![The Aphra Behn Page Women in the Theater after the Restoration](http://s1.studyres.com/store/data/013022851_1-9ae53f6e905d5cb82cc4749b08d44036-300x300.png)
The Aphra Behn Page Women in the Theater after the Restoration
... the course of her nineteen year career, Behn probably wrote over twenty plays, as well as several novels and volumes of poetry. The most well-known female dramatist to follow Behn, Susanna Centlivre, wrote nineteen plays during her career, beginning in 1700. Most of her plays were comedies of intrig ...
... the course of her nineteen year career, Behn probably wrote over twenty plays, as well as several novels and volumes of poetry. The most well-known female dramatist to follow Behn, Susanna Centlivre, wrote nineteen plays during her career, beginning in 1700. Most of her plays were comedies of intrig ...
Shakespeare and the Elizabethan Theatre
... Could accommodate up to 3000 people per performance. There were no restroom facilities, and plays were performed without intermissions. The public who came to the theatres paid accordingly for where they were during the play. In the yard or pit, “groundlings” paid a penny. The groundlings were very ...
... Could accommodate up to 3000 people per performance. There were no restroom facilities, and plays were performed without intermissions. The public who came to the theatres paid accordingly for where they were during the play. In the yard or pit, “groundlings” paid a penny. The groundlings were very ...
The Revival of Drama
... • From the Fall of Rome to the Middle Ages there were only histriones [wandering players] and jongleurs [minstrels] to keep drama alive with dancing, singing, juggling, acrobatics, & marionettes. • Strangely enough, it would be the needs of the Church that would revive drama. ...
... • From the Fall of Rome to the Middle Ages there were only histriones [wandering players] and jongleurs [minstrels] to keep drama alive with dancing, singing, juggling, acrobatics, & marionettes. • Strangely enough, it would be the needs of the Church that would revive drama. ...
The_Dawn_of_Theatre
... When Rome invaded Greece, they took great interest in Greek literature and art, adapting Greek plays Audiences were lower class, so comedies and slapsticks were more popular. Playhouses were portable wooden platforms until Roman leaders Pompey and Caesar built playhouses Claque – a person/group hire ...
... When Rome invaded Greece, they took great interest in Greek literature and art, adapting Greek plays Audiences were lower class, so comedies and slapsticks were more popular. Playhouses were portable wooden platforms until Roman leaders Pompey and Caesar built playhouses Claque – a person/group hire ...
Theatre in the Age of Shakespeare
... the dialogue was the most important part of the play. Colourful and well-designed costumes were very important and told the people about the status of a character. Women never performed in plays, so young boys played female characters. The performances took place in the afternoon because it was too ...
... the dialogue was the most important part of the play. Colourful and well-designed costumes were very important and told the people about the status of a character. Women never performed in plays, so young boys played female characters. The performances took place in the afternoon because it was too ...
1830–1850 - Mrs Greer
... In 1816 Philadelphia’s Chestnut Street Theatre Thomas Drummon invents the limelight. It is like the spotlight that we use today. Sample of Costumes in the 1800’s: ...
... In 1816 Philadelphia’s Chestnut Street Theatre Thomas Drummon invents the limelight. It is like the spotlight that we use today. Sample of Costumes in the 1800’s: ...
Post Shakes Thtr
... empathize with virtue Pantomime, opera, ballad opera, burlesque, and other forms also flourish during this period. These were not plays, and so they could be performed outside the licensed theatres. In the 1730s there were 4 unlicensed theatres. 1728 – John Gay’s The Beggar’s Opera aims Opera at the ...
... empathize with virtue Pantomime, opera, ballad opera, burlesque, and other forms also flourish during this period. These were not plays, and so they could be performed outside the licensed theatres. In the 1730s there were 4 unlicensed theatres. 1728 – John Gay’s The Beggar’s Opera aims Opera at the ...
William Shakespeare
... plays and 150 poems throughout his lifetime. • Romeo and Juliet is the most often taught play of all of Shakespeare’s works. • The most controversial of all plays was Hamlet. • He was known for his tragedies, comedies, and histories. ...
