The play has two acts and follows the convention of the classical unities.

By giving the narrative to Prospero, he observes what were known as the classical unities.

Here are some examples that have followed the restrictions of the classical unities:

He strengthened the Chekhovian nature of the script and the classical unities."

Aside from one sequence before the opening credits, it adheres to two of the three Classical unities, time and space.

It demanded decorum and rigorous adherence to the classical unities.

The opera observes classical unities of a single setting for the plot, with the events occurring in real time on a single day.

In formal terms, it is a well-made play with a three-act dramatic structure that adheres to the classical unities.

He shared with neoclassicism a belief in the classical unities of time, place and action, but he took the ideal moment and changed it.

The Classical unities, requiring "unity" of "time, place, and subject", is the most well-known of all theatrical constraints.

The Classical unities of time, action and place were the main principles of French neo-classical drama during part of the 17th century.

The rough draft I received in his presence was a craftily paraphrased and copied summary of the classical unities of time, place and action.

Ms. Keller has therefore set her "Giovanni" in freely adapted 18th-century style, and she will observe the opera's classical unities of time, place and action.

He also introduced to French drama the three classical unities of time, action and place, after a misreading of Aristotle's Poetics.

Jean-François Ducis created a version in Freanch, first performed in 1769, adapted to conform to the classical unities.

Cardinal Richelieu's Académie française acknowledged the play's success, but determined that it was defective, in part because it did not respect the classical unities.

For all the modern jump-cuts and absurdist devices of his play, Mr. Guare holds out for the classical unities in both life and art.

Thus, Barney Miller tended to obey two of the three classical unities of drama, unity of place and unity of time.

Junimism was mainly directed at the Romanticism and didacticism of its liberal adversaries, demanding clarity in style and the preservation of classical unities.

The classical unities, Aristotelian unities or three unities are rules for drama derived from a passage in Aristotle's Poetics.

The Comedy of Errors (along with The Tempest) is one of only two of Shakespeare's plays to observe the classical unities.

The action occurs in a single place and, through the novel's witty telescoping of time, over a single night - a sort of parody of the classical unities.

In the eighteenth century the quality of a play was judged by its adherence to the classical unities, as specified by Aristotle in the fourth century BC.

Mairet was one of the bitterest assailants of Corneille in the controversy over the violation of the classical unities in Le Cid.

His Christophe Colomb (1809), advertised on the play-bill as a comédie shakespérienne (sic), represented the interior of a ship, and showed no respect for the classical unities.

There is a hint of Aristotelian unities in her use of an office world as the world.

Sticking close to the Aristotelian unities, the screen time of an hour and half dovetails perfectly with real time.

The three Aristotelian unities of drama are the unities of time, place and action.

(Jonson, true to the Aristotelian unities of time and place, stages all this action in a single day.)

You gulp, tell yourself you can transcend the Aristotelian unities, and would move on if Murakami allowed you to.

What a play it is: a piano-wire-taut piece of work that obeys the Aristotelian unities while opening windows onto all sorts of levels of contemplation.

Indeed, his new novel observes almost Aristotelian unities as it follows its protagonist, Robert Druff, through the streets of which he is City Commissioner.

In fact, Mr. Tanovic, who was trained in dramaturgy, tried to apply the Aristotelian unities of time, place and action in making the film.

The classical unities, Aristotelian unities or three unities are rules for drama derived from a passage in Aristotle's Poetics.

Lope's Arte nuevo, is a 389 verse poem which explicitly defends his, and other dramaturges, distancing from Aristotelian unities of theater.

"Of Mice and Men," Steinbeck's fifth novel, adheres to a simple dramatic structure, which observes the classic Aristotelian unities of time, place and action.

The other innovation was a kind of observance of the Aristotelian unities: the action takes place in one location, lasts from morning till morning, and focuses on the two main characters.

Observing at least some of the Aristotelian unities, "Ma Rainey" unfolds in 1927 in a single place (a Chicago recording studio) in actual time (a recording session).

It sticks quite carefully to the Aristotelian unities; the plot is a tightly woven mesh of act and reaction; the scenes a genial collection of depictions of everyday life in a large Renaissance city.

Goethe organised a Shakespeare jubilee in Frankfurt in 1771, stating that the dramatist had shown that the Aristotelian unities were "as oppressive as a prison" and were "burdensome fetters on our imagination".

John Gulager's "Feast," by far the best of the DVDs I saw, similarly observes the Aristotelian unities, and takes place in real time, more or less, from dusk to dawn, entirely inside a bar besieged by a family of man-eating aliens.

Shirley tightens the Aristotelian unities of the plot, and simplifies the story by eliminating some of the more fantastic elements of Lope's story - Vittori doesn't go mad, Cassandra doesn't dress as a man; she also doesn't apparently die and isn't apparently resurrected.

The three unities are distinctive features of the Athenian theatre.

These are rhymes, jingles; I don't go for eternity and the three unities.

In addition, the play seems to follow the three unities of Greek drama: unity of time, place, and action.

Shakespeare's other plays rarely respected the three unities, taking place in separate locations miles apart and over several days or even years.

Corneille seems to disregard the three unities of classical theatre:

Because Soans' play follows these three unities, the play is considered realism in both a literal and technical sense.

Structure: The rule of the three unities, imposed on Spanish literature of the Enlightenment, disappeared.

It was his reading of Aristotle that led to a widespread adoption of a tight version of the Three Unities, as a dramatic standard.

The dramatic technique of the three Unities is employed by Goldsmith to some extent in She Stoops to Conquer.

The "unity of action", one of the Three Unities, is better respected and Larivey brings fewer modifications to the Italian originals.

Lodovico Castelvetro's Aristotle-based 'Art of Poetry' (1570) was one of the first enunciations of the "three unities".

The classical unities, Aristotelian unities or three unities are rules for drama derived from a passage in Aristotle's Poetics.

The clearest indication of this is Shakespeare's respect for the three unities in the play: the Unities of Time, Place, and Action.

This movement away from the baroque novel was supported by theoretical discussions on novel structure, which sought to apply the same Aristotelian and Horacian concepts of the three unities, decorum and verisimilitude that writers had imposed on the theater.

Underlying these modern themes, however, is a classical sense of tragedy: Hardy scrupulously observes the three unities of time, place, and action and suggests that the struggles of those trying to escape their destinies will only hasten their destruction.

The effect of the three unities on French drama during this period was that their presentation became very restrictive, and it was only when later dramatists began to avoid mentioning specific times and places that the presentation of plays became more creative again.

Faced with the scrupulous rigor and order with which rules were observed in the 18th century, the romantic writers combined the genres and verses of distinct media, at times mixing verse and prose; in the theater the rule of three unities (action, place, and time) was despised, and they alternated the comic with the dramatic.