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For years the weighty five-act genre had struggled to survive changing aesthetics and withering accusations by writers who viewed it as an excessive art form.
"Conversations on Russian Literature," the last and best play, belongs to what might be the most hackneyed one-act genre: the park-bench drama (Edward Albee has much to answer for).
There was variety, more so than now: poets, jugglers, magicians, improvising double acts, clowns, and acts beyond genre – The Ice Man, for example, who used to melt ice, or Andrew Bailey in his many guises.
Theatergoers got to witness one of the happiest magic acts the genre can offer: a star being born before their eyes.
Bechdel takes the act of genre-bending further than most, bringing together Proustian allusions and pin-up porn in thin rectangular strips that are graphic in both senses of the word.
The quintet of editions, though, perfectly serves the dramatic purposes of writer Mike Bartlett because the story of a Midlands GP who discovers successive sexual and financial secrets about her property developer husband is visibly a modern version of the five-act theatrical genre of Jacobean dramas such as John Webster's The Duchess of Malfi and Thomas Middleton's The Revenger's Tragedy.
(Greenberg, 1988, 260) Even while some Christian theologians continued to denounce nonprocreative sexuality, including same-sex acts, a genre of homophilic literature, especially among the clergy, developed in the eleventh and twelfth centuries (Boswell, 1980, chapters 8 and 9).
The one-act opera genre had become increasingly popular in Italy following the 1890 competition sponsored by publisher Edoardo Sonzogno for the best such work, which was won by young Pietro Mascagni's Cavalleria rusticana.
She often appears to exist in several places at once, fantastic acts of genre-shifting accomplished without smoke or mirrors.
The acts span genres such as electronic, indie, punk rock, blues and folk.
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