... plays and 150 poems throughout his lifetime. • Romeo and Juliet is the most often taught play of all of Shakespeare’s works. • The most controversial of all plays was Hamlet. • He was known for his tragedies, comedies, and histories. ...
English Renaissance Theatre
... Ground floor was called the yard – Lower-class spectators stood here and were called groundlings ...
... Ground floor was called the yard – Lower-class spectators stood here and were called groundlings ...
ENGLISH THEATRE IN THE RENAISSANCE Author Unknown I
... bear/bull to shreds IV. Performance Style A. Plays performed in daylight -- 2:00 in the afternoon 1. Night scenes played under Heavens or symbolized by torches or words B. Audience very close to stage and actors 1. Development of "aside" -- where character speaks to audience or "soliloquy" -- where ...
... bear/bull to shreds IV. Performance Style A. Plays performed in daylight -- 2:00 in the afternoon 1. Night scenes played under Heavens or symbolized by torches or words B. Audience very close to stage and actors 1. Development of "aside" -- where character speaks to audience or "soliloquy" -- where ...
An Introduction to THEATRE
... these are noble pursuits and necessary to sustain life. But the arts, poetry, beauty, romance, these are what we stay alive for.” ...
... these are noble pursuits and necessary to sustain life. But the arts, poetry, beauty, romance, these are what we stay alive for.” ...
DRAMATIC GENRES Tragedy—Classical Greek Deals with the
... Parodied Italian opera No recitative or sung dialogue Spoken dialogue alternated with songs set to ...
... Parodied Italian opera No recitative or sung dialogue Spoken dialogue alternated with songs set to ...
English Renaissance Theatre - Dramatics
... – Second story for an “inner above” playing area – Third story for musicians’ gallery – Roof covered stage; called the heavens ...
... – Second story for an “inner above” playing area – Third story for musicians’ gallery – Roof covered stage; called the heavens ...
English Restoration Theatre
... advances of Horner, who specializes in seducing other men’s wives ...
... advances of Horner, who specializes in seducing other men’s wives ...
English Restoration Theatre
... advances of Horner, who specializes in seducing other men’s wives ...
... advances of Horner, who specializes in seducing other men’s wives ...
Not types of plays, but production of plays
... Scenery represents real life but is accommodated for the stage – living room, office – set represents something in play Theatricalism: It’s a play, okay? No pretense! The stage is the set of the play and the play is directed out to the audience. Presents, rather than represents. Expressionism: Revea ...
... Scenery represents real life but is accommodated for the stage – living room, office – set represents something in play Theatricalism: It’s a play, okay? No pretense! The stage is the set of the play and the play is directed out to the audience. Presents, rather than represents. Expressionism: Revea ...
English Renaissance Theatre - Dramatics
... – Second story for an “inner above” playing area – Third story for musicians’ gallery – Roof covered stage; called the heavens ...
... – Second story for an “inner above” playing area – Third story for musicians’ gallery – Roof covered stage; called the heavens ...
Black Comedy--Comedy that tests the boundaries of good taste and
... pulleys or upper and lower tiers to represent earth, heaven and hell) which was moved about a city to allow different crowds to watch a mystery or miracle play. Passion play-- a dramatic presentation depicting the Passion of Christ: the trial, suffering and death of Jesus Christ. It is a traditional ...
... pulleys or upper and lower tiers to represent earth, heaven and hell) which was moved about a city to allow different crowds to watch a mystery or miracle play. Passion play-- a dramatic presentation depicting the Passion of Christ: the trial, suffering and death of Jesus Christ. It is a traditional ...
Elizabethan theatre English Renaissance theatre, also known as
... The men (no women were professional dramatists in this era) who wrote these plays were primarily self-made men from modest backgrounds. Some of them were educated at either Oxford or Cambridge, but many were not. Although William Shakespeare and Ben Jonson were actors, the majority do not seem to ha ...
