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Theatre and Society 1 > Spanish Golden Age and French Neoclassical > Flashcards

Spanish Golden Age and French Neoclassical Flashcards

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1
Q

Until 1550, religious plays in Spain were what?

A

Similar to those produced elsewhere in medieval Europe.

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2
Q

What are auto sacramentales and why were they written?

A

Religious plays. • They were written for Corpus Christi, a festival which celebrates the power of the sacraments.

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3
Q

What did auto sacramentales combine?

A

Elements of medieval morality and mystery plays and could be based on secular as well as religious sources.

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4
Q

What did auto sacrementales include?

A

Included supernatural, human, and allegorical character.

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5
Q

What was the the one requirement for auto sacrementales?

A

They under-score the validity of the church’s teachings.

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6
Q

Who were auto sacramentales written by?

A

Calderon

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7
Q

What happened to auto sacramentales in 1765?

A

They were prohibited because they had become more secular and carnival like and less religious, and there was a growing emphasis on the farces and dances interspersed between the autos.

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8
Q

What were Comedias?

A

Full length secular plays that were either serious, comic, or a mixture of the two, with great freedom of mixing the two.

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9
Q

What did Comedies deal with?

A

Dealt with themes of love and honor, and the leading characters were often minor noblemen.

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10
Q

What was the structure of Comedias?

A

They were episodic in form, did not adhere to the neoclassical rules, and were written in three acts rather than five.

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11
Q

Was the supernatural included in Comedias?

A

Yes

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12
Q

How do Spanish and Golden Age plays and Elizabethan Drama differ?

A

Differ in subject matter.

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13
Q

What were subject matter of Comedias?

A

Dealt with conflicts of love and honor, daring adventures, melodramatic confrontations, and rescues.

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14
Q

What did Comedias written for the court focus on?

A

Scenes that required elaborate stage machinery.

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15
Q

What was created along side of Comedias?

A

Popular, short, farcical forms which were presented with comedias.

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16
Q

Who was one of the most prolific dramatists of all time?

A

Lope Félix De Vega Carpio

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17
Q

He is thought to have written around 800 plays of which 470 survive.

A

Lope Félix De Vega Carpio

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18
Q

His plays were similar in structure to Shakespeare’s and both playwrights lived at almost the same time frames.

A

Lope Félix De Vega Carpio

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19
Q

He established the popularity of the three act verse comedia and wrote 21 volumes of prose and poetry.

A

Lope Félix De Vega Carpio

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20
Q

He wrote “The New Art of Playwriting” which defended his episodic style.

A

Lope Félix De Vega Carpio

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21
Q

Translations of his works were circulated throughout Europe and were influential in the development of French Theatre.

A

Lope Félix De Vega Carpio

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22
Q

He eventually became the director of court theatre under Felipe III.

A

Lope Félix De Vega Carpio

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23
Q

His plays are written in a variety of styles including religious, secular, and musical dramas.

A

Pedro Calderón De La Barca

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24
Q

Some of his plays revolve around favorite Spanish concerns like love and honor, and some examine violent family situations.

A

Pedro Calderón De La Barca

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25
Q

His plays influenced French neoclassic, English Restoration, and German romantic playwrights.

A

Pedro Calderón De La Barca

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26
Q

He became the director of court theatre in 1636 and was knighted for his services by Felipe IV.

A

Pedro Calderón De La Barca

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27
Q

His most famous play is Life is a Dream which was written in 1636.

A

Pedro Calderón De La Barca

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28
Q

What did female playwrights texts do?

A

Their texts subverted many traditions of the comedias and questioned traditional views of gender roles, love and honor, and political authority.

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29
Q

Where were secular plays staged?

A

Corrales, Public Theatres

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30
Q

What are mosqueteros?

A

The yard floor, or patio, was similar to the yard of Elizabethan public theatres and their groundlings

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31
Q

What was the cazuela?

A

A gallery located above the main entryway, where women could sit and had its own entrance.

32
Q

Explain corrale seating?

A

Held about 2,000 spectators, 1000 spaces for men, 350 for women, and the rest were for govt. officials and clergy.

33
Q

Give a brief overview of the corrales scenic conventions?

A

Scenic conventions were similar to those in England with a similar tiring stage house.

34
Q

Give a brief overview of the corrales stage?

A

There were three openings for entrances, exits and reveals, and one or two upper level playing houses. There were trap doors in the stage that were used for special effects. The proscenium arch stage was only used at court where lavish spectacles were staged

35
Q

Give a brief overview of the corrales costuming?

A

Costuming was similar to Elizabethan practices utilizing mostly contemporary clothing.

36
Q

Give a brief overview of the corrales use of characters?

A

Historical mythical figures would be more elaborately dressed, with Moors dressed as villains.

37
Q

What was Zarzuela?

A

A unique Spanish court entertainment, influenced by Italian opera and the intermezzi.

