In his plot for Noises Off, Frayn plays on the concept of a play within a play, in this case a dreadful sex-comedy titled Nothing On—the type of play in which young girls run about in their underwear, old men drop their trousers, and many doors continually open and shut. Nothing On is set in "a delightful 16th-century posset mill"[2][3] that has been converted to a modern dwelling for which renters are solicited; the fictional playwright is appropriately named Robin Housemonger. Each of the three acts of Noises Off contains a performance of the first act of Nothing On.[4]
Act One is set at the dress rehearsal, the night before opening at the (fictional[5]) Grand Theatre in Weston-super-Mare, with the cast still fumbling with entrances and exits, missed cues, misspoken lines, and bothersome props, most notably several plates of sardines.
Act Two portrays a Wednesday matinee performance one month later,[6] at the (again fictional[7]) Theatre Royal in Ashton-under-Lyne. In this act, the play is seen from backstage, providing a view that reveals the deteriorating personal relationships among the cast that have led to offstage shenanigans and onstage bedlam. Also, there appears to be no true resolution. The play simply falls into turmoil and disorder before the curtain is pulled.
In Act Three, we see a performance near the end of the ten-week run, at the (still fictional) Municipal Theatre in Stockton-on-Tees, when personal friction has continued to increase and everyone is bored and anxious to be done with the play. The actors attempt to cover up a series of mishaps but only compound the problems and draw attention to the bungling performance.
Much of the comedy emerges from the subtle variations in each version as off-stage chaos affects on-stage performance, with a great deal of slapstick. The contrast between players' on-stage and off-stage personalities is also a source of comic dissonance.

In his plot for Noises Off, Frayn plays on the concept of a play within a play, in this case a dreadful sex-comedy titled Nothing On—the type of play in which young girls run about in their underwear, old men drop their trousers, and many doors continually open and shut. Nothing On is set in "a delightful 16th-century posset mill"[2][3] that has been converted to a modern dwelling for which renters are solicited; the fictional playwright is appropriately named Robin Housemonger. Each of the three acts of Noises Off contains a performance of the first act of Nothing On.[4]
Act One is set at the dress rehearsal, the night before opening at the (fictional[5]) Grand Theatre in Weston-super-Mare, with the cast still fumbling with entrances and exits, missed cues, misspoken lines, and bothersome props, most notably several plates of sardines.
Act Two portrays a Wednesday matinee performance one month later,[6] at the (again fictional[7]) Theatre Royal in Ashton-under-Lyne. In this act, the play is seen from backstage, providing a view that reveals the deteriorating personal relationships among the cast that have led to offstage shenanigans and onstage bedlam. Also, there appears to be no true resolution. The play simply falls into turmoil and disorder before the curtain is pulled.
In Act Three, we see a performance near the end of the ten-week run, at the (still fictional) Municipal Theatre in Stockton-on-Tees, when personal friction has continued to increase and everyone is bored and anxious to be done with the play. The actors attempt to cover up a series of mishaps but only compound the problems and draw attention to the bungling performance.
Much of the comedy emerges from the subtle variations in each version as off-stage chaos affects on-stage performance, with a great deal of slapstick. The contrast between players' on-stage and off-stage personalities is also a source of comic dissonance.

In his plot for Noises Off, Frayn plays on the concept of a play within a play, in this case a dreadful sex-comedy titled Nothing On—the type of play in which young girls run about in their underwear, old men drop their trousers, and many doors continually open and shut. Nothing On is set in "a delightful 16th-century posset mill"[2][3] that has been converted to a modern dwelling for which renters are solicited; the fictional playwright is appropriately named Robin Housemonger. Each of the three acts of Noises Off contains a performance of the first act of Nothing On.[4]
Act One is set at the dress rehearsal, the night before opening at the (fictional[5]) Grand Theatre in Weston-super-Mare, with the cast still fumbling with entrances and exits, missed cues, misspoken lines, and bothersome props, most notably several plates of sardines.
Act Two portrays a Wednesday matinee performance one month later,[6] at the (again fictional[7]) Theatre Royal in Ashton-under-Lyne. In this act, the play is seen from backstage, providing a view that reveals the deteriorating personal relationships among the cast that have led to offstage shenanigans and onstage bedlam. Also, there appears to be no true resolution. The play simply falls into turmoil and disorder before the curtain is pulled.
In Act Three, we see a performance near the end of the ten-week run, at the (still fictional) Municipal Theatre in Stockton-on-Tees, when personal friction has continued to increase and everyone is bored and anxious to be done with the play. The actors attempt to cover up a series of mishaps but only compound the problems and draw attention to the bungling performance.
Much of the comedy emerges from the subtle variations in each version as off-stage chaos affects on-stage performance, with a great deal of slapstick. The contrast between players' on-stage and off-stage personalities is also a source of comic dissonance.

