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THTR 326 - Exam #1
| Question | Answer |
|---|---|
| Siglo de Oro | Golden age of Spanish theater, flourished 1580 - 1680 |
| Ferdinand and Isabella | of Aragon and Castile 1479 these two worked together, but then instituted the inquisition |
| Corpus Christi | festival of religious plays, morality plays, allegorical plays |
| auto sacramentale / auto | religious plays, one act - guilds responsible for these plays |
| Morality plays | Short one acts dealing with religious morals - controlled by church |
| Cycle plays | Tell the story of the bible - joke a lot in religion - guilds responsible for doing these plays -----ex ship buidlers noahs arc, bakers do last supper |
| carros | wagons! built as places to do shows, like medieval carts each play gets own wagon, some had two even four tiers! |
| Carros for autos (1646) | before the carros for autos, we get performances on the steps of church with short farcical interludes - these got out of hand so the church banned autos -- carros! |
| Carros Machinery Can Be Used For: | Articulating serpents and dragons Opening clouds and rocks and moving hills Making characters suddenly appear Allowing actor to make vertical and diagonal descents Revealing discoveries Turning sets to reveal other sets |
| Carros Houses Might Represent: | The House of Doubt and the House of Faith The Paths to Virtue and Hell The cradle and the grave The stage of the world and the glory of Heaven |
| pasos | sketches written by Lope de Rueda would happen before a show and have nothing to do with it |
| Two types of comedia: | capa y espada (cape and sword) teatro ruido (noise) or teatro cuerpo (corpse) - myths, kings, complex all these plays divided into three acts |
| graciosos | the comic servants |
| pundonor | honor, very important in spanish plays |
| loa | compliment - prologue that every performance began with - gain good graces of audience to let them know what play is involved |
| entremeses | interludes - in between the acts |
| Spanish Verse Form - rendondilla | character types, performance much more robust vocal performance is what is entertaining people didn't come to see the play they came to just see something |
| Spanish Verse Form - romance | More expressive octosyllabic |
| Corral(es) | where many prominent spanish plays performed - always ended with a happy dance Majority of plays presented in public theaters (corral) - Translates into courtyard - Four buildings with a courtyard in the middle, bam that is the theater space |
| First Theatre-Controlling Confradías | Confradia de la Pasion y Sangre de Jesucristo (1565) Confradia de la Soledad de Nuestra Senora (1567) General Hospital of Madrid (1583) |
| confradias | Religious organizations Presented religious drama - privilege of operating theater as way to raise money |
| Madrid’s First Permanent Theatres | Corral de la Cruz (1579) Corral de la Príncipe (1582) - built as corrales |
| patio | central main area for standing spectators right in front of the stage, cheapest seats - women forbidden |
| gradas | along each side of the patio, seats like benches, not good viewing, on both sides, in some extended as high as the second story. |
| alojeria | where people would buy drinks and fruit and items |
| cazuela | where the women sat on the main level - men forbidden |
| Timeline of Dramatists | Lope de Rueda - father of spanish theater (most popular) Golden Age ends when Calderon Dies - he often challenged Vega for primary writer now come in the most famous.. Lope de Vega |
| Lope Felix de Vega Carpio | most famous spanish playwright personal life as flamboyant as plays he wrote (sleep w/ wives of actors, became a priest) - his legend is 1800 plays, we believe 800 - had a lot of death and tradgedy |
| Lope de Vega Manuscript | plays deal with conflicts between love and honot - always found ways to end plays happy - characters of all social class - female characters more interesting - expanded gracioso character - lively dialogue - LACK OF DEPTH |
| Pedro Calderón de la Barca | formal education, wrote for loyalty and nobility, had several personal disasters - focused on the auto, 200 plays - 80 auto - of secular works, cape and sword |
| French Neoclassic Theatre | art is dictated top down french versus italian art, publication of artistic works |
| Pleiade | created in 1515 - dictated the start of the era goal is to establish standards for classical/new works in french |
| three aspects of the pleiade goals | Formulate rules, Enrich language, Illustrate ideals |
| Confrerie de la Passion | - social political groups for sake of charity having theater - come from the passion of christ have a monopoly of all theater in paris, organized 1402 |
| Hotel de Bourgogne | where Confrerie de la Passion performed - gov was like make a reliable theater, donated land by duke - just before completed gov banned religious plays ---- so they have all the power on secular plays |
| Early French Performances | we are now all indoors! no proscenium arch big! |
| parterre, loges, paradis | the pit, private boxes, gallery seating |
