Term
| “A Short View of the Immorality and Profaneness of the English Stage” |
|
Definition
Anti theatre pamphlet written by Jeremy Collier written in 1698
Attacks Dryden, Congreve and Wycherley
Went against the sexually explicit nature of Restoration Comedy |
|
|
Term
|
Definition
Written as a dialogue by John Dryden in 1668 to defend drama as legit art form
Hoped to prove English drama, having split from the unities, could still be a legitimate venue for drama
Talks between Eugenius, Crites, Lisideius, and Neander
Debated French Neoclassic ideals |
|
|
Term
|
Definition
First professional female playwright – Restoration writer 1600s
Wrote “The Rover”
Worked as a spy for Charles II
Possibly bixsexual |
|
|
Term
|
Definition
18th century genre of English drama
“The Beggar’s Opera” is a key example (written by John Gay) → First ballad opera
In direct relation to the Italian opera – often racy and satirical dialogue dealing with lower class characters (i.e. criminals) |
|
|
Term
|
Definition
First professional female playwright – Restoration writer 1600s
Wrote “The Rover”
Worked as a spy for Charles II
Possibly bixsexual |
|
|
Term
|
Definition
Ballad opera written by John Gay (1728)
Satirised Italian opera
Mr. and Mrs. Peachum are key players |
|
|
Term
|
Definition
| Family of Italian artists, two of which (Francesco and Ferdinando) went on to be prominent theatre scenic artists |
|
|
Term
|
Definition
|
|
Term
|
Definition
German actor/director in early 1700s
The Nueberin – Die Neuberin |
|
|
Term
|
Definition
Brought back to England in 1660
Ushered in theatre once again
Awarded royal patents for play performances to Killigrew and Davenant
Decreed women should be employed as actors
Lover of Nell Gwynn
Reign was deemed "Merry Monarch" |
|
|
Term
|
Definition
English theater manager
Assumed control of the United Companies
Had zero theatrical experience |
|
|
Term
|
Definition
Satirizes the social classes
Uses stock characters like fop and rake
Wycherly's "The Country Wife" and Congreve's "The Way of the World" are examples of this genre |
|
|
Term
|
Definition
Name of the political reign under Oliver Cromwell
During this time, theatre was shut down almost entirely
The first republic in the English speaking world.
1649 to 1660 |
|
|
Term
|
Definition
English Playwright of the late 1600s/early 1700s - comedy of manners
Disciple of John Dryden
Wrote "The Way of the World" - his last play published in 1700
Jeremy Collier attacked him in his text “A Short View of the Immorality and Profaneness of the English Stage” |
|
|
Term
|
Definition
Area of London well known for the street performances and traders
Houses the entrance to the Royal Opera House
One of the two theatres awarded patents by Charles II - Davenant was the manager
"The Beggar's Opera" and "The Way of the World" were performed here. |
|
|
Term
|
Definition
Reigned during the Commonwealth in London
Took over as Lord Protector of England, Scotland, and Ireland
Charles I was displaced by Cromwell, and Charless II fled to France
Stopped theatre in England - republican society |
|
|
Term
|
Definition
One of two theatre managers given theatre patents by Charles II
Ran the Royal Opera House (The Duke's Company)
Died of syphillis |
|
|
Term
|
Definition
English actor, playwright, theatre manager and producer
Brought about changes in scenery, costumes, and special effects
Ran Drury Lane Theatre
Started the trend from high energy, comical acting to a more realistic aspect |
|
|
Term
|
Definition
|
|
Term
|
Definition
Form of English drama
Tragic protagonists are lower/middle class
Contrasts the Neoclassic ideal of having an aristocratic protagonist
George Lillo's "The London Merchant" is a prime example |
|
|
Term
|
Definition
Run by David Garrick
Located in Covent Gardens |
|
|
Term
|
Definition
English literary critic and playwright
Led the Restoration Comedy movement
Wrote "An Essay on Dramatick Poesie" - took position of Neander
Wrote about the importance of difference between French and English drama |
|
|
Term
|
Definition
Regarded as the greatest actor in all of England in his time
Worked at the Drury Lane Theatre - most well known for his Shakespearean roles
Often compared to Garrick, he lacked the comedic timing of his counterpart |
|
|
Term
|
Definition
| Used by Dryden in his "Essay on Dramatick Poesie" to defend the unique atmosphere of each individual place. |
|
|
Term
|
Definition
|
|
Term
|
Definition
|
|
Term
|
Definition
|
|
Term
|
Definition
|
|
Term
|
Definition
|
|
Term
|
Definition
|
|
Term
|
Definition
|
|
Term
|
Definition
|
|
Term
|
Definition
|
|
Term
|
Definition
|
|
Term
|
Definition
“Between 1800 – 1817, the English theatre maintained its stability largely because of the work of John Philip Kemble.”
