Act (drama)

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An act is a major division of a theatre work, including a play, film, opera, or musical theatre, consisting of one or more scenes.^[1]^[2] The term can either refer to a conscious division placed within a work by a playwright (usually itself made up of multiple scenes)^[3] or a unit of analysis for dividing a dramatic work into sequences. As applied, those definitions may or may not align. The word act can also be used for major sections of other entertainment, such as variety shows, television programs, music hall performances, cabaret, and literature.

In a three-act play, each act usually has a different mood. In the m

In a three-act play, each act usually has a different mood. In the most commonly used structure, the first act has a lot of introductory elements (that is, who, what, when, where, why, and how); the second act is usually the darkest, with the antagonists having a greater compass; and the third act has a resolution (dénouement), often with the protagonists prevailing.

Act one: The conflict of the story is discovered. The exposition, the introduction of the protagonist and other characters that the protagonist meets, take place,^[9] as well as the Until the 18th century, most plays were divided into five acts. The work of William Shakespeare, for example, generally adheres to a five-act structure.^[10] This format is known as the five-act play, and was famously analyzed by Gustav Freytag in Die Technik des Dramas (Dramatic techniques). The five acts played specific functions in the overall structure of the play, but in performance, there was not necessarily any clear separation between them.
A similar five-part structure is also used in traditional Japanese Noh drama, particularly by Zeami Motokiyo. Zeami, in his work "Sandō" (The Three Paths), originally described a five-part (five dan) Noh play as the ideal form. It begins slowly and auspiciously in the first part (jo), building up the drama and tension in the second, third, and fourth parts (ha), with the greatest climax in the third dan, and rapidly concluding with a return to peace and auspiciousness in the fifth dan (kyū).^[11]

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As part of a television program, each individual act can be separated by commercials.
In film, a number of scenes grouped together bring an audiovisual work to life. The three-act structure is commonly referred to in film adaptations of theatrical plays.

See also
A similar five-part structure is also used in traditional Japanese Noh drama, particularly by Zeami Motokiyo. Zeami, in his work "Sandō" (The Three Paths), originally described a five-part (five dan) Noh play as the ideal form. It begins slowly and auspiciously in the first part (jo), building up the drama and tension in the second, third, and fourth parts (ha), with the greatest climax in the third dan, and rapidly concluding with a return to peace and auspiciousness in the fifth dan (kyū).^[11]
As part of a television program, each individual act can be separated by commercials.
In film, a number of scenes grouped together bring an audiovisual work to life. The three-act structure is commonly referred to in film adaptations of theatrical plays.

film, a number of scenes grouped together bring an audiovisual work to life. The three-act structure is commonly referred to in film adaptations of theatrical plays.

Other media

film, a number of scenes grouped together bring an audiovisual work to life. The three-act structure is commonly referred to in film adaptations of theatrical plays. (adsbygoogle = window.adsbygoogle || []).push({});

film, a number of scenes grouped together bring an audiovisual work to life. The three-act structure is commonly referred to in film adaptations of theatrical plays.