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* The first act of ''Theatre/HereWeAre'' plays like a conventional musical, albeit with absurdist elements. During the second half, [[ClosedCircle when the characters are unable to leave their location]] the musical elements become gradually less prominent as the characters fall deeper into despair and hopelessness, until there aren't any songs at all.
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* Jean Racine got some of his best effects by inflicting small, perfectly calculated cracks in the weirdly rigid wall of conventions that defined 17th-century French theatre. Take ''Phèdre'': to the tastemakers of King Louis' court, it was obvious--virtually holy writ--that a stage is immaculately unfurnished, and that royal personages never show weakness. In that environment, putting a chair into the opening scene and having a queen collapse into it had an effect not unlike rolling a grenade onto the stage. It was Racine's economical way of announcing "hang on, because all bets are now off."
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* Jean Racine Creator/JeanRacine got some of his best effects by inflicting small, perfectly calculated cracks in the weirdly rigid wall of conventions that defined 17th-century French theatre. Take ''Phèdre'': to the tastemakers of King Louis' court, it was obvious--virtually holy writ--that a stage is immaculately unfurnished, unfurnished and that royal personages never show weakness. In that environment, putting a chair into the opening scene and having a queen collapse into it had an effect not unlike rolling a grenade onto the stage. It was Racine's economical way of announcing "hang on, because all bets are now off."
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** In another Discworld play, ''Literature/Maskerade'', this is the recommended way of portraying the impossible talents of Agnes Nitt: for the singing lesson scene, the script recommends that 'Agnes' stands at the back of the auditorium, with Dr. Undershaft facing out to speak to her, and her singing, which is all pre-recorded, is played in by P.A. This covers for the fact that Agnes is supposed to be an uncannily good mimic (and the fact that the plays are usually performed by non-professionals, and so her abilities are usually created with trick recording)— it's less awkward than having the actress mime.
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** In another Discworld play, ''Literature/Maskerade'', ''Literature/{{Maskerade}}'', this is the recommended way of portraying the impossible talents of Agnes Nitt: for the singing lesson scene, the script recommends that 'Agnes' stands at the back of the auditorium, with Dr. Undershaft facing out to speak to her, and her singing, which is all pre-recorded, is played in by P.A. This covers for the fact that Agnes is supposed to be an uncannily good mimic (and the fact that the plays are usually performed by non-professionals, and so her abilities are usually created with trick recording)— it's less awkward than having the actress mime.
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* Given the difficulty in transferring Creator/TerryPratchett's famous footnotes to the stage, the play adaptation of ''Discworld/GuardsGuards'' recommends having someone in a footnote costume -- complete with a label on their shirt -- step on stage, hit a klaxon to get everyone to freeze, deliver the footnote, hit the klaxon, and then leave as everyone goes back to normal.
** In another Discworld play, ''Discworld/Maskerade'', this is the recommended way of portraying the impossible talents of Agnes Nitt: for the singing lesson scene, the script recommends that 'Agnes' stands at the back of the auditorium, with Dr. Undershaft facing out to speak to her, and her singing, which is all pre-recorded, is played in by P.A. This covers for the fact that Agnes is supposed to be an uncannily good mimic (and the fact that the plays are usually performed by non-professionals, and so her abilities are usually created with trick recording)— it's less awkward than having the actress mime.
** In another Discworld play, ''Discworld/Maskerade'', this is the recommended way of portraying the impossible talents of Agnes Nitt: for the singing lesson scene, the script recommends that 'Agnes' stands at the back of the auditorium, with Dr. Undershaft facing out to speak to her, and her singing, which is all pre-recorded, is played in by P.A. This covers for the fact that Agnes is supposed to be an uncannily good mimic (and the fact that the plays are usually performed by non-professionals, and so her abilities are usually created with trick recording)— it's less awkward than having the actress mime.
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* Given the difficulty in transferring Creator/TerryPratchett's famous footnotes to the stage, the play adaptation of ''Discworld/GuardsGuards'' ''Literature/GuardsGuards'' recommends having someone in a footnote costume -- complete with a label on their shirt -- step on stage, hit a klaxon to get everyone to freeze, deliver the footnote, hit the klaxon, and then leave as everyone goes back to normal.
** In another Discworld play,''Discworld/Maskerade'', ''Literature/Maskerade'', this is the recommended way of portraying the impossible talents of Agnes Nitt: for the singing lesson scene, the script recommends that 'Agnes' stands at the back of the auditorium, with Dr. Undershaft facing out to speak to her, and her singing, which is all pre-recorded, is played in by P.A. This covers for the fact that Agnes is supposed to be an uncannily good mimic (and the fact that the plays are usually performed by non-professionals, and so her abilities are usually created with trick recording)— it's less awkward than having the actress mime.
