Sentence examples for implicit in the play from inspiring English sources

SCHECHNER That virtuality is implicit in the play itself.

Implicit in the play is Hare's deep displeasure over what he sees as Britain's allowing itself to be drawn into Iraq by America's powerful pull.

In all of this, Tyler draws out the warning implicit in the play: that if men will persist in finding weakness and deviousness in women sexually attractive, they are going to get the half-formed partners they deserve.

Accompanied as in New York by his wife, Amy Madigan, playing his onstage spouse, Mr. Harris continues to be near-definitive as the growly, grizzled paterfamilias, Dodge, presiding over a family in free fall whose anguished past is implicit in the play's title.

In other words, the use of Yiddish makes explicit what has always been implicit in the play, that it is based on a pair of underlying realities that are easier to forget when you hear the play in English.

The intellectual blackmail implicit in these plays, Mamet argues, is: Do you appreciate this play, or do you hate blacks, the bereaved, the autistic?

Whilst a critique of the immigration system is implicit in these plays, there have been no plays (at least that I can think of) that tackle the system itself head-on.

By style, therefore, is implied the whole mood and spirit of the play, its degree of fantasy or realism, its quality of ritualism or illusion, and the way in which these qualities are signaled by the directions, explicit or implicit, in the text of the play.

That Chekhov was not prudish about or uninterested in sex is hardly revealed by his use of a coarse word in a letter; it is implicit in the stories and plays.

The stiff-upper-lip sentimentality implicit in this perspective, and in the play's portrait of its hero's tragically thwarted imagination, could cloy.

A host of new devices were tested, mixing laughter and passion; shifting focus and perspective by slipping from verse to prose and back again; extending the use of the popular clown; exploiting the double values implicit in boy actors playing the parts of girls; exploring the role of the actor in and out of character; but, above all, developing an extraordinarily flexible dramatic poetry.