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theatre hist > 18th Century > Flashcards

18th Century Flashcards

1
Q

Bibiena family

A

-est by Ferdinando Bibiena
Bologna & Parma
1708 summoned to Barcelona to design staged festivities for the marriage of Charles VI of Spain
Move to Vienna-succeed the Burnacini as designers at court
Moves to 2 perspective scenery-building at center (painted backdrops)
Breaks away from notion of symmetry & scale of buildings in playing space (larger)
How he created this illusion
DS flats (where the acting takes place) still in trad. Pos.- can be moved w/ pole/chariot system
US flats (background-not acting space) not in the same positions-ppl moved scenery for new interesting moves
Backdrops always parallel to proscenium arcs

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2
Q

Ludovico Burnicini

A 
Notable families of designers
-Burnacini (Giovanni & Ludovico)
	Designed >115 productions 
		The Golden Apple (1668)
			23 settings
			35 machines
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3
Q

Giovanni Piranesi

A

depicted light & shadow in their designs.

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4
Q

The Servant of Two Masters

A

Carlo Goldoni
All roles scripted except Truffaldino
Published 1753-all scripted

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5
Q

Carlo Gozzi

A

-fiercely opposed Goldoni’s changes to commedia!!!!
He often wrote pieces that saterized Goldoni’s work
-known for
The Love for Three Oranges
King’s Stay
Turandot
The Magic Bird
-plays full of fantasy, enchantment, improv, masks, complete opposite of Goldoni
Called his plays: Fiabe (fable)

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6
Q

Voltaire

A
  • dominates tragedy
  • Oedipe (1718)
  • still had melodrama features
  • philosopher ideals about religion
  • lives in England for 3 yrs and sees English plays
    • *tries to loosen neoclassical structures
    • add supernatural elements
  • limited amount of onstage violence
  • broader range of subject matter
  • more spectacle
  • *1759 spectators forbidden to sit on stage
  • more realistic views wanted for staging (in France during medieval times)
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7
Q

Comedie Larmoyante

A
  • (tearful comedy)
  • most popular from 1730-1750
  • virtuous protagonist has an issue and creates sympathy from audience but then rescued thru unknown facts
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8
Q

Beaumarchais

A
  • only really significant dramatist of 18th cent in France
  • wrote new drames
  • most known for comedy
    • The Barber of Seville 1775
    • The Marriage of Figaro 1783
      • set in Spain BUT it’s veiled look at French Society
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9
Q

Opera comique

A

Illegitimate Theatre
funny opera
still had to pay fee

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10
Q

Boulevard du Temple

A

1760 fair theatre start to perform on the Boulevard du Temple

- now have a home base 
- performing year round
- competition to monopoly theatres
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11
Q

Describe some of the scenic innovations that Ferdinando Bibiena developed for the stage

A

-Moves to 2 perspective scenery-building at center (painted backdrops)
-Breaks away from notion of symmetry & scale of buildings in playing space (larger)
How he created this illusion
DS flats (where the acting takes place) still in trad. Pos.- can be moved w/ pole/chariot system
US flats (background-not acting space) not in the same positions-ppl moved scenery for new interesting moves
Backdrops always parallel to proscenium arcs

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12
Q

Including mood was a new idea in scenic design. Describe how scenic designers created mood in their work

A
  • Designers begin to depict light & shadow in their designs.
  • Scenic designers PAINT juxtapose areas of light & shadow to create a mood
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13
Q

Discuss Carlo Goldoni’s contributions to Italian (and European) theatre

A

-writer of scenarios for commedia troupes
-1740: makes an argument that commedia needs to adapt
-writes out entire principle role of a commedia play called “Man of the World”
-prolific writer: 10 tragedies, 83 musical dramas, 150 comedies
-credited w/ making opera buffo (comic opera)
An unacceptable genre for significant opera troupes
-writes really sympathetic noble female characters
-”The Servant of Two Masters”
All roles scripted except Truffaldino
Published 1753-all scripted
-eliminates all improv for his works
-additional changes w/ masks, naturalistic style of speech, use of more real life situations
-1761 moves to Paris and writes for Comedy Italian
-Humanizes all the characters within commedia

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14
Q

How did the popularity of Opera influence the theatre of Austria

A
  • the minor lords in charge of German areas adopt French customs
    - the emulate the French court by having
    - opera
    - ballet
    - major spectacular events
    • more wealthy courts import artists from France & Italy
    • less wealthy courts use home-grown German imitators
  • Ludovico, Bernacini, Bibienas(family) :> hired by Emporor of HRE in Vienna
    • Vienna becomes capitol for opera
  • opera is the dominant form in this part of Europe
    • the fancy livin’ loved this ^shiz^
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15
Q

Be able to discuss how the removal of spectators from the stage in both France and England impacted theatrical production. Be specific.