... The men (no women were professional dramatists in this era) who wrote these plays were primarily self-made men from modest backgrounds. Some of them were educated at either Oxford or Cambridge, but many were not. Although William Shakespeare and Ben Jonson were actors, the majority do not seem to ha ...
Document
... Charles II, the king, had been in France during the greater part of the Protectorate, together with many of the royalist party, all of whom were familiar with Paris and its fashions. Thus it was natural, upon the return of the court, that French influence should be felt, particularly in the theater. ...
... Charles II, the king, had been in France during the greater part of the Protectorate, together with many of the royalist party, all of whom were familiar with Paris and its fashions. Thus it was natural, upon the return of the court, that French influence should be felt, particularly in the theater. ...
January Programme of Events Friday 27th January
... Alcina. In this lecture she will describe her background in theatre and how she fell into opera to become one of its leading international lights. Saturday 28th January @ 9.30 am in the Ante-Chapel, New College Masterclass: Acting Handel: How to bring the da capo aria to life on stage. Katie MItchel ...
... Alcina. In this lecture she will describe her background in theatre and how she fell into opera to become one of its leading international lights. Saturday 28th January @ 9.30 am in the Ante-Chapel, New College Masterclass: Acting Handel: How to bring the da capo aria to life on stage. Katie MItchel ...
Restoration through Romanticism
... • Ballad Opera: Satire incorporating popular music; appealed to the middle class; A burlesque style which combined spoken dialogue and songs set to popular tunes. First one was The Beggar’s Opera by John Gay • Laughing Comedy: Compelled audience to laugh at itself and eccentricities Humorous and rea ...
... • Ballad Opera: Satire incorporating popular music; appealed to the middle class; A burlesque style which combined spoken dialogue and songs set to popular tunes. First one was The Beggar’s Opera by John Gay • Laughing Comedy: Compelled audience to laugh at itself and eccentricities Humorous and rea ...
Encuc ia of UUorld Drama
... on the production of legitimate drama. Since drama combined with music and mime was not restricted under the terms of the charters, English impresarios were free to open playhouses that specialized in such light entertainment. They were subject, however, to the rules of censorship imposed by the Lor ...
... on the production of legitimate drama. Since drama combined with music and mime was not restricted under the terms of the charters, English impresarios were free to open playhouses that specialized in such light entertainment. They were subject, however, to the rules of censorship imposed by the Lor ...
Augustan drama
![](https://en.wikipedia.org/wiki/Special:FilePath/Covent_Garden_1762.gif?width=300)
Augustan drama can refer to the dramas of Ancient Rome during the reign of Caesar Augustus, but it most commonly refers to the plays of Great Britain in the early 18th century, a subset of 18th-century Augustan literature. King George I referred to himself as ""Augustus,"" and the poets of the era took this reference as apropos, as the literature of Rome during Augustus moved from historical and didactic poetry to the poetry of highly finished and sophisticated epics and satire.In poetry, the early 18th century was an age of satire and public verse, and in prose, it was an age of the developing novel. In drama, by contrast, it was an age in transition between the highly witty and sexually playful Restoration comedy, the pathetic she-tragedy of the turn of the 18th century, and any later plots of middle-class anxiety. The Augustan stage retreated from the Restoration's focus on cuckoldry, marriage for fortune, and a life of leisure. Instead, Augustan drama reflected questions the mercantile class had about itself and what it meant to be gentry: what it meant to be a good merchant, how to achieve wealth with morality, and the proper role of those who serve.Augustan drama has a reputation as an era of decline. One reason for this is that there were few dominant figures of the Augustan stage. Instead of a single genius, a number of playwrights worked steadily to find subject matter that would appeal to a new audience. In addition to this, playhouses began to dispense with playwrights altogether or to hire playwrights to match assigned subjects, and this made the producer the master of the script. When the public did tire of anonymously authored, low-content plays and a new generation of wits made the stage political and aggressive again, the Whig ministry stepped in and began official censorship that put an end to daring and innovative content. This conspired with the public's taste for special effects to reduce theatrical output and promote the novel.