1.
England
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England is a country that is part of the United Kingdom. It shares land borders with Scotland to the north and Wales to the west, the Irish Sea lies northwest of England and the Celtic Sea lies to the southwest. England is separated from continental Europe by the North Sea to the east, the country covers five-eighths of the island of Great Britain in its centre and south, and includes over 100 smaller islands such as the Isles of Scilly, and the Isle of Wight. England became a state in the 10th century, and since the Age of Discovery. The Industrial Revolution began in 18th-century England, transforming its society into the worlds first industrialised nation, Englands terrain mostly comprises low hills and plains, especially in central and southern England. However, there are uplands in the north and in the southwest, the capital is London, which is the largest metropolitan area in both the United Kingdom and the European Union. In 1801, Great Britain was united with the Kingdom of Ireland through another Act of Union to become the United Kingdom of Great Britain and Ireland. In 1922 the Irish Free State seceded from the United Kingdom, leading to the latter being renamed the United Kingdom of Great Britain, the name England is derived from the Old English name Englaland, which means land of the Angles. The Angles were one of the Germanic tribes that settled in Great Britain during the Early Middle Ages, the Angles came from the Angeln peninsula in the Bay of Kiel area of the Baltic Sea. The earliest recorded use of the term, as Engla londe, is in the ninth century translation into Old English of Bedes Ecclesiastical History of the English People. According to the Oxford English Dictionary, its spelling was first used in 1538. The earliest attested reference to the Angles occurs in the 1st-century work by Tacitus, Germania, the etymology of the tribal name itself is disputed by scholars, it has been suggested that it derives from the shape of the Angeln peninsula, an angular shape. An alternative name for England is Albion, the name Albion originally referred to the entire island of Great Britain. The nominally earliest record of the name appears in the Aristotelian Corpus, specifically the 4th century BC De Mundo, in it are two very large islands called Britannia, these are Albion and Ierne. But modern scholarly consensus ascribes De Mundo not to Aristotle but to Pseudo-Aristotle, the word Albion or insula Albionum has two possible origins. Albion is now applied to England in a poetic capacity. Another romantic name for England is Loegria, related to the Welsh word for England, Lloegr, the earliest known evidence of human presence in the area now known as England was that of Homo antecessor, dating to approximately 780,000 years ago. The oldest proto-human bones discovered in England date from 500,000 years ago, Modern humans are known to have inhabited the area during the Upper Paleolithic period, though permanent settlements were only established within the last 6,000 years
2.
Morality play
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The morality play is a genre of Medieval and early Tudor theatrical entertainment. In their own time, these plays were known as interludes, Morality plays are a type of allegory in which the protagonist is met by personifications of various moral attributes who try to prompt him to choose a Godly life over one of evil. The plays were most popular in Europe during the 15th and 16th centuries, having grown out of the religiously based mystery plays of the Middle Ages, they represented a shift towards a more secular base for European theatre. The earliest known morality play is Hildegard von Bingens Ordo Virtutum composed c and it is the earliest morality play by more than a century, and the only Medieval musical drama to survive with an attribution for both the text and the music. Morality plays typically contain a protagonist who represents either humanity as a whole or a social structure. Supporting characters are personifications of good and evil and this alignment of characters provides the play’s audience with moral guidance. Morality plays are the result of the dominant belief of the time period, in Everyman, perhaps the archetypal morality play, the characters take on the common pattern, representing broader ideas. Some of the characters in Everyman are God, Death, Everyman, Good-Deeds, Angel, Knowledge, Beauty, Discretion, the personified meanings of these characters are hardly hidden. The emphasis put on morality, the seemingly vast difference between good and evil, and the presence of God makes Everyman one of the most concrete examples of a morality play. At the same time, most morality plays focus more on evil, while Everyman focuses more on good, other plays that take on the typical traits of morality plays, but are rarely given the title of morality play are Hickscorner and The Second Shepherds Play. The characters in Hickscorner are Pity, Perseverance, Imagination, Contemplation, Freewill, in The Second Shepherds Play, the characters are less obviously representative of good and evil, being primarily a trio of shepherds. But other characters such as Mary, The Child Christ, and An Angel show a strong moral presence, in early English dramas Justice was personified as an entity which exercised “theological virtue or grace, and was concerned with the divine pronouncement of judgment on man”. However, as time progressed, more moralities began to emerge, the Justice in Respublica begins to concern himself with administering justice on “the criminal element”, rather than with the divine pronouncement on a generic representative of mankind. This is the first instance where one may observe a direct divergence from the theological virtues, the Justice in Respublica is personified as a “civil force rather than a theological one”. An evolution of sorts takes place within the morals and agendas of Justice, he begins to don on the Judicial Robe of prosecutor and executioner. Another change envelops in the character of Justice during the century in morality plays, Equity replaces Justice. One may readily observe the evolutionary progression of Justice as portrayed in the plays of the fifteenth and sixteenth centuries and it is a journey of discovery and great change on which Justice welcomes one to embark as one leafs through the pages of morality plays. Morality plays before the Reformation teach a Catholic approach to redemption, with an emphasis on works and the sacraments, a view originating with Tertullian, Cyprian, but beware, and they be small Before God, he hath no help at all
3.