Acting manager of Drury Lane in 1788 (post Garrick) and reestablished the reputation of Drury Lane because it had fallen since the time of Garrick.
Became the acting manager of Covent Garden (which then became the leading theatre).
His attempts to recover costs by raising the entrance fees precipitated the “Old Price” riots that continued 61 nights, despite the attempt of police and soldiers intervene.
He later began Shakespeare revivals.
Kemble’s attitude toward scenery and costumes marks an important transition from the “generality” favored by the neoclassicists to the “individuality” advocated by the romantics. |
|
|
Term
|
Definition
Immanuel Kant – German Theatres
Had an immense impact of Schiller’s theories.
If the universe is incomprehensible to man, the purpose f tragedy can hardly be to provide a rationalist’s apologia for it – had to seek elsewhere for it’s true purpose and power.
The world is divided into two realms, that of the senses and that of reason; the former is the sphere of appearance and of necessity, the latter of moral freedom. So…art (theatre) should provide a bridge btw freedom and necessity, btw the individual and the world. |
|
|
Term
|
Definition
Thomas Killigrew (1612 – 1283).
Grew up in English court, successful playwright, with royal family in exile.
After Charles II had returned to England, he issued a warrant giving exclusive right to open theatre, hire actors, perform plays, etc. to Killgrew (among others).
Later, the patent that belonged to the King’s Men went to Killigrew.
Brought four WOMEN into this theatre company in 1660.
Became Master of the Revels in 1673. Very influential man in the London theatre scene. |
|
|
Term
|
Definition
England
It combines farcical wit and situation of staire on contemporary targets. (most of the time).
Between 1720 and 1760, “laughing” comedy was restricted primarily to farce, usually short plays performed as afterpieces. This happened because of the Licensing Act that restricted theatre so intensely and new kinds of drama were being created and overshadowing it.
Goldsmith and Sheridan are universally seen as having brought “laughing comedy” back tot eh British stage. |
|
|
Term
|
Definition
Gotthold Lessing (1729 – 1781) German Theatre
Helped create Germany’s own tradition of literature and criticism, producing the first truly significant German plays and the first major German pronoucemnets on dramatic theory.
Considered the first great theorist of drama in Germany
Set himself firmly against Gottsched and French neoclassicism.
Major Dramatic work: Hamburgische Dramaturgie, which was a collection of 100 essays in which he informed the public about the plays offered in the new National Theatre in Hamburg and speaking of dramatic theory and technique which established the critical foundation for the establishment of a modern German theatre.
He acknowledged Aristotle’s Poetics as brilliance. He criticized both French and English theatre. The French are misinformed and distort Aristotle’s true idea and restrict their own artistic potential and the English have produced works truer to the real spirit of the Greek theorist.
Tragedy is central to the work. Tragedy seeks an emotional balance – it should work to diminish pity and fear in those who have an excess of these meotions and to increase them in those who are deficient.
Simplicity and the natural. Feeling deals in the simpliest, commonest, plainest world and expressions. |
|
|
Term
|
Definition
Set up by the Puritian government in England (Lord Chamberlain) before the Restoration.
Looped all ‘evil people’ together - “sent where they ought to be sent”
Common players of interludes were deemed rouges and vagabonds and up for punishment (prison).
However, certain theatres that were licensed could operate with a leather patent from His Majesty.
If you were a licensed playhouse, you could employ actors and vagabonds and keep them from jail.