A 
French adopt Italian stage seating convention to build curve for audience for better sight lines
	-ovoid auditorium 
Comedie Frances
	-when benches were removed in 1759
		-seating for 140 was added
		-put 180 seats (benches) in the pit
	-1782: move to new theatre The Odeon
		-no standing room at all
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16
Q

Sentimentalism became a popular trend in both French and English theatre. Be able to describe what sentimentalism is and how it was reflected in popular plays of this time.

A 
Sentimentalism
-at end of English rest (everyone gets their just desserts & turns out okay)
-begins around 1720
-Mariveaux-subtle emotional shifting
Comedie Larmoyante 
-(tearful comedy)
-most popular from 1730-1750
-virtuous protagonist has an issue and creates sympathy from audience but then rescued thru unknown facts
FRANCE
-more characters drawn from middle class
	-characters seeing the errors of their ways
-Colley Cibber (1671-1737)
	-characters play neoclassical ways then by act 5 see their mistakes
-George Farquhar (1678-1707)
	-still witty characters
	-plays out of London, in country
	-not as many obstacles to be naughty
	-The Recruiting Officer 
	-The Beaux’ Stratagen 
-George Lillo
	-The London Merchant (1731) 
		-so popular that in 19 c. traditionally all the young apprentices to go see the play
Sentimental Tragedy
	-middle class characters	
-Felt a tragedy with everyday characters is easier to feel for
17
Q

Be able to discuss Denis Diderot’s contributions to French theatre

A

-neoclassicalism is too narrow!
-wanted new middle road genre called ‘drame’
-domestic tragedy
-wanted comedy concerned with virtue
-believed that staging should create illusion
-will better move the audience
-setting that depicted real spaces
-4th wall conventions in acting
GREATER REALISM
-“Paradox of the Actor”
-good actors deter from emotions
-craft emotions without feeling yourself (mimicry/control)

18
Q

Discuss how the Opera’s money troubles and monopoly impacted theatre in Paris

A

the financial troubles caused the

Financial Troubles

  • societaires making 30,000 Francs/yr
  • non-societaires (pensionaires) making about 20,000 Francs/yr
  • profits from C.F. & Opera going to performer pay
    • not improvements in co. costume stock, scenery & etc.
  • 1714 idea to allow for a FAT FEE other companies to perform pieces that contain music or dance or spectacle
  • 1784 Opera gains control of Illegitimate Theatre
    • charged fee-Opera Comique
19
Q

• How did the monopolies of the Comedie Francaise, the Opera, and the Comedie Italienne impact playwrights

A

no

20
Q

How did the growing interest in history and local color begin to impact theatre?

A

no

21
Q

Describe how the rise of a wealthy middle class effected changes to English theatre genres

A

Restoration in England-Comedy of Errors: Shift in morality after rest:>
-came home from spring break to be real person again.
-Thrown now more conservative.
-Bolstered by middle classes growing & conservative.
-Shown in series of attacks written about the sensuous nature of theatre.
Jeremy Collier 1698
-A short View of the immorality & Profaneness of the English stage.
Comedy becoming more sentimental
-more characters drawn from middle class
-characters seeing the errors of their ways
Sentimental Tragedy
-middle class characters

22
Q

Jeremy Collier

A

wrote “A short View of the immorality & Profaneness of the English stage” (theater should teach a lesson; shows that pop neoclassical playwrights dont follow this)

23
Q

George Farquhar

A

playwright, his plays still witty characters

- plays out of London, in country
- not as many obstacles to be naughty
- ”The Recruiting Officer” 
- ”The Beaux’ Stratagen”
24
Q

Susanna Centlivre

A

female playwright “The Busy Body” (1709)

-”The Wonder” (1714)

25
Q

drame

A

any serious play that did not fit the neoclassical definition of tragedy

26
Q

The Beggar’s Opera

A

written by John Gay. Takes conventions of operas & make fun of them in a way: they alternate spoken dialogue, write new lyrics to the tune of a contempt popular song

27
Q

Oliver Goldsmith

A

“she stoops to conquer”

28
Q

Richard Brinsley Sheridan

A

The Critic (1781) mocking literary rather than government officials

29
Q

Hanswurst

A

the clown character; develops into an universal clown

jolly, beer drinking peasant w/ Bavarian accent developed by Joseph Anton Strintzly

