Answer:
Being primarily a playwright, Cervantes’ one great novel was at its core about the Battle Between Reality and Illusion, the same eternal tension of the theatre, and the most central tension of musical theatre in particular. Just as Quixote must navigate the fine line between illusion and reality, so too do all musicals have to maintain the same balancing act. Though they may present entirely – even painfully – realistic emotions, issues, people, and worlds, the act of breaking into song will always belong solely to the world of illusion.
Man of La Mancha is not a musicalization of Don Quixote; it is instead a show about a few hours in the life of Miguel de Cervantes, using Quixote as a storytelling device. As the show’s bookwriter Dale Wasserman has written, “My man of La Mancha is not Don Quixote; he is Miguel de Cervantes.” In fact, only a tiny part of the novel is dramatized in the show; after all, there are more than four hundred characters in the novel. When Wasserman originally set out to write the first, non-musical version of his play, he remembers, “In theory the answer seemed simple. I’d write a play about Miguel de Cervantes in which his creation, Don Quixote, would be played by Cervantes himself. The two would progressively blend in spirit until the creator and his creation would be understood as one and the same.”
(Me doing all that for you should guarantee me a date with u lol)
Answer:
Bosco and the girls do not believe that making resolutions is futile.
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Answer:
This twist ending would be a reversal of perception because we perceived the character to be in the wilderness, when they were actually having a dream.
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