** In another Discworld play,
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* This is actually the origin of the traditional {{ninja}} costume. In kabuki theater, the stagehands were clothed head to toe in black, which made them easy to ignore. As long as they were ignored, they were invisible. Thus, when ninja characters were put in the same outfit, they were ignored, too... right until they jumped out and became part of the production. The actors of course pretended they weren't there in-universe, just as the audience essentially was trained to ignore them.
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* This is actually the origin of the traditional {{ninja}} costume. In kabuki theater, the stagehands were on stage with the other performers, and were clothed head to toe in black, black which made them easy to ignore. As long as they were ignored, they were invisible. Thus, when ninja characters were put in the same outfit, they were ignored, too... right until they jumped out and became part of the production. The actors of course pretended they weren't there in-universe, just as the audience essentially was trained to ignore them.
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* ''Theatre/NoisesOff'' is a ShowWithinAShow. Part of the story is the fact that Selsdon isn't present during the first part of the rehearsal scene - and the actor playing him is actually placed within the audience. InUniverse, the character is implied to not be behind stage, but actually in the theatre - where the audience is.
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as described, that's a different trope
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* The theatrical version and most other adaptations of ''Literature/PeterPan'' do this with Tinker Bell. In-universe, the characters learn to understand her, but what she says is usually relayed to the audience via these characters... since the ''audience'' does not understand, either.
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* In the first published edition of the script of ''LadyInTheDark'', the musical {{Dream Sequence}}s (but not the childhood flashbacks) were printed in red, as was a snippet of the DreamMelody.
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* In the first published edition of the script of ''LadyInTheDark'', ''Theatre/LadyInTheDark'', the musical {{Dream Sequence}}s (but not the childhood flashbacks) were printed in red, as was a snippet of the DreamMelody.
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** ''VideoGame/KingdomHearts'' actually has some fun with this - whenever Tinkerbell is onscreen and interacts with the characters, they don't understand her - unless that is, someone who ''does'' (such as Peter) is around to interpret for her. In ''Birth by Sleep'', Ventus spends some time with Peter Pan and Tinker Bell by extension. When his lookalike Roxas is in Neverland in ''358/2 days'', Tinkerbell practically laser-focuses to him and seems to be ''quite'' insistent that Roxas go somewhere. Roxas can't understand her... and neither can the audience, but if one had remembered ''Birth by Sleep'', you can only ''imagine'' what kind of [[WalkingSpoiler important plot details]] she was giving!
** Disney's franchise about the fairies of Neverland also have Tinkerbell speaking clear English to the audience... as it's told from her perspective. Ergo it would make sense you can understand her.
** Disney's franchise about the fairies of Neverland also have Tinkerbell speaking clear English to the audience... as it's told from her perspective. Ergo it would make sense you can understand her.
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** Disney's franchise about the fairies of Neverland also have Tinkerbell speaking clear English to the audience... as it's told from her perspective. Ergo it would make sense you can understand her.
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* This is actually the origin of the traditional {{ninja}} costume. In kabuki theater, the stagehands were clothed head to toe in black, which made them easy to ignore. As long as they were ignored, they were invisible. Thus, when ninja characters were put in the same outfit, they were ignored, too... right until they jumped out and became part of the production. The actors of course pretended they weren't there in-universe, just as the audience essentially was trained to ignore them.
* Given the difficulty in transferring Creator/TerryPratchett's famous footnotes to the stage, the play adaptation of ''Discworld/GuardsGuards'' recommends having someone in a footnote costume -- complete with a label on their shirt -- step on stage, hit a klaxon to get everyone to freeze, deliver the footnote, hit the klaxon, and then leave as everyone goes back to normal.
** In another Discworld play, ''Discworld/Maskerade'', this is the recommended way of portraying the impossible talents of Agnes Nitt: for the singing lesson scene, the script recommends that 'Agnes' stands at the back of the auditorium, with Dr. Undershaft facing out to speak to her, and her singing, which is all pre-recorded, is played in by P.A. This covers for the fact that Agnes is supposed to be an uncannily good mimic (and the fact that the plays are usually performed by non-professionals, and so her abilities are usually created with trick recording)— it's less awkward than having the actress mime.
* In the first published edition of the script of ''LadyInTheDark'', the musical {{Dream Sequence}}s (but not the childhood flashbacks) were printed in red, as was a snippet of the DreamMelody.
* Creator/{{Shakespeare}}'s plays include a number of jokes based on the custom that the female roles were played by men.
