Story is a smart, fun and thought-provoking show that leads the way in daily current affairs. Telling the stories that are important to New Zealanders, Story's focus is unashamedly local, but wherever the story comes from, if Kiwis need to know about it - Story will have it.

With Duncan Garner and Heather du Plessis-Allan leading the charge, Story is compelling, intelligent, adventurous and entertaining. The show covers the big story of the day, runs its own investigations, deliver stories that are immediately useful and also brings you the inside word on the entertainment news you love.

Studio-based, Story features a mixture of stories from the field, interviews and live content. It will also be simulcast on RadioLIVE.

The reporters on Story include Tristram Clayton, Lachlan Forsyth, Sarah Stewart, Mike Wesley-Smith, Jendy Harper, Dan Parker and Julian Lee.

Story - Netflix

Type: News

Languages: English

Status: Ended

Runtime: 30 minutes

Premier: 2015-08-10

Story - Story within a story - Netflix

A story within a story is a literary device in which one character within a narrative narrates. Mise en abyme is the French term for a similar literary device (also referring to the practice in heraldry of placing the image of a small shield on a larger shield). A story within a story can be used in all types of narration: novels, short stories, plays, television programs, films, poems, songs, and philosophical essays.

Story - Play within a play - Netflix

This dramatic device was probably first used by Thomas Kyd in The Spanish Tragedy around 1587, where the play is presented before an audience of two of the characters, who comment upon the action. From references in other contemporary works, Kyd is also assumed to have been the writer of an early, lost version of Hamlet (the so-called Ur-Hamlet), with a play-within-a-play interlude. In Francis Beaumont's Knight of the Burning Pestle (ca. 1608) a supposed common citizen from the audience, actually a “planted” actor, condemns the play that has just started and “persuades” the players to present something about a shopkeeper. The citizen's “apprentice” then acts, pretending to extemporise, in the rest of the play. This is a satirical tilt at Beaumont's playwright contemporaries and their current fashion for offering plays about London life. William Shakespeare used this device in many of his plays, including A Midsummer Night's Dream, Love's Labours Lost, and Hamlet. In Hamlet the prince, Hamlet himself, asks some strolling players to perform the Murder of Gonzago. The action and characters in The Murder mirror the murder of Hamlet's father in the main action, and Prince Hamlet writes additional material to emphasize this. Hamlet wishes to provoke the murderer, his uncle, and sums this up by saying “the play's the thing wherein I'll catch the conscience of the king.” Hamlet calls this new play The Mouse-trap (a title that Agatha Christie later took for the long-running play The Mousetrap). In the Hamlet-based film Rosencrantz & Guildenstern Are Dead the players even feature a third-level puppet theatre version within their play. Almost the whole of The Taming of the Shrew is a play-within-a-play, presented to convince Christopher Sly, a drunken tinker, that he is a nobleman watching a private performance, but the device has no relevance to the plot (unless Katharina's subservience to her “lord” in the last scene is intended to strengthen the deception against the tinker) and is often dropped in modern productions. Pericles draws in part on the 14th century Confessio Amantis (itself a frame story) by John Gower and Shakespeare has the ghost of Gower “assume man's infirmities” to introduce his work to the contemporary audience and comment on the action of the play. In Anton Chekhov's The Seagull there are specific allusions to Hamlet: in the first act a son stages a play to impress his mother, a professional actress, and her new lover; the mother responds by comparing her son to Hamlet. Later he tries to come between them, as Hamlet had done with his mother and her new husband. The tragic developments in the plot follow in part from the scorn the mother shows for her son's play. The opera Pagliacci is about a troupe of actors who perform a play about marital infidelity that mirrors their own lives, and composer Richard Rodney Bennett and playwright-librettist Beverley Cross's The Mines of Sulphur features a ghostly troupe of actors who perform a play about murder that similarly mirrors the lives of their hosts, from whom they depart, leaving them with the plague as nemesis. And John Adams' Nixon in China (1985-7) features a surreal version of Madam Mao's Red Detachment of Women to extraordinary effect, illuminating the ascendence of human values over the disillusionment of high politics in the meeting. In Bertolt Brecht's The Caucasian Chalk Circle, a play is staged as a parable to villagers in the Soviet Union to justify the re-allocation of their farmland: the tale describes how a child is awarded to a servant-girl rather than its natural mother, an aristocrat, as the woman most likely to care for it well. This kind of play-within-a-play, which appears at the beginning of the main play and acts as a 'frame' for it, is called an 'induction'. Brecht's one-act play The Elephant Calf (1926) is a play-within-a-play performed in the foyer of the theatre during his Man Equals Man. In Jean Giraudoux's play Ondine, all of act two is a series of scenes within scenes, sometimes two levels deep. This increases the dramatic tension and also makes more poignant the inevitable failure of the relationship between the mortal Hans and water sprite Ondine. The Two-Character Play by Tennessee Williams has a concurrent double plot with the convention of a play within a play. Felice and Clare are siblings and are both actor/producers touring ‘The Two-Character Play.’ They have supposedly been abandoned by their crew and have been left to put on the play by themselves. The characters in the play are also brother and sister and are also named Clare and Felice. The Mysteries, a modern reworking of the mediaeval mystery plays, remains faithful to its roots by having the modern actors play the sincere, naïve tradesmen and women as they take part in the original performances. The musical Kiss Me, Kate is about the production of a fictitious musical, The Taming of the Shrew, based on the Shakespeare play of the same name, and features several scenes from it. Alternatively, a play might be about the production of a play, and include the performance of all or part of the play, as in Noises Off, A Chorus of Disapproval, Lilies or The Producers. Similarly, the musical Man of La Mancha presents the story of Don Quixote as an impromptu play staged in prison by Quixote's author, Miguel de Cervantes. In most stagings of the musical Cats, which include the song “Growltiger's Last Stand” — a recollection of an old play by Gus the Theatre Cat — the character of Lady Griddlebone sings “The Ballad of Billy McCaw”. (However, many productions of the show omit “Growltiger's Last Stand”, and “The Ballad of Billy McCaw” has at times been replaced with a mock aria, so this metastory isn't always seen.) Depending on the production, there is another musical scene called The Awful Battle of the Pekes and the Pollices where the Jellicles put on a show for their leader. In Lestat: The Musical, there are three play within a plays. First, when Lestat visits his childhood friend, Nicolas, who works in a theater, where he discovers his love for theater; and two more when the Theater of the Vampires perform. One is used as a plot mechanism to explain the vampire god, Marius, which sparks an interest in Lestat to find him. A play within a play also occurs in the musical The King and I, where Princess Tuptim and the royal dancers give a performance of Small House of Uncle Thomas (or Uncle Tom's Cabin) to their English guests. The play mirrors Tuptim's situation, as she wishes to run away from slavery to be with her lover, Lun Tha. In stagings of Dina Rubina's play Always the Same Dream, the story is about staging a school play based on a poem by Pushkin. Joseph Heller's 1967 play We Bombed in New Haven is about actors engaged in a play about military airmen; the actors themselves become at times unsure whether they are actors or actual airmen.

Story - References - Netflix