In his plot for Noises Off, Frayn plays on the concept of a play within a play, in this case a dreadful sex-comedy titled Nothing On—the type of play in which young girls run about in their underwear, old men drop their trousers, and many doors continually open and shut. Nothing On is set in "a delightful 16th-century posset mill"[2][3] that has been converted to a modern dwelling for which renters are solicited; the fictional playwright is appropriately named Robin Housemonger. Each of the three acts of Noises Off contains a performance of the first act of Nothing On.[4]
Act One is set at the dress rehearsal, the night before opening at the (fictional[5]) Grand Theatre in Weston-super-Mare, with the cast still fumbling with entrances and exits, missed cues, misspoken lines, and bothersome props, most notably several plates of sardines.
Act Two portrays a Wednesday matinee performance one month later,[6] at the (again fictional[7]) Theatre Royal in Ashton-under-Lyne. In this act, the play is seen from backstage, providing a view that reveals the deteriorating personal relationships among the cast that have led to offstage shenanigans and onstage bedlam. Also, there appears to be no true resolution. The play simply falls into turmoil and disorder before the curtain is pulled.
In Act Three, we see a performance near the end of the ten-week run, at the (still fictional) Municipal Theatre in Stockton-on-Tees, when personal friction has continued to increase and everyone is bored and anxious to be done with the play. The actors attempt to cover up a series of mishaps but only compound the problems and draw attention to the bungling performance.
Much of the comedy emerges from the subtle variations in each version as off-stage chaos affects on-stage performance, with a great deal of slapstick. The contrast between players' on-stage and off-stage personalities is also a source of comic dissonance.

In his plot for Noises Off, Frayn plays on the concept of a play within a play, in this case a dreadful sex-comedy titled Nothing On—the type of play in which young girls run about in their underwear, old men drop their trousers, and many doors continually open and shut. Nothing On is set in "a delightful 16th-century posset mill"[2][3] that has been converted to a modern dwelling for which renters are solicited; the fictional playwright is appropriately named Robin Housemonger. Each of the three acts of Noises Off contains a performance of the first act of Nothing On.[4]
Act One is set at the dress rehearsal, the night before opening at the (fictional[5]) Grand Theatre in Weston-super-Mare, with the cast still fumbling with entrances and exits, missed cues, misspoken lines, and bothersome props, most notably several plates of sardines.
Act Two portrays a Wednesday matinee performance one month later,[6] at the (again fictional[7]) Theatre Royal in Ashton-under-Lyne. In this act, the play is seen from backstage, providing a view that reveals the deteriorating personal relationships among the cast that have led to offstage shenanigans and onstage bedlam. Also, there appears to be no true resolution. The play simply falls into turmoil and disorder before the curtain is pulled.
In Act Three, we see a performance near the end of the ten-week run, at the (still fictional) Municipal Theatre in Stockton-on-Tees, when personal friction has continued to increase and everyone is bored and anxious to be done with the play. The actors attempt to cover up a series of mishaps but only compound the problems and draw attention to the bungling performance.
Much of the comedy emerges from the subtle variations in each version as off-stage chaos affects on-stage performance, with a great deal of slapstick. The contrast between players' on-stage and off-stage personalities is also a source of comic dissonance.

《糊涂戏班》是英国作家Michael FRAYN的三幕闹剧作品。讲述的是一个糊涂剧团排演《无中生有》的故事：第一幕时剧团在为巡回演出前作最后的彩排，场面一片混乱；第二幕是演出的后台，演员大闹意见，台后意外不断发生，造成演出无法正常进行；在最后一幕，演出中乱子层出不穷，眼见演出瞬即崩溃，演员纷纷试图挽救演出。

《糊涂戏班》是英国作家Michael FRAYN的三幕闹剧作品。讲述的是一个糊涂剧团排演《无中生有》的故事：第一幕时剧团在为巡回演出前作最后的彩排，场面一片混乱；第二幕是演出的后台，演员大闹意见，台后意外不断发生，造成演出无法正常进行；在最后一幕，演出中乱子层出不穷，眼见演出瞬即崩溃，演员纷纷试图挽救演出。

《糊涂戏班》是英国作家Michael FRAYN的三幕闹剧作品。讲述的是一个糊涂剧团排演《无中生有》的故事：第一幕时剧团在为巡回演出前作最后的彩排，场面一片混乱；第二幕是演出的后台，演员大闹意见，台后意外不断发生，造成演出无法正常进行；在最后一幕，演出中乱子层出不穷，眼见演出瞬即崩溃，演员纷纷试图挽救演出。

