of understatement, self-deprecation, and its possessor the self-deprecator" (1108a12).'ἡ δ' ἐπὶ τὸ ἔλαττον εἰρωνεία καὶ εἴρων (1108a12, emphasis added); Perseus Digital Library (2006)Aristotle, Nicomachean Ethics In this passage, Aristo ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Donor (fairy Tale)
In fairy tales, a donor is a character who tests the hero (and sometimes other characters as well) and provides magical assistance to the hero upon their success. The fairy godmother is a well-known form of this character. Many other supernatural patrons feature in fairy tales; these include various kinds of animals and the spirit of a dead mother. In fairy tale and legend In his analysis of fairy tales, Vladimir Propp identified this role as the ''donor'' and listed it as one of the seven roles found in fairy tales. Before giving the hero magical support or advice, the donor may also test the hero, by questioning him, setting him tasks, or making requests of him. Then, the donor may directly give the hero a magical agent, advise him on how to find one, or offer to act on his behalf. If the character itself acts on behalf of the hero, it also takes on the role of ''helper'' in Propp's analysis. Because a donor is defined by acts, other characters may fill the role, even the v ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Fairy Tale
A fairy tale (alternative names include fairytale, fairy story, household tale, magic tale, or wonder tale) is a short story that belongs to the folklore genre. Such stories typically feature magic, enchantments, and mythical or fanciful beings. In most cultures, there is no clear line separating myth from folk or fairy tale; all these together form the literature of preliterate societies. Fairy tales may be distinguished from other folk narratives such as legends (which generally involve belief in the veracity of the events described) and explicit moral tales, including beast fables. Prevalent elements include dragons, dwarfs, elves, fairies, giants, gnomes, goblins, griffins, merfolk, monsters, monarchy, pixies, talking animals, trolls, unicorns, witches, wizards, magic, and enchantments. In less technical contexts, the term is also used to describe something blessed with unusual happiness, as in "fairy-tale ending" (a happy ending) or "fairy-tale romance". ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
La Serva Padrona
''La serva padrona'' (''The Maid Turned Mistress'') is a 1733 intermezzo by Giovanni Battista Pergolesi (1710–1736) to a libretto by Gennaro Federico, after the Play (theatre), play by Jacopo Angello Nelli. It is some 40 minutes long, in two parts without overture, and was written as light-hearted staged entertainment between the acts of Pergolesi's serious opera ''Il prigionier superbo''. More specifically each of the two parts, set in the same dressing room, played during an intermission of the three-act opera to amuse people who remained in their seats. Federico's libretto was also set by Giovanni Paisiello, in 1781. Performance history ''La serva padrona'' and the opera seria it punctuates were premiered at the Teatro San Bartolomeo on 6 September 1733, the first performances there after an earthquake the previous year in Naples had closed all theatres. Both were written for the birthday of Holy Roman Empress Elisabeth Christine of Brunswick-Wolfenbüttel a few days earlier ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