* Jean Racine got some of his best effects by inflicting small, perfectly calculated cracks in the weirdly rigid wall of conventions that defined 17th-century French theatre. Take ''Phèdre'': to the tastemakers of King Louis' court, it was obvious--virtually holy writ--that a stage is immaculately unfurnished, and that royal personages never show weakness. In that environment, putting a chair into the opening scene and having a queen collapse into it had an effect not unlike rolling a grenade onto the stage. It was Racine's economical way of announcing "hang on, because all bets are now off."
* The theatrical version and most other adaptations of ''Literature/PeterPan'' do this with Tinker Bell. In-universe, the characters learn to understand her, but what she says is usually relayed to the audience via these characters... since the ''audience'' does not understand, either.
** ''VideoGame/KingdomHearts'' actually has some fun with this - whenever Tinkerbell is onscreen and interacts with the characters, they don't understand her - unless that is, someone who ''does'' (such as Peter) is around to interpret for her. In ''Birth by Sleep'', Ventus spends some time with Peter Pan and Tinker Bell by extension. When his lookalike Roxas is in Neverland in ''358/2 days'', Tinkerbell practically laser-focuses to him and seems to be ''quite'' insistent that Roxas go somewhere. Roxas can't understand her... and neither can the audience, but if one had remembered ''Birth by Sleep'', you can only ''imagine'' what kind of [[WalkingSpoiler important plot details]] she was giving!
** Disney's franchise about the fairies of Neverland also have Tinkerbell speaking clear English to the audience... as it's told from her perspective. Ergo it would make sense you can understand her.
----
* This is actually the origin of the traditional {{ninja}} costume. In kabuki theater, the stagehands were clothed head to toe in black, which made them easy to ignore. As long as they were ignored, they were invisible. Thus, when ninja characters were put in the same outfit, they were ignored, too... right until they jumped out and became part of the production. The actors of course pretended they weren't there in-universe, just as the audience essentially was trained to ignore them.
* Given the difficulty in transferring Creator/TerryPratchett's famous footnotes to the stage, the play adaptation of ''Discworld/GuardsGuards'' recommends having someone in a footnote costume -- complete with a label on their shirt -- step on stage, hit a klaxon to get everyone to freeze, deliver the footnote, hit the klaxon, and then leave as everyone goes back to normal.
** In another Discworld play, ''Discworld/Maskerade'', this is the recommended way of portraying the impossible talents of Agnes Nitt: for the singing lesson scene, the script recommends that 'Agnes' stands at the back of the auditorium, with Dr. Undershaft facing out to speak to her, and her singing, which is all pre-recorded, is played in by P.A. This covers for the fact that Agnes is supposed to be an uncannily good mimic (and the fact that the plays are usually performed by non-professionals, and so her abilities are usually created with trick recording)— it's less awkward than having the actress mime.
* In the first published edition of the script of ''LadyInTheDark'', the musical {{Dream Sequence}}s (but not the childhood flashbacks) were printed in red, as was a snippet of the DreamMelody.
* Creator/{{Shakespeare}}'s plays include a number of jokes based on the custom that the female roles were played by men.
* Jean Racine got some of his best effects by inflicting small, perfectly calculated cracks in the weirdly rigid wall of conventions that defined 17th-century French theatre. Take ''Phèdre'': to the tastemakers of King Louis' court, it was obvious--virtually holy writ--that a stage is immaculately unfurnished, and that royal personages never show weakness. In that environment, putting a chair into the opening scene and having a queen collapse into it had an effect not unlike rolling a grenade onto the stage. It was Racine's economical way of announcing "hang on, because all bets are now off."
* The theatrical version and most other adaptations of ''Literature/PeterPan'' do this with Tinker Bell. In-universe, the characters learn to understand her, but what she says is usually relayed to the audience via these characters... since the ''audience'' does not understand, either.
** ''VideoGame/KingdomHearts'' actually has some fun with this - whenever Tinkerbell is onscreen and interacts with the characters, they don't understand her - unless that is, someone who ''does'' (such as Peter) is around to interpret for her. In ''Birth by Sleep'', Ventus spends some time with Peter Pan and Tinker Bell by extension. When his lookalike Roxas is in Neverland in ''358/2 days'', Tinkerbell practically laser-focuses to him and seems to be ''quite'' insistent that Roxas go somewhere. Roxas can't understand her... and neither can the audience, but if one had remembered ''Birth by Sleep'', you can only ''imagine'' what kind of [[WalkingSpoiler important plot details]] she was giving!
** Disney's franchise about the fairies of Neverland also have Tinkerbell speaking clear English to the audience... as it's told from her perspective. Ergo it would make sense you can understand her.
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