30
Q

Caroline Neuber

A

actress married to actor

- they have a troupe
- thoughts things should happen
	- actors needed to learn their lines
	- rehearse!
	- elimination of Hans Wurst!
- took Gottsched’s ideas & ran with them - 12 year collaboration between them 
- Neaber’s troupe moves to Russia to do the same
31
Q

Line of business

A
  • younger actors learning from older more experienced actor
    • learning thru imitation
    • learn a type & play it for life
    • assigned to understudy an experienced actor who has that role
32
Q

Describe popular minor forms of English theatre of this era (pantomime, ballad opera, burlesque, comic opera)

A
  • Pantomime
    • combines forms of dell arte, farce, topical satire, & mythological stories
    • John Rich (son of Christopher Rich)
      • managed Drury Lane &
      • develops the pattern: alternates serious scenes from mythology with comic scenes
        • comic scenes usually silent & serious use dialogue/song
        • spectacle!!
    • 1723 was MOST POPULAR entertaining
    • tickets always higher $$ when new pantomime was developed
  • Ballard Opera
    • The Beggars’ Opera (1728) by John Gay
      • takes conventions of operas & make fun of them in a way: they alternate spoken dialogue, write new lyrics to the tune of a contempt popular song
      • Arises bc Europe is vying for it
      • satirized events in London
  • Burlesque
    • Satire but no singing
    • Appeared 1730s
    • Henry Fielding
      • topical satire
      • Pasque (1736)
      • Tumble-Down Dick (1736)
      • The Historical Register of 1736 (1737)
      • insults new Prime Minister
    • Late Burlesque
      • Sheridan: The Critic (1781)
        • mocking literai rather than government officials
  • Comic Opera
    • sentimental & uses original music
    • different form (& takes over for Ballad opera)
33
Q

Discuss how popular forms of English theatre led to the enactment of new laws affecting the theatre

A
  • Legal issues for BOTH
    • started illegitimate theatres
    • both make fun of government official
    • Licensing Act of 1737
      • no performing for money of any play not previously licensed by the Lord Chamberlain
      • authorized theatres are restricted to Westminster (official seat of government)
        • Drury Lane Th. & Covent Gardens Th. Only ones covered by law
    • 1740 circumvents law
      • Goodman’s Fields Theatre-concert-charged admission
      • lots of theatre start doing this
        • buying foods (chocolates) & play free
    • 1752: all entertainment venues in a 20 mile radius of London had to have license
      • people outside of London pissed
      • state stars sanctioning theatres (1 per community-ish)
      • 1788-outside 20 mile radius you go to a local magistrate for a license
34
Q

Discuss how David Garrick impacted 18th century theatre

A

1762 David Garrick (actor manager) no more spectators on stage!
-New plays get one new set of shutters/wings
-rest from stock
strives for realism

35
Q

Discuss several reasons why professional theatre had a difficult time taking hold in Northern Europe

A

The area & time of 30 years war 1618-1648 between catholic & protestants.
major damage to the economics & politics of the region
-Germany = 300 different & independent units
the local German troupes had little success
-lots of traveling & not large communities
-constantly on the move & struggling
-not successful life
-when they did find a place to perform
-troupe would give ¼ of receipts to a charity

36
Q

How did the Jesuits contribute to theatre in Northern Europe?

A
  • brotherhood of catholic monks out of the counter reformation
  • combat heresy & strengthen churches authority
    • thru education and information
  • 1600 they had created about 200 schools/universities/seminaries
  • 1800-closer to 800^^
  • used theatre as a teaching tool
    • not only to teach church doctrine
    • to teach public speaking & deportment
    • they were teaching future leaders of not only church but political systems
  • Jesuit schools would perform theatrical production 1/yr
  • originally subject manner was mainly religious
    • eventually expanded to include comedy, ballet, & music
  • in 17th century performing on modern stages
  • Jesuit schools created texts/treatises on theatre production & acting
  • one place to see high-value productions outside of court
    • all inclusive audiences
  • not big supporters of public theatre
    • drew people away from ‘good catholic’ lifestyle
  • Jesuit productions under-minded professional theatres bc of their available resources
37
Q

Explain why clown characters were so prominent in early 18th century German theatre

A
  • the first troupes you might see were actually English traveling troupes
    • would move court to court to perform
    • still in English
    • would try to attract German audiences by
      • simplifying plots
      • lots of low brow physical comedy
      • add song, music, and dance
    • result of this is that the clown character becomes VERY important

theatre hist (2 decks)

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