gilbertian การใช้

• Gilbertian mimicry occurs in the genus " Passiflora ".
• Director and playwright Mike Leigh described the " Gilbertian " style as follows:
• Stedman calls this a " Gilbertian invasion plot ".
• Unlike the previously mentioned forms of mimicry, Gilbertian mimicry involves only two species.
• However, in a typical Gilbertian twist, their personae were the opposite of those in real life.
• One said that " The dialogue contains many an authentic Gilbertian touch . " Another found it " a gay, sparkling libretto ".
• The piece has a typical Gilbertian topsy-turvy plot in which magic items grant wishes, and each of the characters uses his or her wish to become someone else.
• To the tune of a Gilbertian British Admiral, a clog-dancing Dutch Admiral, a gloomy Russian and a dandified Frenchman all vying for access to Japan's markets.
• Moreover, the Savoy was not the right place to produce such a drama, because its audience was used to seeing comic operas focused on wit, humour and Gilbertian satire.
• His other large scale operas ( " Gilbertian absurdities are introduced to fairyland : the shepherd, who is the son of Iolanthe and her mortal husband, turns out to be " half a fairy ".
• For instance, the " uncivilised " island of Babbetyboobledore is an early look at a Gilbertian utopia, such as in the Gilbert and Sullivan opera " Utopia, Limited ", written 25 years later.
• Just as it looks as if he will be compelled to resume his real identity, a piece of truly Gilbertian nonsense brings all to a satisfactory conclusion, and he is allowed to stay plain Henry Leek after all.
• The skill with which Gilbert and Sullivan used their performers had an effect on the audience; as critic Herman Klein wrote : " we secretly marvelled at the naturalness and ease with which [ the Gilbertian quips and absurdities ] were said and done.
• The skill with which Gilbert and Sullivan used their performers had an effect on the audience; as the critic Herman Klein wrote : " we secretly marvelled at the naturalness and ease with which [ the Gilbertian quips and absurdities ] were said and done.
• Stedman calls this a " Gilbertian invasion plot " . " Princess Ida " and " Fallen Fairies ", both based on earlier blank-verse plays by Gilbert, unlike Gilbert's other operas, both retain blank verse in the dialogue.
• "The Daily News " and " The Globe " both noted that Act I ran longer than any previous Savoy Opera and needed pruning . " The Manchester Guardian " praised the work, but commented that there was " much ( sometimes too much ) Gilbertian dialogue ".
• The work's librettist, Harry B . Smith, went on to steal more Gilbertian ideas for future operettas with Herbert, who often would complement these ideas with music reminiscent of Sullivan . " The Singing Girl ", co-written by Smith and Stanislaus Stange, recalls " The Mikado ", and includes the plot element of a law against kissing without a licence.
• Many of its songs might well have appeared in the later operas . " They point out Mercury's " I'm the celestial drudge ", which anticipates Giuseppe's " Rising early in the morning " in " The Gondoliers ", and find the " real brand of Gilbertian topsy-turvydom " in the song about the former head of a railway company, " I once knew a chap who discharged a function ".
• Jane W . Stedman points out that " Thespis " " looks backward to French " op閞a bouffe " ", but it is " fundamentally a Gilbertian invasion plot in which outsiders penetrate and affect a given society, often for the worse . " She compares the theatrical company in " Thespis " to the politicians that remodel fairyland in Gilbert's 1873 play " The Happy Land " and the Englishmen who reform the island nation of Utopia in " Utopia, Limited " ( 1893 ).
• Of the British papers reviewing the transfer, " The Telegraph " gave the show four stars out of five, and said, " There's a harder-edged quality to the New York staging : the general tenor is louder and more exaggerated, and the Gilbertian finesse of [ the ] astonishing lyrics didn't translate for my companion . . . But the tremendous heart and intelligence of the piece remains undimmed . " A review by Brendan Lemon in the " Financial Times " also gave the piece four stars out of five.