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🔗 Scotland 🔗 Theatre 🔗 Shakespeare

The Scottish play and the Bard's play are euphemisms for William Shakespeare's Macbeth. The first is a reference to the play's Scottish setting, the second a reference to Shakespeare’s popular nickname. According to a theatrical superstition, called the Scottish curse, speaking the name Macbeth inside a theatre, other than as called for in the script while rehearsing or performing, will cause disaster. A variation of the superstition also forbids quoting lines from the play within a theatre except as part of an actual rehearsal or performance of the play.

Because of this superstition, the lead character is often referred to as the Scottish King or Scottish Lord. Lady Macbeth is often referred to as the Scottish Lady. Sometimes Mackers or MacB is used to avoid saying the name.

🔗 Science Fiction 🔗 Robotics 🔗 Theatre 🔗 Czech Republic

R.U.R. is a 1920 science-fiction play by the Czech writer Karel Čapek. "R.U.R." stands for Rossumovi Univerzální Roboti (Rossum's Universal Robots, a phrase that has been used as a subtitle in English versions). The play had its world premiere on 2 January 1921 in Hradec Králové; it introduced the word "robot" to the English language and to science fiction as a whole. R.U.R. soon became influential after its publication. By 1923 it had been translated into thirty languages. R.U.R. was successful in its time in Europe and North America. Čapek later took a different approach to the same theme in his 1936 novel War with the Newts, in which non-humans become a servant-class in human society.

🔗 Theatre 🔗 Elizabethan theatre

The Parnassus plays are three satiric comedies, or full-length academic dramas, each divided into five acts. They date from between 1598 and 1602. They were performed in London by students for an audience of students as part of the Christmas festivities of St John's College at Cambridge University. It is not known who wrote them.

The titles of the three plays are

• The Pilgrimage to Parnassus
• The Return from Parnassus
• The Return from Parnassus: Or the Scourge of Simony

The second and third plays are sometimes referred to as Part One and Part Two of The Return from Parnassus.

The trilogy raises an Elizabethan question: After college – what comes next? Francis Bacon in his essay "Of Seditions and Troubles" pointed to a 16th-century problem – universities were producing more scholars than there were opportunities for them. The University Wits – Lily, Marlowe, Green, Peele, Nashe and Lodge – were scholars who found employment in theatre, not perhaps their first choice, but there was little else for them. Their great education tended to discourage them from taking up the humble trades of their fathers. The Parnassus plays may not provide a solution, but they at least illustrated the fears of such ambitious young scholastic dreamers.

For the most part, the plays follow the experiences of two students, Philomusus and Studioso. The first play tells the story of two pilgrims on a journey to Parnassus. The plot is an allegory understood to represent the story of two students progressing through the traditional course of education known as the trivium. The accomplishment of their education is represented by Mount Parnassus. The second play drops the allegory and describes the two graduates' unsuccessful attempts to make a living, as does the third play, which is the only one that was contemporaneously published. New in the third play is the serious treatment of issues regarding censorship.

It has been said that this trilogy of plays "in originality and breadth of execution, and in complex relationship to the academic, literary, theatrical and social life of the period, ranks supreme among the extant memorials of the university stage", and that they are "among the most inexplicably neglected key documents of Shakespeare's age".

🔗 Classical Greece and Rome 🔗 Greece 🔗 Theatre

In the theatre of ancient Greece, the eirôn (Ancient Greek: εἴρων) was one of three stock characters in comedy. The eirôn usually succeeded in bringing down his braggart opponent (the alazôn) by understating his own abilities.