Everyman (play)
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The Somonyng of Everyman, usually referred to simply as Everyman, is a late 15th-century morality play. Like John Bunyans 1678 Christian novel The Pilgrims Progress, Everyman uses allegorical characters to examine the question of Christian salvation, the premise is that the good and evil deeds of ones life will be tallied by God after death, as in a ledger book. The play is the accounting of the life of Everyman. In the course of the action, Everyman tries to convince other characters to accompany him in the hope of improving his account, all the characters are also allegorical, each personifying an abstract idea such as Fellowship, Goods, and Knowledge. The conflict between good and evil is dramatised by the interactions between characters, Everyman is being singled out because it is difficult for him to find characters to accompany him on his pilgrimage. Everyman eventually realizes through this pilgrimage that he is alone, despite all the personified characters that were supposed necessities. Everyman learns that when you are brought to death and placed before God, the play was written in Middle English during the Tudor period, but the identity of the author is unknown. Although the play was produced with some frequency in the seventy-five years following its composition. There is a similar Dutch-language morality play of the period called Elckerlijc. In the early 20th century, scholars did not agree on which of these plays was the original, convincingly shown that Everyman is a translation and adaptation from the Dutch Elckerlijc. The cultural setting is based on the Roman Catholicism of the era, Everyman attains afterlife in heaven by means of good works and the Catholic Sacraments, in particular Confession, Penance, Unction, Viaticum and receiving the Eucharist. Here begins a treatise how the high Father of Heaven sends Death to summon every creature to come and give account of their lives in this world, Death arrives at Everymans side to tell him it is time to die and face judgment. Upon hearing this, Everyman is distressed, so begs for more time, Death denies this, but will allow Everyman to find a companion for his journey. Everymans friend Fellowship promises to go anywhere with him, but when he hears of the nature of Everymans journey. Everyman then calls on Kindred and Cousin and asks them to go with him, in particular, Cousin explains a fundamental reason why no people will accompany Everyman, they have their own accounts to write as well. Afterwards, Everyman asks Goods, who will not come, God’s judgment will be severe because of the selfishness implied in Goods’s presence. Everyman then turns to Good Deeds, who says she would go with him, Good Deeds summons her sister Knowledge to accompany them, and together they go to see Confession. In the presence of Confession, Everyman begs God for forgiveness and repents his sins, after his scourging, Everyman is absolved of his sins, and as a result, Good Deeds becomes strong enough to accompany Everyman on his journey with Death
4.
Protagonist
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A protagonist is the main character in any story, such as a literary work or drama. The protagonist is at the center of the story, typically makes the key decisions, the protagonist usually affects the main characters circumstances as well, as they are often the primary actor propelling the story forward. If a story contains a subplot, or is a made up of several stories. The word protagonist is used notably in stories and forms of literature and culture that contain stories, in those forms the protagonist may simply be the leading actor, or the principal character in the story. The antagonist will provide obstacles and complications and create conflict that test the protagonist, thus revealing the strengths, the earliest known examples of protagonist are dated back to Ancient Greece. At first dramatic performances involved merely dancing and recitation by the chorus, but then in Poetics, Aristotle describes how a poet named Thespis introduced the idea of having one actor step out and engage in a dialogue with the chorus. This was the invention of tragedy, which occurred about 536 B. C, then the poet Aeschylus, in his plays, introduced a second actor, inventing the idea of dialogue between two characters. Sophocles then wrote plays that required a third actor, euripides play Hippolytus may be considered to have two protagonists. The protagonist of the first half is Phaedra, who dies partway through the play and her stepson, the titular Hippolytus, assumes the dominant role in the second half of the play. In Ibsen’s play The Master Builder, the protagonist is the architect Halvard Solness, the young woman, Hilda Wangel, whose actions lead to the death of Solness, is the antagonist. In Shakespeare’s play Romeo and Juliet, Romeo is the protagonist and he is actively in pursuit of his relationship with Juliet, and the audience is invested in that story. The character of Tybalt opposes Romeo’s desires, he is the antagonist, in Shakespeare’s play Hamlet, Prince Hamlet, who seeks revenge for the murder of his father, is the protagonist. The antagonist would be the character who most opposes Hamlet, Claudius, in the novel The Catcher in the Rye, the character Holden Caulfield is the protagonist. He is the character, and the reader is invested in his story. Sometimes, a work will have a false protagonist, who may seem to be the protagonist, the character Marion in Alfred Hitchcocks film Psycho is an example. A novel that contains a number of narratives may have a number of protagonists, alexander Solzhenitsyns The First Circle, for example, depicts a variety of characters imprisoned and living in a gulag camp. Leo Tolstoys War and Peace, depicts fifteen major characters involved in or affected by a war
5.
