Restoration PPT - Westerville City Schools
... He authorized 2 dramatists, Thomas Killegrew and Sir William D’Avenant, to form 2 acting companies. Their audiences were courtiers and their servants as well as the middle class. ...
... He authorized 2 dramatists, Thomas Killegrew and Sir William D’Avenant, to form 2 acting companies. Their audiences were courtiers and their servants as well as the middle class. ...
Elizabethan Theatre In the late 16th century all classes of society
... Mass' and women actors as 'notorious whores' in his book Histriomastix. This was seen as a personal attack on Queen Henrietta Maria who loved the theatre and often performed in masques. However, Oliver Cromwell and the Puritans were less censorious about musical entertainment and tolerated occasiona ...
... Mass' and women actors as 'notorious whores' in his book Histriomastix. This was seen as a personal attack on Queen Henrietta Maria who loved the theatre and often performed in masques. However, Oliver Cromwell and the Puritans were less censorious about musical entertainment and tolerated occasiona ...
English Restoration Theatre
... woman it was unnatural.” – Aphra Behn – John Dryden spoke of her as “writing loosely, and giving, … some scandal to the modest of her sex. I confess, I am the last man who ought, in justice, to arraign her, who have been myself too much a libertine in most of my poems.” ...
... woman it was unnatural.” – Aphra Behn – John Dryden spoke of her as “writing loosely, and giving, … some scandal to the modest of her sex. I confess, I am the last man who ought, in justice, to arraign her, who have been myself too much a libertine in most of my poems.” ...
English Restoration Theatre
... woman it was unnatural.” – Aphra Behn – John Dryden spoke of her as “writing loosely, and giving, … some scandal to the modest of her sex. I confess, I am the last man who ought, in justice, to arraign her, who have been myself too much a libertine in most of my poems.” ...
... woman it was unnatural.” – Aphra Behn – John Dryden spoke of her as “writing loosely, and giving, … some scandal to the modest of her sex. I confess, I am the last man who ought, in justice, to arraign her, who have been myself too much a libertine in most of my poems.” ...
Restoration Theatres
... • Davenant – Oxford grad, replaced Johnson as poet laureate, knighted 1643 • Killigrew – dramatists, went with king in excile. Samuel Pepy’s called him a “merry droll” • Droll- short version of full plays popular during the period the theatres were closed, usually comedies ...
... • Davenant – Oxford grad, replaced Johnson as poet laureate, knighted 1643 • Killigrew – dramatists, went with king in excile. Samuel Pepy’s called him a “merry droll” • Droll- short version of full plays popular during the period the theatres were closed, usually comedies ...
Document
... In 1660 the Stuart dynasty was restored to the throne of England. 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, ...
... In 1660 the Stuart dynasty was restored to the throne of England. 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, ...
The Aphra Behn Page Women in the Theater after the Restoration
... He condensed the 15 years of dramatic time in Shakespeare's play into one 24 hour day. He compressed Shakespeare's large cast (30 men and 4 women) drama into a much smaller and more managable size (6 men and 4 women). Unlike Shakespeare who had scenes in Rome and Egypt, Dryden's play takes place in ...
... He condensed the 15 years of dramatic time in Shakespeare's play into one 24 hour day. He compressed Shakespeare's large cast (30 men and 4 women) drama into a much smaller and more managable size (6 men and 4 women). Unlike Shakespeare who had scenes in Rome and Egypt, Dryden's play takes place in ...
english restoration theatre - Assets
... contemporary audience was likely to wish to see in their original forms, the distinction between ``adaptation'' and ``revival'' in the Restoration is more blurred than the above may suggest. For one thing, there were certain crucial respects in which it was simply no longer possible for any company ...
... contemporary audience was likely to wish to see in their original forms, the distinction between ``adaptation'' and ``revival'' in the Restoration is more blurred than the above may suggest. For one thing, there were certain crucial respects in which it was simply no longer possible for any company ...
About the Production About the Playwright
... tennis courts or former bear pits, with more elaborate venues built later. The open air theatres (such as The Globe) of the Elizabethan era were no more. The new era demanded lavish buildings containing proscenium playing spaces and elaborate sets lit by candle. There were four major Restoration the ...
... tennis courts or former bear pits, with more elaborate venues built later. The open air theatres (such as The Globe) of the Elizabethan era were no more. The new era demanded lavish buildings containing proscenium playing spaces and elaborate sets lit by candle. There were four major Restoration the ...
True/False
... 27. During the Restoration it was an accepted, and commonly used, practice for playwrights to “borrow” from the works of other writers. *True False 28. Actresses appeared on the English stage during the Restoration period. *True False 29. Historically accurate costuming was used in Restoration theat ...
... 27. During the Restoration it was an accepted, and commonly used, practice for playwrights to “borrow” from the works of other writers. *True False 28. Actresses appeared on the English stage during the Restoration period. *True False 29. Historically accurate costuming was used in Restoration theat ...
True/False
... 30. Writing comedies of intrigue, Nell Gwynn was the first woman to make her living as a playwright in England. *True False 31. During the Restoration period, “The Female Wits” were a group of actress-managers. True *False 32. The revival of the English Theatre in the second half of the seventeenth ...