38
Q

What did Zarzuela consist of?

A

Was a stylized musical drama with a story based on mythology and incorporating ornate scenic effects.

39
Q

How many members were part of acting troupes?

A

16-20 performers and included women.

40
Q

What was the job of the Autor?

A

Oversaw all artistic and business decisions.

41
Q

How was the social standing of actors?

A

But for the most part leaders frowned on the lifestyle of actors.

42
Q

What is the Confradia de la Novena?

A

Actors founded this guild to improve their own status in society.

43
Q

What made it difficult for women to be able to perform?

A

Laws would attempt to ban women in theatre, they went back and forth on this law.

44
Q

Why did the Reinaissance arrive late in France?

A

Because of civil and religious unrest

45
Q

What did French Neoclassical adhere to?

A

Neoclassical models, Italian theatre architecture and scenic design.

46
Q

What is the Confrérie de la Passion?

A

A religious group, organized in Paris to present religious plays.

47
Q

What was built in 1548 by the Confrérie de la Passion?

A

Hôtel de Bourgogne, which may have been the 1st permanent theatre since Roman times.

48
Q

What was there a struggle between when it comes to different approaches to theatre?

A

A less strict approach and the neoclassical ideals ended in neoclassicism winning in the end.

49
Q

What did Cardinal Richelieu do?

A

He urged a literary group that formed to move towards an Italian style academy, which they did in 1636, creating l’Académie Française.

50
Q

Began writing for the theatre in his spare time, but as his plays became successful he devoted more time to playwriting.

A

Pierre Corneille

51
Q

His first plays were comedies, but in 1636-1637 he wrote a serious play, The Cid based on an earlier Spanish drama.

A

Pierre Corneille

52
Q

Had mixed dramatic genres in The Cid since it was a serious play but had a happy ending, other issues were scrutinized too.

A

Pierre Corneille

53
Q

He wrote plays with heroic characters in suspenseful and surprising situations.

A

Pierre Corneille

54
Q

He was elected to the Academy in 1647 and continued to write until his death in 1684.

A

Pierre Corneille

55
Q

First a lawyer but spent much of his time in literary groups.

A

Jean Racine

56
Q

In 1669 he published an ode and started to concentrate on a literary career.

A

Jean Racine

57
Q

Molière gave the first performances of Racine’s works and gave him advice and encouragement.

A

Jean Racine

58
Q

Transferred one of his plays from Molière’s troupe to a rival company, after which all his plays were presented at the Hôtel de Bourgogne.

A

Jean Racine

59
Q

His enemies brought about the failure of his play Phaedra by having another play open on the same night of its premiere.

A

Jean Racine

60
Q

Even though Phaedra was at first a failure it has become one of the most famous French tragedies of all time.

A

Jean Racine

61
Q

His original name was Jean-Baptiste Poquelin which he changed in 1643 when he left school and founded the Théâtre Illustre.

A

Molière

62
Q

His theatre went bankrupt in 1645 and he was imprisoned for debt.

A

Molière

63
Q

An influential patron secured a royal audience for the troupe and Louis XIV was much impressed with the troupe.

A

Molière

64
Q

The king made Molière’s troupe the King’s Men in 1665, afterwards he wrote many court plays and pageants.

A

Molière

65
Q

Exhausted and suffering from a lung ailment, he collapsed during a performance of The Imaginary Invalid and died a few hours later.

A

Molière

66
Q

What was the Hotel de Bourgogne?

A

Was the sole permanent indoor theatre for nearly a century, was not a proscenium arch theatre, but was a long narrow building with a platform at one end.

67
Q

Who was competition for the Hotel de Bourgogne?

A

The Théâtre du Marais

68
Q

Explain Theatre de Marais?

A

Was a converted indoor tennis court which was a common practice for staging theatre events since the structure was so similar to the Bourgogne.

69
Q

When did French architecture become evident?

A

When Cardinal Richelieu erected the Palais Cardinal.

70
Q

Explain Palais Cardianal?

A

Was the 1st proscenium arch theatre in France and had scene shifting machinery.

71
Q

What was the different between french and italian theatre?

A

French theatres had an amphitéâtre on the back wall opposite the stage which contained inexpensive bleacher style seating.

72
Q

What was la comedie francaise?

A

Was the first national theatre in the world. It was organized under the sharing plan of Molière’s troupe with some modifications.

73
Q

How many people were in French acting companies before 1650?

A

Generally 8-12, but after 1650 there were more.

74
Q

Were women apart of French Theatre companies?

A

Yes, and they could become shareholders.

75
Q

Describe the rehearsals for French acting companies.

A

Troupes spent little time on rehearsals, which were supervised by the playwright and/or the leading actor of the company.

76
Q

How many plays could each company have in their repertoire?

A

70 plays.

77
Q

How many companies were government-supported by 1673 in Paris?

A

5.

Theatre and Society 1 (7 decks)

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