《糊涂戏班》是英国作家Michael FRAYN的三幕闹剧作品。讲述的是一个糊涂剧团排演《无中生有》的故事：第一幕时剧团在为巡回演出前作最后的彩排，场面一片混乱；第二幕是演出的后台，演员大闹意见，台后意外不断发生，造成演出无法正常进行；在最后一幕，演出中乱子层出不穷，眼见演出瞬即崩溃，演员纷纷试图挽救演出。

《糊涂戏班》是英国作家Michael FRAYN的三幕闹剧作品。讲述的是一个糊涂剧团排演《无中生有》的故事：第一幕时剧团在为巡回演出前作最后的彩排，场面一片混乱；第二幕是演出的后台，演员大闹意见，台后意外不断发生，造成演出无法正常进行；在最后一幕，演出中乱子层出不穷，眼见演出瞬即崩溃，演员纷纷试图挽救演出。

The play, based in fact, deals with the decision West German chancellor Willy Brandt had to make about exposing the Communist spy Günter Guillaume who worked as his secretary and had heard some of the state's most important secrets.

from Wikipedia

The play, based in fact, deals with the decision West German chancellor Willy Brandt had to make about exposing the Communist spy Günter Guillaume who worked as his secretary and had heard some of the state's most important secrets.

from Wikipedia

1941年9月，德国物理学家维尔纳·海森堡前往已被纳粹德国占领的丹麦首都哥本哈根，与他的导师，著名物理学家尼尔斯·玻尔会面的故事。戏剧借用量子力学的不确定原理，探讨了这次会面的多种可能性。本剧涉及量子力学、不确定性原理、量子力学的哥本哈根诠释、第二次世界大战、纳粹德国的核武器计划、曼哈顿工程等。（引自维基百科）

1941年9月，德国物理学家维尔纳·海森堡前往已被纳粹德国占领的丹麦首都哥本哈根，与他的导师，著名物理学家尼尔斯·玻尔会面的故事。戏剧借用量子力学的不确定原理，探讨了这次会面的多种可能性。本剧涉及量子力学、不确定性原理、量子力学的哥本哈根诠释、第二次世界大战、纳粹德国的核武器计划、曼哈顿工程等。（引自维基百科）

1941年9月，德国物理学家维尔纳·海森堡前往已被纳粹德国占领的丹麦首都哥本哈根，与他的导师，著名物理学家尼尔斯·玻尔会面的故事。戏剧借用量子力学的不确定原理，探讨了这次会面的多种可能性。本剧涉及量子力学、不确定性原理、量子力学的哥本哈根诠释、第二次世界大战、纳粹德国的核武器计划、曼哈顿工程等。（引自维基百科）

1941年9月，德国物理学家维尔纳·海森堡前往已被纳粹德国占领的丹麦首都哥本哈根，与他的导师，著名物理学家尼尔斯·玻尔会面的故事。戏剧借用量子力学的不确定原理，探讨了这次会面的多种可能性。本剧涉及量子力学、不确定性原理、量子力学的哥本哈根诠释、第二次世界大战、纳粹德国的核武器计划、曼哈顿工程等。（引自维基百科）

1941年9月，德国物理学家维尔纳·海森堡前往已被纳粹德国占领的丹麦首都哥本哈根，与他的导师，著名物理学家尼尔斯·玻尔会面的故事。戏剧借用量子力学的不确定原理，探讨了这次会面的多种可能性。本剧涉及量子力学、不确定性原理、量子力学的哥本哈根诠释、第二次世界大战、纳粹德国的核武器计划、曼哈顿工程等。（引自维基百科）

1941年9月，德国物理学家维尔纳·海森堡前往已被纳粹德国占领的丹麦首都哥本哈根，与他的导师，著名物理学家尼尔斯·玻尔会面的故事。戏剧借用量子力学的不确定原理，探讨了这次会面的多种可能性。本剧涉及量子力学、不确定性原理、量子力学的哥本哈根诠释、第二次世界大战、纳粹德国的核武器计划、曼哈顿工程等。（引自维基百科）

1941年9月，德国物理学家维尔纳·海森堡前往已被纳粹德国占领的丹麦首都哥本哈根，与他的导师，著名物理学家尼尔斯·玻尔会面的故事。戏剧借用量子力学的不确定原理，探讨了这次会面的多种可能性。本剧涉及量子力学、不确定性原理、量子力学的哥本哈根诠释、第二次世界大战、纳粹德国的核武器计划、曼哈顿工程等。（引自维基百科）

1941年9月，德国物理学家维尔纳·海森堡前往已被纳粹德国占领的丹麦首都哥本哈根，与他的导师，著名物理学家尼尔斯·玻尔会面的故事。戏剧借用量子力学的不确定原理，探讨了这次会面的多种可能性。本剧涉及量子力学、不确定性原理、量子力学的哥本哈根诠释、第二次世界大战、纳粹德国的核武器计划、曼哈顿工程等。（引自维基百科）