Hero
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The concept of the hero was first founded in classical literature. It is the main or revered character in heroic epic poetry celebrated through ancient legends of a people, often striving for military conquest and living by a continually flawed personal honor code. The definition of a hero has changed throughout time, and the Merriam Webster dictionary defines a hero as a person who is admired for great or brave acts or fine qualities. The word hero comes from the Greek ἥρως, hero, warrior, before the decipherment of Linear B the original form of the word was assumed to be *ἥρωϝ-, hērōw-, R. S. P. Beekes has proposed a Pre-Greek origin. According to the American Heritage Dictionary of the English Language, the Indo-European root is *ser meaning to protect, according to Eric Partridge in Origins, the Greek word Hērōs is akin to the Latin seruāre, meaning to safeguard. Partridge concludes, The basic sense of both Hera and hero would therefore be protector, the word hero is used in English to refer either explicitly to male heroes or as a gender neutral form. The use of the male form hero as a gender neutral substantive is a modern advent, see also Gender neutrality in English. A classical hero is considered to be a warrior who lives and dies in the pursuit of honor, each classical heros life focuses on fighting, which occurs in war or during an epic quest. Classical heroes are commonly semi-divine and extraordinarily gifted, like Achilles, or, alternatively, are like Beowulf, evolving into heroic characters through their perilous circumstances. While these heroes are incredibly resourceful and skilled, they are often foolhardy, court disaster, risk their followers lives for trivial matters, during classical times, people regarded heroes with the highest esteem and utmost importance, explaining their prominence within epic literature. Hector was a Trojan prince and the greatest fighter for Troy in the Trojan War, Hector acted as leader of the Trojans and their allies in the defense of Troy, killing 31,000 Greek fighters, offers Hyginus. Hector was known not only for his courage but also for his noble, indeed, Homer places Hector as peace-loving, thoughtful as well as bold, a good son, husband and father, and without darker motives. However, his familial values conflict greatly with his aspirations in The Iliad. Hector is ultimately betrayed by the gods when Athena appears disguised as his ally Deiphobus and convinces him to take on Achilles, Achilles was a Greek Hero who was considered the most formidable military fighter in the entire Trojan War and the central character of The Iliad. He was the child of Thetis and Peleus, making him a demi-god and he wielded superhuman strength on the battlefield and was blessed with a close relationship to the Gods. Achilles famously refuses to fight after his dishonoring at the hands of Agamemnon, Achilles was known for uncontrollable rage that defined many of his bloodthirsty actions, such as defiling Hectors corpse by dragging it around the city of Troy. Achilles plays a role in The Iliad brought about by constant de-humanization throughout the epic. Heroes in myth often had close but conflicted relationships with the gods, thus Heracless name means the glory of Hera, even though he was tormented all his life by Hera, the Queen of the Gods
6.
