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The Strong Museum is the ultimate play destination for all ages! With nearly 150,000 square feet of dynamic, interactive exhibit space, The Strong provides entertaining, educational, and unforgettable intergenerational fun.

That means you can start playing with your PlayStation console connected to a TV, pause your game and access the PS Remote Play app on your chosen device, and your game will be there, ready to keep playing from exactly where you left it. Or you can switch on your PlayStation console and start playing directly from the app, with no need to ever switch on your TV.

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Provided if the user agent (browser) or operating system doesn't allow playback of media in the current context or situation. The browser may require the user to explicitly start media playback by clicking a "play" button, for example because of a Permissions Policy.

Although the term "autoplay" is usually thought of as referring to pages that immediately begin playing media upon being loaded, web browsers' autoplay policies also apply to any script-initiated playback of media, including calls to play().

If the user agent is configured not to allow automatic or script-initiated playback of media, calling play() will cause the returned promise to be immediately rejected with a NotAllowedError. Websites should be prepared to handle this situation. For example, a site should not present a user interface that assumes playback has begun automatically, but should instead update their UI based on whether the returned promise is fulfilled or rejected. See the example below for more information.

Note: The play() method may cause the user to be asked to grant permission to play the media, resulting in a possible delay before the returned promise is resolved. Be sure your code doesn't expect an immediate response.

In this example, playback of video is toggled off and on by the async playVideo() function. It tries to play the video, and if successful sets the class name of the playButton element to "playing". If playback fails to start, the playButton element's class is cleared, restoring its default appearance. This ensures that the play button matches the actual state of playback by watching for the resolution or rejection of the Promise returned by play().

When this example is executed, it begins by collecting references to the element as well as the used to toggle playback on and off. It then sets up an event handler for the click event on the play toggle button and attempts to automatically begin playback by calling playVideo().

\n Provided if the user agent (browser) or operating system doesn't allow playback of media in the\n current context or situation. The browser may require the user to explicitly start\n media playback by clicking a \"play\" button, for example because of a Permissions Policy.\n

\n Although the term \"autoplay\" is usually thought of as referring to pages that\n immediately begin playing media upon being loaded, web browsers' autoplay policies also\n apply to any script-initiated playback of media, including calls to play().\n

\n If the user agent is configured not to allow automatic or\n script-initiated playback of media, calling play() will cause the returned\n promise to be immediately rejected with a NotAllowedError. Websites should\n be prepared to handle this situation. For example, a site should not present a user\n interface that assumes playback has begun automatically, but should instead update their\n UI based on whether the returned promise is fulfilled or rejected. See the\n example below for more information.\n

\n Note: The play() method may cause the user to be asked\n to grant permission to play the media, resulting in a possible delay before the\n returned promise is resolved. Be sure your code doesn't expect an immediate response.\n

\n In this example, playback of video is toggled off and on by the\n async\n playVideo() function. It tries to play the video, and if successful sets\n the class name of the playButton element to \"playing\". If\n playback fails to start, the playButton element's class is cleared,\n restoring its default appearance. This ensures that the play button matches the actual\n state of playback by watching for the resolution or rejection of the\n Promise returned by play().\n

\n When this example is executed, it begins by collecting references to the\n element as well as the used to toggle\n playback on and off. It then sets up an event handler for the click event\n on the play toggle button and attempts to automatically begin playback by calling\n playVideo().\n

A play is a form of drama that primarily consists of dialogue between characters and is intended for theatrical performance rather than mere reading. The creator of a play is known as a playwright.

Comedies are plays designed to elicit humour and often feature witty dialogue, eccentric characters, and unusual situations. Comedies cater to diverse age groups. Comedies were one of the original two genres of Ancient Greek drama, the other being tragedies. Examples of comedies include William Shakespeare's A Midsummer Night's Dream, and in the modern day, The Book of Mormon.[2][3]

Farces constitute a nonsensical subgenre of comedy that frequently involve humour. They often rely on exaggerated situations and slapstick comedy. An example of a farce is William Shakespeare's play The Comedy of Errors, or Mark Twain's work Is He Dead?.

