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ITP Final
Introduction to Theatre Production Final
| Term | Definition |
|---|---|
| La Celestina Epic | 16 to 21 acts, read aloud, tragic love, adventure, dialogue |
| Corrales | playing space constructed in yards between two buildings (similar to English inyards and inner stage space of Elizabethan stages) |
| Patio | courtyard area for standing |
| Teatro del Principe | influenced by Italian opera house with levels of boxes protruding and overlooking the room |
| Lope de Vega | prolific dramatist, 750 of his plays survive, first spanish playwright to make a living, compared to Shakespeare |
| Pedro Calderon de la Barca | dramatist and priest, wrote plays about mans role in the universe |
| autos sociamentalles | religious plays related to Corpus Christi, focus on the power of the sociaments. |
| Golden Age Plays | total output is an est. 10,000 to 30,000 |
| carros | similar to pageant wagons, were used in Corpus Christi festivals |
| Spanish Court Theatre | elaborate baroque design from about 1680 |
| Pundonor (point of honor) | no gray areas in morality and honor; justice/vengence must be done no matter who is hurt-even the innocent |
| Le Cid | first modern french drama, based on spanish epic, deviates from neoclassical ideals (too complex, and not a recognizable genre) |
| Le Cid (plot) | man kills fiances father to avenge insult to his own father |
| Theatre du Marais | converted tennis court, rival to the Bourgogne; burned in 1644 and was rebuilt into something more elaborate |
| Palas Cardinal | the first theatre in france with a permanent proscenium arch and a stage designed to use flat wings |
| University Wits | university educated writers; includes Thomas Kyd, John Lyly, Robert Greene, and Christopher Marlowe |
| Thomas Kyd | wrote The Spanish Tragedy around 1587 |
| John Lyly | had Boys Companies and did pastoral comedies(fairy tales) |
| Robert Greene | Adult companies and pastoral/romantic comedies |
| Christopher Marlowe | best of the university wits:verse, story, structure; Dr. Faustus, Jar of Malta, and Edward II |
| Innyards | provides galleries or balconies for viewing a performance, raised platform makes performers easy to see |
| Bear Baiting Rings | circular shapes of homes |
| James Burbage | a carpenter, built "The Theatre", which is the earliest known usage of that term (1576) |
| Richard Burbage | James Burbage's son and the first leading actor in England; the original Hamlet, Lear, Othello, and Richard III |
| The Swan | Platform stage, standing area around it, and the gallery areas for spectator seating; entrances in the upstage wall |
| The Globe | 2nd Globe was built after the 1st burned in 1613 when a cannon was fired |
| Richard Tarleton | improvisational clown in the Italian zanni tradition; he could raise laughter by peeking through a curtain |
| Indoor ("private") Theatres | Blackfriars and the Theatre of Inigo Jones |
| Blackfriars | (1576/1596) rebuilt in the ruins of an old monastery by James Burbage; an example of the indoor private theatres in use near the beginning of the 17th century; provided shelter for performances during winter season |
| Theatre of Inigo Jones | Jones designed theatre spaces and court masques; also collaborated with Ben Jason who quit because he didn't want to compete with spectacle |
| Masques | elaborate spectacles staged in indoor theatres |
| Restoration | began 1660 |
| Sir William Doverant | playwright for commonwealth, calls himself Shakespeares godson or son, persuaded king to grant two monopolies instead of a dozen or more, formed the dukes company, and did adaptations of Shakespeare in 1660s |
| Duke's Company | first profesh company in England to act with changeable scenery |
| Thomas Killgrew | child actor in Jacobean England, established himself as a courtier, lived in France as a part of the court in exile, got monopolies with Doverant, performed in converted tennis courts, not a good businessman |
| Royal Patents | monopolies |
| Lineeln's Inn Fields (1661) | former tennis court, 1st used by Doverant, John Rich turned it into a 1400 seat theatre |
| King's Company | comprised of actors who performed before the English Civil War |
| Drury Lane Theatre (Theatre Royal)(1st one) | first small 700 seat theatre, home to Killigrews Company, destroyed by fire in 1672 |
| Drury Lane Theatre(2nd one) | 2,000 person capacity, held 2nd place in the hearts of the theatregoers to the Dorset Garden in it's early days, led by David Garrick from 1747 to 76, demolished under Sheridan in 1891 |
| Nell Gwynn | from orange seller to king's mistress [livin the dream], began in 1664, left for an affair ith Lord Buckhorst in 1667, returned to the stage shortly after, noted for her forceful acting sytle |
| Permissive Society After Repression | stage adultery and aggressive sexuality, women as willing sinners |
| Viz and Masks | hand held mask that covers face and was fashion of the time |
| David Garrick (1717-79) | actor,manager, and playwright; served 29 yrs as manager of the Drury Lane Theatre and established a strong professional acting company; Garrick was a model for future directors |
| Charles Macklin (1699- 1797) | possibly the first naturalistic actor, approached roles more thoughtfully and less historically; first great success was Shylock, he elevated the character from a comic stereotype |
| Philippe de Loutherbourg (1740- 1812) | alsation scene painter who introduced more elements of realism to scene design, created asymmetrical designs, used minatures in the distance |
| Theatre Licensing Act of 1737 | prohibited acting for "gain, hire or reward" on any play not licensed by the Lord Chamberlain; there were only two authorized theatres (Drury and Covent Garden) |