Fourth wall
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The fourth wall is a performance convention in which an invisible, imagined wall separates actors from the audience. While the audience can see through this wall, the convention assumes, the metaphor suggests a relationship to the mise-en-scène behind a proscenium arch. When a scene is set indoors and three of the walls of its room are presented onstage, in what is known as a box set, the fourth wall, though, is a convention of acting, rather than of set design. Breaking the fourth wall is any instance in which this performance convention and this can be done through either directly referencing the audience or the work they are in, or referencing their fictionality. The temporary suspension of the convention in this way draws attention to its use in the rest of the performance and this act of drawing attention to a plays performance conventions is metatheatrical. The phrase breaking the wall is used to describe such effects in those media. Breaking the fourth wall is also possible in other media, such as video games, the concept is usually attributed to the philosopher, critic and dramatist Denis Diderot. The term itself was used by Molière, one play that uses the fourth wall extensively for comedic effect is The Complete Works of William Shakespeare. Critic Vincent Canby described it in 1987 as that invisible scrim that forever separates the audience from the stage, oliver Hardy was probably the first to break the fourth wall, in his movies with Stan Laurel, by staring at the camera to seek comprehension from the viewers. Groucho Marx spoke directly to the audience in Animal Crackers,1930, woody Allen broke the fourth wall several times in his movie Annie Hall, as he explained, because I felt many of the people in the audience had the same feelings and the same problems. I wanted to talk to them directly and confront them, the John Hughes movie Ferris Buellers Day Off is another well-known fourth-wall-breaking movie. Bueller, played by Matthew Broderick, often turns to the camera, in the Mel Brooks film Blazing Saddles, the characters literally break the fourth wall. Breaking the fourth wall is an part of the ending of Alejandro Jodorowskys 1973 film The Holy Mountain. More recent examples include the 2016 film Deadpool, in which it is used as a device between the main character and the audience. On television, breaking the wall is rare, though it has been done throughout the history of the medium. George Burns did it numerous times on The George Burns and Gracie Allen Show he starred in with his real-life wife Gracie Allen from 1950 to 1958. Its Garry Shandlings Show and Mrs. Browns Boys both have their title character walking between sets mid-scene, and the latter occasionally shows characters retaking fluffed lines. Another television character who breaks the fourth wall is Francis Urquhart in the British TV drama series House of Cards, To Play the King
7.
Evita (musical)
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Evita is a musical with music by Andrew Lloyd Webber and lyrics by Tim Rice. It concentrates on the life of Argentine political leader Eva Perón, the story follows Evitas early life, rise to power, charity work, and eventual death. The musical began as a rock concept album released in 1976. This has been followed by a string of tours and worldwide productions and numerous cast albums, as well as a major 1996 film of the musical starring Madonna. The musical was revived in London in 2006, and on Broadway in 2012, in 1972, Robert Stigwood proposed that Andrew Lloyd Webber and Tim Rice develop a new musical version of Peter Pan, but they abandoned the project. Travelling late to a one night in 1973, though. As a child stamp collector, he had been fascinated by her image on the Argentine stamps, but was unaware of her significance in Argentinas history. The executive also arranged for Rice to see the film at Thames Television which he did at least twenty times saying also that by that time I had seen Pasinis superbly researched film, after Jeeves, Lloyd Webber returned to Rice, and they began developing Rices proposed musical. The authors of the 1996 book Evita, The Real Life of Eva Perón claim the musical was based on Mary Mains biography The Woman with the Whip, though Rice praised the Main biography, it was never officially credited as source material. Rice created a character, Che, to serve as a narrator, when Harold Prince later became involved with the project, he insisted that the actors portraying Che should use Guevara as a role model. In the 1996 film adaptation, the returned to his more anonymous roots. This was also the case for the 2006 London revival, Lloyd Webber and the conductor Anthony Bowles presented the musical at the second Sydmonton Festival before making the recording with the London Philharmonic Orchestra. The recording, which was released by MCA Records who had previously marketed Jesus Christ Superstar, commenced in April 1976 and was produced by Lloyd Webber, the recording was engineered by David Hamilton Smith, whose work Rice later acknowledged was effectively that of a third producer. He also delivered the line, Statesmanship is more than entertaining peasants, released in 1976, the two-record set included Paul Jones as Juan Perón, Colm Wilkinson as Che, Barbara Dickson as Peróns mistress, and Tony Christie as Agustín Magaldi. The writers had originally considered Steve Marriott and John Fogerty but neither was interested, murray Head, who had enormous success with the Superstar album, recorded some demos but Rice later admitted they didnt really reproduce the magic that his portrayal of Judas had. Colm Wilkinson had recently played Judas in the London production of Superstar and agreed to audition, mike dAbo, who had succeeded Paul Jones as lead singer of Manfred Mann, had a minor role on the album which was notable as the first one which both had appeared. Mike Smith, former lead vocalist with the Dave Clark Five and dAbos then working partner, Pasini wrote the dialogue in Spanish of the first scene, A Cinema in Buenos Aires,26 July 1952. On this recording, he played the part of the actor in the soundtrack of a movie that grinds to a halt, when the album was presented to the press at Lloyd Webbers country home Sydmonton, Pasini organised a photographic presentation with his colleague Anton Furst to accompany it