There were only 2 patents in London
So – actors had to come up with new and inventive ways of theatre to get around the Act (pantomime, “opera,” etc.)
This was also a time of great censorship because Lord Chamberlain would have to read and approve ANYTHING written with the intention of being performed. |
|
|
Term
|
Definition
English Theatre (1860 – 1880)
Was managed by Charles Fechter from 1863 to 1867, where he featured translations of French plays and won the reputation of one of the finest actors of his time.
The Lyceum Theatre has been the home of many famous actors – Henry Irving (leading man throughout London and stage manager. It was run by an American and his daughters for awhile (Bateman). After Bateman died, it went to his wife , and then to Irving in 1878.
Under Irving’s management, this theatre became the foremost theatre of London |
|
|
Term
|
Definition
1830s England
Laid the foundations for the recovery of theatre.
Actress – one of the most popular performers of light comedy and burlesque.
Her importance – work as a manager at the Olympic Theatre from 1831 – 1839.
She brought burlesque, extravaganzas, and other similar minor types of theatre into the forefront in her theatre.
Paid close attention to all elements of production and coordinated them into a integrated whole.
Gave special consideration to spectacle and is usually credited with introducing the box set to England.
First English producer to use this type of setting with some consistency and may have been the first to enclose th acting area completely.
She equipped these box sets like rooms in real life (rugs, working lamps, knobs, bookcases, books) – to give the appearance of reality. She also did this with costumes.
She was the first producer to treat minor drama (like the exaggerated burlesque) with the respect formerly reserved for the classics. |
|
|
Term
|
Definition
Character in The London Merchant
Interesting because Mar-wood means “scar” wood [man]– name is indicative of character. Shows that character and name are connected. |
|
|
Term
|
Definition
“The Paradox of Acting” – Diderot
Two types of acting discussed – true and untrue.
- Actors should play from the heart – sensibility – you feel what the character feels – face
- People should not play from their real emotions; if we play through our sensibility, we will be inconsistent actors - masks – play from thought, imitation and memory. It will be consistent – no emotional connection, just an imitation of what it should look like, an interface with which you can manipulate your body to make it look like something real |
|
|
Term
|
Definition
Charcter in The London Merchant
“Mill” wood = “shape” wood [man] – name is indicative of character
However, this whole play is about the true nature of the human – if we are intrinsically good (the moral views of the middle class). Millwood is a victim herself - she wants a way out of her current state – she was naturally good, but is tainted. This show shows a tragedy that requires a moral ambiguity, a new morality, based on the middle class values. |
|
|
Term
|
Definition
Lessing
With this play, he introduced to the German stage a new genre: the “burgerliches trauerspiel” (the bourgeois tragedy) .
It demonstrated that tragedy need not be limited to the aristocracy.
It was an attempt to create a purely “german” theatre – this bourgeois tragedy – a tragedy for the domestic classes (the middle class). Also an effort to “shake off French Neoclassicism.”
Most important of Lessing’s comedies. |
|
|
Term
|
Definition
French theatre
(1622- 1673). From a very good family and very well educated – joined Theatre Illustre in 1643; became the head of the troupe.
Became a playwright and the troupe became successful when they performed Moliere’s The Affected Ladies, a satire on contemporary affections. The troupe played at the Petit Bourbon and the Palais Royal. Later became “The King’s Troupe”
He is remembered principally for his comedies of character. Many of his works are farces in the manner of the commedia dell’arte. A large number of these plays were “comedy ballets” and sometimes “machine plays” with lots of spectacle. We read The School for Wives and Tartuffe.
His observations on contemporary manners and character types in these works embroiled him in much controversy for he made comedy a vital reflection of comtemporary life and manners.
Conformed to neoclassical ideal of 5 acts and the unities; language is varied and very distinct; set indoors – breaking with comedy tradition (it was always set in the country somewhere before). |
|
|
Term
|
Definition
Ideal that started in Italy in 1570 and spread to the rest of Europe – dominated drama theory from mid-17th century until late 18th century.