Satirical plays provide a comic perspective on contemporary events while also making political or social commentary, often highlighting issues such as corruption. Examples of satirical plays are Nikolai Gogol's The Government Inspector and Aristophanes' Lysistrata. Satire plays are a distinct and popular form of comedy, often considered a separate genre in themselves.

Restoration comedy is a genre that explores relationships between men and women, often delving into risqu themes for its time.[4] The characters in restoration comedies frequently embody various stereotypes, contributing to the genre's consistent themes. However, this similarity also led to a homogeneity of message and content across most plays in this genre. Despite this, restoration comedy's exploration of unspoken aspects of relationships fostered a more intimate connection between the audience and the performance.

Tragedies delve into darker themes such as death and disaster. The central character, or protagonist, often possesses a tragic flaw that leads to their downfall. Tragic plays encompass a wide range of emotions and emphasize intense conflicts. Tragedy was the other original genre of Ancient Greek drama alongside comedy. Examples of tragedies include William Shakespeare's Hamlet, and John Webster's play The Duchess of Malfi.[2]

Historical plays centre on real historical events. They can be tragedies or comedies, though often they defy these classifications. History emerged as a distinct genre largely due to the influence of William Shakespeare. Examples of historical plays include Friedrich Schiller's Demetrius and Shakespeare's King John.[7]

Modern Western musical theatre gained prominence during the Victorian era, with key structural elements established by the works of Gilbert and Sullivan in Britain and Harrigan and Hart in America. By the 1920s, theatre styles began to crystallize, granting composers the autonomy to create every song within a play. These new musicals adhered to specific conventions, often featuring thirty-two-bar songs. The Great Depression prompted many artists to transition from Broadway to Hollywood, transforming the essence of Broadway musicals. A similar shift occurred in the 1960s, characterized by a scarcity of composers and a decline in the vibrancy and entertainment value of musicals.

Entering the 1990s, the number of original Broadway musicals dwindled, with many productions adapting movies or novels. Musicals employ songs to advance the narrative and convey the play's themes, typically accompanied by choreography. Musical productions can be visually intricate, showcasing elaborate sets and actor performances. Examples of musical productions include Wicked and Fiddler on the Roof.

Foremost, Artaud lacked trust in language as an effective means of communication. Plays within the theatre of cruelty genre exhibit abstract conventions and content. Artaud intended his plays to have an impact and achieve a purpose. His aim was to symbolize the subconscious through bodily performances, as he believed language fell short. Artaud considered his plays enactments rather than re-enactments, indicating that he believed his actors were embodying reality, rather than reproducing it.

His plays addressed weighty subjects such as patients in psychiatric wards and Nazi Germany. Through these performances, he aimed to "make the causes of suffering audible." However, audiences initially responded negatively, as they were taken aback by what they saw. Much of his work was even banned in France during that time.

This genre typically presents metaphysical portrayals of existential questions and dilemmas. Theatre of the absurd rejects rationality, embracing the inevitability of plunging into the depths of the human condition. Rather than explicitly discussing these issues, theatre of the absurd embodies them. This leaves the audience to engage in personal discussion and contemplation of the play's content.

The term "play" can encompass either a general concept or specifically denote a non-musical play. In contrast to a "musical," which incorporates music, dance, and songs sung by characters, the term "straight play" is often used. For a brief play, the term "playlet" is occasionally employed.

The term "script" pertains to the written text of a play. After the front matter, which includes the title and author, it usually begins with a dramatis personae: a list introducing the main characters of the play by name, accompanied by brief character descriptions (e.g., ".mw-parser-output span.smallcaps{font-variant:small-caps}.mw-parser-output span.smallcaps-smaller{font-size:85%}Stephano, a drunken Butler"). ff782bc1db