The acronym”OPERA”means: ?->(Show Answer!)

1. The acronym”OPERA”means:

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MCQ-> Read the passage carefully and choose the best answer to each question out of the four alternatives.A crucial element that defines the soap opera is the open ended nature of the narrative, with stories spanning several episodes. One of the defining features that makes a television program a soap opera, according to Albert Moran is “that form of television that works with a continuous open narrative. Each episode ends with a promise that the storyline is to be continued in another episode.”In 2012, Robert Lloyd of the Los Angeles Times wrote of daily dramas, “Although melodramatically eventful, soap operas such as this also have a luxury of space that makes them seem more naturalistic, indeed, the economics of the form demand long scenes, and conversations that a 22- episodes-per – season weekly series might dispense with in half a dozen lines of dialogue may he drawn out, as here, for pages. You spend more time even with the minor characters, the apparent villains grow less apparently villainous.”Soap opera storylines run concurrently, intersect and lead into further developments. An individual episode of a soap opera will generally switch between several different concurrent narrative threads that may at times interconnect and effect one another or may run entirely independent of each other. Evening soap operas and serials that run for only a part of the year tend to bring things to a dramatic end of season cliffhanger.A soap opera has the space for it to be more
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MCQ-> In the following questions, you have two brief passages with 5 questions following each passage. Read the passages carefully and choose the best answer to each question out of the four alternatives. Passage I Opera refers to a dramatic art form, originating in Europe, in which the emotional content is conveyed to the audience as much through music, both vocal and instrumental, as it is through the lyrics. By contrast, in musical theatre an actor’s dramatic performance is primary, and the music plays a lesser role. The drama in opera is presented using the primary elements of theatre such as scenery, costumes and acting. However, the words of the opera, or libretto, are sung rather than spoken. The singers are accompanied by a musical ensemble ranging from a small instrumental ensemble to a full symphonic orchestra.It is pointed out in the passage that opera
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MCQ-> Read the passage and answer the questions that follow: Passage II Reverence is a dirty word at the Almeida Theatre in Islington, North London. Rupert Goold, the artistic director, and Robert Icke, his associate, are resolved to take dusty, distant cultural artefacts of drama and shake them hard. so that they will entertain modern audiences, especially those with no previous knowledge of the plays. Mr Icke holds that to save the classics from withering, a director must be willing even to reinterpret the original author's intentions. This summer Messrs Goold and Icke have directed freshly translated versions of the oldest of all "dusty theatrical artefacts": the ancient Greek tragedies of Aeschylus and Euripides. These versions ruthless) rewrite texts and alter plots. In Euripides's "Medea'. the last of the season of three plays which opened on 1st October directed by Mr Goold. Medea murders her two children as revenge on her unfaithful husband. Not at the Almeida: in this version, her sons die—or perhaps do not—by eating sleeping pills. Mr Icke's version of "Oresteia" by Aeschylus is described as "a new adaptation", but classics scholars insist that it is much more than that. The masked male chorus which propels all Greek tragedy, so memorable in Sir Peter Hall's production at the National Theatre in 1981, is jettisoned. Mr Icke's -Oresteie starts with 46 pages of text (out of 113 in all) that are a dramatisation of the long choral ode in Aeschylus's "Agamemnon-. It deals with his decision to sacrifice his daughter Iphigenia to ensure his ships a fair wind for Troy. Mr Icke believes that, without this prelude, it is hard to appreciate fully the ensuing, awe-inspiring family tragedy in which his wife Klytemnestra kills Agamemnon to avenge their daughter's death, and then is murdered in turn by their son Orestes. The extra material makes for a long evening, but it speeds by. Only the "Bakkhai". the second of the Almeida's three plays, conforms to the traditional Greek unities of time and place, and as in ancient Greece, has all the speaking roles played by three actors, backed by a chorus (though of Bacchic ladies rather than masked men). The Greek season defines the Almeida's style of work. Mr Goold has unearthed a rich new seam of modem theatre by reviving and generally energising work by authors such as Luigi Pirandello and Bret Easton Ellis. His delightful version of "The Merchant of Venice"- set in Las Vegas, was played largely for laughs, with the verse adapting easily to a singsong southern American accent. Even his failures, such as a "King Lear and Puccini at the English National Opera, had moments that linger in the memory. Actors like working there. Since small theatres like the Almeida cannot pay well, actors choose the work over the money. In this Greek season, the two most memorable performances are by Lia Williams as Klytemnestra and Kate Fleetwood, who is Mr Goold's wife, as Medea. Each exhibits an emotional range that holds the action together. The rage, temper and insult of the dialogue between Medea and her husband Jason, here conducted on their mobile phones, reveal a direct linguistic link from ancient Greece to contemporary soap opera. Whatever quibbles there might be about the editing, cutting and rewriting of the texts, surely the significant question about this ambitious project is whether the audience is gripped by the performances. Enthusiastic word-of-mouth suggests the answer is yes.In this passage, the word "reverence" can be interpreted as....

MCQ->The acronym'OPERA' means....

MCQ->The acronym”OPERA”means:....