Follows Aristotle’s idea of reducing all “regular” drama into two basic forms: comedy and tragedy, each distinct from the other. Tragedy draws its characters from the ruling classes, bases its stories in history or mythology, has unhappy endings, and employs lofty/poetic style. Comedy draws its characters from the middle of lower classes, bases its stories on domestic/private affairs, has happy endings, and imitates the style of everyday speech. Other forms of theatre were considered “inferior” because they were “mixed.”
Purity of dramatic form – no mixing of comedy and tragedy.
5 act structure. Main function = “to teach and please.” Comedy teaches by ridiculing behavior that should be avoided, tragedy teaches by showing the horrifying results of mistakes or misdeeds. Drama was a useful tool for instruction.
VERISIMILITUDE – big part of neoclassicism - appearance of truth – divided into three goals: reality, morality, and universality. Reality = believalbility, so violence and such were to be kept off stage.
Three unities of time, place, and action.
Teach moral lessons. Wickedness was to be punished and good rewarded.
DECORUM – all humanity was categorized according to age, rank, sex, profession, class, etc. – so they depict types (stereotypes), who prosper if they observe the appropriate decorum of their station in life and are punished if they deviate from that. |
|
|
Term
|
Definition
English Drama after 1760
Goldsmith and Sheridan are universally seen as having brought “laughing comedy” back to the British stage.
Wrote She Stoops to Conquer – considered a comic masterpiece.
Did much to recapture the brilliance of English drama after the harsh restrictions of the Licensing Act. And with the exception of Shakespeare, his and Sheridan’s plays were the most preformed throughout London.
Unfortunately, these two men had no successful emulators and so the British drama soon turned to Melodrama |
|
|
Term
|
Definition
Renaissance Italy
Developed out of an interest in the satyr plays of antiquity, the boisterous and licentious world of Greek satyrs gave way to an idyllic society of shepherds and nymphs.
Principle subject was love, which usually triumphed over most everything.
They are now considered inferior drama, but are important because they mark the first clear break with medieval practices and served as models for other dramatists in other countries (especially England and France)
Comedy was usually place in an out of doors, pastoral setting.
Gay’s Beggar’s Opera – the original idea came from an idea from Swift who said it should be a pastoral, but Gay said he’d make it a sature. |
|
|
Term
|
Definition
English Drama
Wrote The Conscious Lovers
Trend in comedy towards sentimentality and toward protagonists drawn from middle class reached full expression in this play.
Steele seriously altered the purpose of comedy – rather than seeking to arouse laughter or ridicule, it sought to arouse noble sentiments though the depiction of trial bravely borne by sympathetic characters who are rescued from their suffering and handsomely rewarded. – “a pleasure too exquisite for laughter” |
|
|
Term
|
Definition
Elevated the spontaneous expression of feeling inherent in bourgeois drama to new heights.
The ability to spontaneously express feeling became the single mark of greatness in art and literature. Intellectuals rejected rationalism as aristocratic.
Late 18th cent – 19th Cent – romantic attitude began to characterize culture and many arts in Western Civilization. End product = creation of emotion. Movement basically started as a reaction to the political/artistic turmoil of the times and the collapse of the Age of Reason. (a world built on reason had no value for romantics – they looked to nature for value and meaning).
Romantic theatre artists modeled their heros on themselves to an unprecendented degree. Life and dramatic art overlapped. Autobiography and fiction spilled on to each other. Wanderer, outcast, rebel, and mysterious stranger – each appellation suited both the artist and fictional hero. |
|
|
Term
|
Definition
18th century France
Thought of as a ‘modern day Plato’
One can not speak of public amusements as good or bad in themselves, since man is so modified by religion, government, laws, customs, predispositions, and climate that one cannot ask what is good for men in general but only “what is good in any particular time and country”
Saw no profit in theatre and much potential harm
Denies instruction as its primary aim and says it exists primarily to amuse and must conform to and flatter public opinion.
It “reinforces the national character, augments natural inclinations, and gives new energy to the passions.”
At best, theatre encourages the good to continue to be good and the bad to be bad – it teaches nor causes any change in behavior.
Completely disregards the idea of catharsis.
The best teachers are reason and nature – forget theatre – it is not real life and therefore can not show nor teach real life lessons.