| Sarah Siddons (1755- 1831) (before fame) | sister of John Philip Kemble, daughter of Roger Kemble, and sister of Charles Kemble (9 siblings); child star in fathers company, married actor William Siddons; Drury Lane debut in 1775 flopped |
| Sarah Siddons (after fame) | toured provinces and returned triumphant to London in 1782, toured Dublin and Edinburgh; was a great Lady Macbeth, retired in 1872 and the play stopped after her sleepwalking scene |
| John Philip Kemble | actor, manager, playwright; son of theater manager, worked in provinces until 1783, debut at Drurdy Lane as Hamlet; praised for gentitlity and grace; common complaint was that he was too stiff and cold, he retired in 1817 |
| Murray and Kean Company | Colonial Circuit: Charleston, Williamsburg, Philadelphia, and New York |
| The Hallams (1752-97) | London Company of Comedians(1752- Lewis Hallam); The American Company (1758-David Douglass); The Old American Company (1792-Lewis Hallam Jr) |
| Southwark Theatre(1761) | The first permanent purpose built theatre |
| Chestnut Street Theatre (1793-94) | built at the same time as New Drury Lane theatre |
| Edmund Kean (1789-1833) | embodied the spirit of Romanticism; illegitmate child of an actress [maybe a prosititute], toiled in provinces for 10 yrs, best known for Othello, Richard II and Shylock; philanderer and alcoholic; had seven good years and then a downward spiral |
| Charles Kean (1811-68) | actor and manager, not nearly as good as Edmund; stickler for historical accuracy, Queen Victorias fave; celebrated by antiqiorians (historians) |
| Ira Aldridge (1807- 67) | started with African Theatre, moved to England at age 17, replace Kean as Othello; celebrated European tour in 1852, triumphant return to London in 1865; early pschological realist (1850s) |
| Madame Vestris (1797-1856) | was in Mr. and Mrs. Matthews at Home (after 1838); innovator in theatrical representation; managed Olympic Theatre in 1830; introduced the box set; reduced bill to one set, not a financial success overall |
| William Charles Macready (1793- 1873) | forced to the stage by fathers bankruptcy (he just wanted to be a lawyer); unhappy with his career; hired at Covent Garden in 1816; industrius and intelligent NOT charismatic; famous for thoughtful pauses; first played Lear in 1834; |
| Edwin Forrest (1806- 1872) | stage struck at an early age, studied work of Cooper Ken and Booth, large man with imposing presence; powerful, passionate, performer |
| Edwin Forrest (more info) | he was hissed playing Macbeth and then he hissed MAcready cause he thought thats who hissed them; this set the stage for Astor Place Riots; fanned the flames of native resentment against British in 1849 |
| Astor Place Riot (1849) | At the Astor Place Opera House; 3 Macbeth's were playing at once; outraged elite citizens petition Macready, too many tickets distributed; 23 dead and 100 injured; 15,000 protesters; opera house never recovered from infamyMacready sneaked out of New York |
| Henry Irving | In the Bills, his signature play, played many Shakespeare roles |
| Daly's Fifth Avenue (1869) | open feeling; Augustin Daly's Company |
| Augustin Daly (1838-99) | autocratic manager and playwright; major influence in England and US; started as critic; more than 90 plays or adaptations; 1st American "director"; developer of acting talent |
| Madison Square Theatre (1879) | formally Daly's Fifth Avenue, remodeled by Steele Mackaye |
| David Belasco (1853- 1931) | bishop of buray; director manager and playwright; worked with as many writers as a collaborator; innovator in realism and lighting; rebuilt Child's Restaurant on stage for scenic realism; devoted to theatricality & verimilitude |
| Richard Wagner (1813-83) | gesamtkinswerk(total work of art); using music and spectacle interdependently (musical themes); music dramas that minimize "display singing", concern for unity, major influence in Europe |
| Naturalism | practitioners Emile Zola, Maxim Gorky; often confused with realism; environment & characters intertwined; environment drives characters |
| Independent theatre Movement | small theatres led by visionaries who sought more realistic portayal of life on stage |
| Theatre Libre (1887) | founded by Andre Antoine; 1st produced by Zola; slice of life plays |
| Konstantin Stanislavsky (1863- 1938) | actor, teacher, director; talented character actor; honest recreation of life of play |
| Nenirovich Danchenko (1858- 1943) | director teacher dramaturg; maintained Stanislavsky's approach to text; organized a musical studio for MXAT; convinced Chekov to work with MXAT |
| Edward Gordon Craig (1872-1966) | actors as puppets; British theorist, director, designer; early works praised but financial failures set in;argued for abstract, ritualistic theatre; abolishing actors and acting |
| Adolphe Appia (1862- 1928) | Swiss theorist & designer; rejuvanted design; work too revolutionary; major influence on design; |
| Robert Edmund Jones (1887-1934) | set & costume designer; stage designing sound should be addressed to the eye of the mind; member of Provincetown Players |
| Expressionism | externilization of an inner reality; purely subjective expression of emotion; perspective of protagnist/ dramatist; case & effect minimized |
| Brecht (1898- 1956) | theorist dramatist director; collab w/ Piscator & Reinhardt; appropriated Piscator's Epic; wants audience to think and reason over issues raised onstage |
| Antonin Artaud (1896-1949) | infuential theorist actor director poet; member of surrealist movement in 1920s |
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