... 30. Writing comedies of intrigue, Nell Gwynn was the first woman to make her living as a playwright in England. *True False 31. During the Restoration period, “The Female Wits” were a group of actress-managers. True *False 32. The revival of the English Theatre in the second half of the seventeenth ...
View program
... published poetry, essays, novels, and plays. Today she is credited as being the first professional female writer in England. Certainly, she was the only female playwright writing during the early years of the Restoration. ...
... published poetry, essays, novels, and plays. Today she is credited as being the first professional female writer in England. Certainly, she was the only female playwright writing during the early years of the Restoration. ...
Hamlet, the Prince of Melancholy (Hamlet, Printul melancoliei by
... Almost every work by Shakespeare has this meaning of theatre within the theatre, the image of the world within the world. Theatre is a secondary game, purer, more real, more true in the panopticon game of this world. From the first play, The Taming of the Shrew, which is a representation of theatre ...
... Almost every work by Shakespeare has this meaning of theatre within the theatre, the image of the world within the world. Theatre is a secondary game, purer, more real, more true in the panopticon game of this world. From the first play, The Taming of the Shrew, which is a representation of theatre ...
View/Open
... politically oriented tragi-comedy, The Spanish Fryar; or, the Double Discovery was premiered at the Lincoln's Inn Fields theatre in 1680. The dedicatory preface to the published text is highly polemical; and in it Dryden argues for a careful reading of his play. It is one of his most lucid expressio ...
... politically oriented tragi-comedy, The Spanish Fryar; or, the Double Discovery was premiered at the Lincoln's Inn Fields theatre in 1680. The dedicatory preface to the published text is highly polemical; and in it Dryden argues for a careful reading of his play. It is one of his most lucid expressio ...
Music as Meaning in the Tempest
... century) “Shakespeare” as in Rowe or Theobald; whether we are discussing a play with a certain amount of incidental music or a full-scale opera. This is a problem in itself. I have argued elsewhere that the amount of music to text is a continuum, but there is also a debate in the Restoration period ...
... century) “Shakespeare” as in Rowe or Theobald; whether we are discussing a play with a certain amount of incidental music or a full-scale opera. This is a problem in itself. I have argued elsewhere that the amount of music to text is a continuum, but there is also a debate in the Restoration period ...
Aphra Behn`s THE ROVER
... her debts and landed in a debtor’s prison. It is not known when or how she managed to get out, but after this she must have decided that it was safer, if not much more lucrative, to make her living by writing. ...
... her debts and landed in a debtor’s prison. It is not known when or how she managed to get out, but after this she must have decided that it was safer, if not much more lucrative, to make her living by writing. ...
The Two Playhouses at Blackfriars
... companies were viewed as more respectable, they played less frequently than the adult companies, and they also had little or no reputation for accompanying crowd trouble. It was largely owing to their status as children that the boy actors slipped under the radar in terms of the kind of dramatic sat ...
... companies were viewed as more respectable, they played less frequently than the adult companies, and they also had little or no reputation for accompanying crowd trouble. It was largely owing to their status as children that the boy actors slipped under the radar in terms of the kind of dramatic sat ...
Changing scenes and ying machines: re
... There are many people who have selflessly devoted time and energy to me and the completion of this thesis. I am extremely grateful for each conversation, point in the right direction, and moment of encouragement that has been gifted to me. Firstly, I would like to offer my thanks to Loughborough Uni ...
... There are many people who have selflessly devoted time and energy to me and the completion of this thesis. I am extremely grateful for each conversation, point in the right direction, and moment of encouragement that has been gifted to me. Firstly, I would like to offer my thanks to Loughborough Uni ...
STAGING THE ACTRESS: DRAMATIC CHARACTER AND THE
... remained largely invisible in the economy of theatre. In this sense, it is important to acknowledge that the conventional view of the commercial theatre in periods such as early modern Europe is necessarily an incomplete history as regards women’s contributions. The challenge of interpreting the pa ...
... remained largely invisible in the economy of theatre. In this sense, it is important to acknowledge that the conventional view of the commercial theatre in periods such as early modern Europe is necessarily an incomplete history as regards women’s contributions. The challenge of interpreting the pa ...
The Influence and Association of Paratext in
... and to teaching those standards to others. The paratext Ford wrote, as well as what was written for him, displayed an elevated, literary view of drama and attempted to reestablish his plays, and those of his peers, as dramatic art. It is my belief that Ford’s paratext is the most controlled and mani ...
... and to teaching those standards to others. The paratext Ford wrote, as well as what was written for him, displayed an elevated, literary view of drama and attempted to reestablish his plays, and those of his peers, as dramatic art. It is my belief that Ford’s paratext is the most controlled and mani ...
Duke's Company
The Duke's Company was a theatre company chartered by King Charles II at the start of the Restoration era, 1660. Sir William Devanant was manager of the company under Prince James Duke of York's patronage. During this period, theatres began to flourish again after being closed due to restrictions throughout the Interregnum and English Civil War