Actors are morally corrupt because they are liars. |
|
|
Term
|
Definition
German theatre – Friedrich Schiller (1759 – 1805)
Created Die Rauber – the best known example of Sturm and Drang theatre. However, Schiller did apologize for its lack of adherence to the neoclassic ideals.mmmIn order to “illuminate the souls” of the leading characters, he said that the unities have been sacrificed and more incident included, and included good qualities within bad person – showing vice on stage.
He was a big follower of Aristotle, defining tragedy as “poetic imitation of a coherent serier of particular events, an imitation which shows us men in a state of suffering and which aims at arousing pity.”
Tragedy must follow a “natural truth” and have a moral purpose.
Emotional balance
tragedy leads an ordered universe and justifies God’s ways to man. |
|
|
Term
|
Definition
France (17th century)
Extreme emotional sensitivity, giving rise to lively manifestations of feeling
Love, pity, sympathy, regret, grief – ‘soft’ emotions that are most frequently shown though violent gestures (tears, broken speech)
“comedie larmoyante”
So “in play and voels anyone who is truly sensible is generally taken to be made of finer stuff than the common herd and is therefor superior to colder, less demonstrative characters”
Diderot’s work is “very rich in sensibilite”
It was a social phenomenon meant to “attempt to awaken greater social awareness and to reduce the injustice and abuses of contemporary society” |
|
|
Term
|
Definition
“a joy too exquisite for laughter”
Not haha funny, but instead it sheds a tear because it’s so beautiful
“Anything that has its foundation in happiness/success, must be allowed to be the object of comedy.”
Comedy should not make us laugh
Came out of Sentimentalism – human nature is inherently good; drama should evoke feelings of sympathy and joy. Effective school for emotionally kindling the public’s moral consciousness by revealing virtue as innate to humankind – especially for middle class. |
|
|
Term
|
Definition
Playwright during Elizabethan England
Many of his works were disregarded by Neoclassicists because they did not follow the unities, nor did they necessarily teach any moral lesson.
The German stage LOVED Shakespeare.
His work inspired many german drama theorists.
In 1642 – Cromwell closed the theatres, so actors went to Germany – revolution of thinking because Shakespeare was a brilliant writer, but did not follow the neoclassic rules. How does one overcome the neoclassic ideal – GENIUS – Shakespeare transcended the need for structure; so it was his personal genius. → Structure is for the weak and structure creates those Neoclassic plays – so people started to adapt and explore their own personal genius – became Sturm and Drang |
|
|
Term
|
Definition
(in single point perspective, there is only one vanishing point)
A series of multiple vanishing points (like old Roman theatres with 3 vanishing points [doors]).
One big one and a few smaller ones
Changes simple perspective and the picture into something that appears more “real” to our eyes. |
|
|
Term
|
Definition
German Theatre
Proclaimed the world irrational, incomprehensible, mysterious, and without meaning – go off and try to find your own personal genius.
Basically accused nobility of creating social conditions in which the “good” bourgeois had no choice but to commit atrocities, to violate their natures (so we’re back to the idea that people are essentially good).
Rejects neoclassicism – NATURE; neoclassic ideals do not exist in nature, but were placed on nature – theatre was meant to hold an accurate mirror up to nature.
Idealism – universal truths, through the imitation, filtered through genius, of nature
Highly romantic. |
|
|
Term
|
Definition
Richard Steele
A comedy of the time ONLY because it is not a tragedy.
Interesting premise because the lovers actually know what theyre getting into.
It was considered the type of comedy that was “a joy too exquisite for laughter.”
It is very much a play about the middle class; theatre is a culture tool that uses imitation to teach us how to behave and this shows us the moral and religious ethics of the middle class.
We have to be in a good economic time in order for these plays to fly and help us to believe that all people are inherently good.
We don’t see any lower class people or see their struggles.
This is a play in which the middle class has replaced the aristocracy as the subject matter and the action shown. |
|
|
Term
|
Definition
George Lillo.
Comedy about the lives and goings on of Merchants and their apprentices. The merchant class was portrayed as people of noble character; such traits did not have to exclusively belong to the aristocracy.
this was a play about gaining knowledge through FEELING – not through thinking or rational thought or wealth.
There are fully rounded, idiosyncratic characters; no stereotypes (however, interestingly, the aristocracy are the most stereotypical of the characters).
George is innocent – moral character is just something he is/has (bc all people are naturally, intrinsically good).
Millwood is a victim herself too– she is naturally good, but tainted by situation.
This is a new kind of tragedy, a new morality, based on middle class values – moral ambiguity! |
|
|
Term
|
Definition
|
|
Term
|
Definition
Richard Brinsley Sheridan
Comedy of manners
Vilified for length and bawdiness at the time – actually rewrote it and then produced it again – then it was highly successful
Now considered one of Sheridan’s masterpieces – he is credited with popularizing malapropisms
Characters are somewhat stock characters with strategic names (Mrs. Malaprop)
“laughing comedy” |
|
|
Term
|
Definition
The good are not good and the bad not bad
No decorum
Physicalization of sex
No poetic justice
Style – series of silioquies – rants
Sturm and Drang |
|
|
Term
|
Definition
|
|
Term
|
Definition
Also known as the Spectator
Pamphlets
Pamphlet wars – like modern day blogs; arguemtns about morality and enjoyment of comedy
Led to Joseph Addison and Richard Steele – editors of the pamphlets
“create a sense of benevolent community among their readers.”
“in contrast to aristocratic culture (heiracrchial order/public projection of social status) , underlines the importance of social bonds/fellow-feeling in public communication, especially in print.”
Shift in traditional power base from aristocracy to middle class (almost always comes about because of |
|
|
Term
|
Definition
Ultimate pun
Set in the present time, so we can’t divorce ourselves from the characters
Social interaction of the time period
No plot, so the plays rests on the characters
A comedy of manners – watching stupid, rich people live
The characters are not necessarily stereotyped
People are fighting constantly to one-up each other
The shock of recognition – we see ourselves being petty, witty, stupid, beautiful
None of these people do anything productive for the world – somebody else does the work
This play is just like the Real Housewives
They get their $ from inheritance – USELESS people
Cheek and tongue comedy
We are beyond the social and political need to change the world – now we just lay around |
|
|
Term
|
Definition
1588 – 1679
Philosopher
Argued that a strong monarchial government was necessary to protect the public from “rapacious” people
The world is greedy and materialistic
Marxist (predecessor)
Getting rid of greed as the primary arbiter of the world
Economics as base to understanding humankind |
|
|
Term
|
Definition
big part of neoclassicism - appearance of truth – divided into three goals: reality, morality, and universality. Reality = believalbility, so violence and such were to be kept off stage.
Three unities of time, place, and action.
Teach moral lessons. Wickedness was to be punished and good rewarded.
DECORUM – all humanity was categorized according to age, rank, sex, profession, class, etc. – so they depict types (stereotypes), who prosper if they observe the appropriate decorum of their station in life and are punished if they deviate from that. |
|
|
Term
|
Definition
(1694 – 1778) French theatre
Oedipe – 1st play
Educated by Jesuits; middle class family
Skeptical and rebellious against intolerance (problem with Jesuits)
Rebels against strict religious problems – revolted against established relgion
Wrote about the idealistic breakdown of the wealth
Was imprisoned and exiled – ended up in England
Hooked up with English writers and started traveling all overEurope
French = “slave to rhyme” English say whatever they wish and the French say whatever they can
French – purity, regular conduct, elegance, subtlties of art, dry
English – though monstrous, have awesome scenes
All about strong conflict on stage – patriotism and love, love and religious duty
All of his plots were borrowed, but if there was no love interest, he’d add it (sexual love)
Now thought of as a champion of the middle class ideology – intellectual freedom – immeasurable influence |
|
|
Term
|
Definition
Born after Sturm and Drang
Displayed faith in reason, an admiration for order and discipline, and an inclination toward the aristocracy and emotion
Really trying to go back and find Shakespeare-like theatre
It was German Classicism – sought the typical, the universal, the regular, the normal, the permanent – while directly imitating the Greeks (not the French versions of the Greeks)
The place in the middle between classical and emotional
Very disputed time period in literary history – many different types of theatre going on all at the same time |
|
|