| who was the first professional french playwright | Alexandre Hardy - claims 500 plays - we believe 80 - Lope de Vega for France --- popular plays, greek-eqsue chorus did not observe the unities |
| most professional acting manager at the time that hardy performed under | Valleran LeComte - 400 touring companies around paris, many records of him bc of his success |
| Le jeu de paume | performed in indoor tennis court that acted like a hall, quick transformation for a performance space |
| French History | 1515 – Francis I assumes the Throne 1547 – Henry II reigns; marries de’Medici 1548 – Religious plays banned 1577 – Commedia dell’arte troupes arrive 1589 – Henry of Navarre becomes Henry IV 1598 – Edict of Nantes for Protestants 1610 – Henry IV assa |
| Timeline of French Dramatists | Alexandre Hardy (1570–1632) Jean Mairet (1604–1686) Pierre Corneille (1606–1684) Molière (1622–1673) |
| Jean de Mairet (1604-1686) | first famous guy, revived comedy rival of Corneille |
| Sophonisba | MAIRET adaptation - the ancient story of the Carthaginian noblewoman Sophonisba who commits suicide rather than face Roman captivity. The play was a significant work of the period, demonstrating Mairet's mastery of the dramatic rules of the time. |
| Pierre Corneille (1606-1684) | conflict between personal passion and duty to society. Was in Cardinal Rechelieu’s group but Corneille left for more freedom. Took a break after criticism of Le Cid, then did more. |
| Melite | CORNEILLE - about jealous love letters trying to break up a couple |
| Le Cid | Corneille controversial bc of its content - opposed to the rules - condensed spanish epic |
| Neoclassical Rules (Les règles) | neoclassical rules, rationalistic age, critics dictate them from the top down - must be followed for dramas |
| From Horace’s Ars Poetica | someone adapting Aristotle and then a copy of a copy no soliloquy, no mixing genres, no ghosts, no mixing genres, no violence on stage |
| The Three Unities | Unity of Action, Unity of Time, Unity of Place |
| Simultaneous Setting - 1635 | multiple, distinct locations (mansions or houses) were visible on stage at the same time, surrounding a central neutral acting area known as the platea - particularly used at hotel de bourgogne |
| More Exciting Neoclassical Rules! | raisemblance, les bienséance, liason de scènes, Alexandrine verse |
| raisemblance | “truthfulness”, but also there needs to be a moral lesson |
| les bienséance | ppropriate, don’t besmirch the King, high class people speak in higher verse, a forced appropriateness |
| liason de scènes | the linking of scenes, origin of “french scenes” |
| Alexandrine verse | twelve syllables long, not easy! |
| Jean-Baptiste Polqueline (Molière) (1622-1673) | His approach to comedy was act it like it is a tragedy - Claimed his plays were made for the stage and never wanted to write them down, but then they were pirated so he wrote them down bc he loved money! |
| Jean Racine (1639-1699) | wrote phaedre intense psychological realism and strict adherence to the Three Unities |
| Phaedre | This is a play written by the rules and from the rules because of the time period - mother in love with stepson, horrified by lust/desire but cannot do anything about it - constantly burdened |
| Acting Companies | permanent company allowed to reside in hotel de bourgogne 5 years later, Teatre du Marais have own company -- they start a rivalry (heated) |
| - Bellerose (Pierre le Messier) | top actor at hotel de bourgogne, vallarounde found this guy, comedy was his forte |
| - Montdory (Guillaume des Gilberts) | also in vallarounde troupe, after paris took up residence favored new plays so playwrights were like hey goat -- first real famous DRAMATIC actor |
| societaires | leading actors, member - life-long (or pay back all money made) - decide all matters of company - management tasks - money + pension |
| pensionnaires | other actors for the shows - hired yearly salary - you can be this and never become a societare - play a wide variety of roles --- which playwrights picked |
| Theatre du Marais - 1629 | became most popular theater in paris bc of Montdory - when he retired due to injury company only lasted 10 years after - richelieu a supporter so he gave money |
| Hotel de Bourgogne - 1647 | troupe toured for 7 years and became good enough to be resident - king gave money here |
| Mahelot’s Tragedy (1622) from Le Memoire de Mahelot Laurent | forced perspective - not interacting with scenery - beginning of spectacle, neoclassic rules only one set ARCH = TRAGEDY bc hero returning home |
| Richelieu’s Theatre (later the Palais-Cardinal) | Fan shaped auditorium Rows for people to sit There was a place for the orchestra or maybe even more fancy seating Large size of stage and also use of perspective scenery ---- was richelieu's theater PALAIS ROYALE |
| Giacomo Torelli Design - 1654 | He did some really good design stuff Had the whole royal family fly in once (30 People) known for machine plays |
| Salle du Machines – 1662 | “crappy plays with an excuse to have scenery onstage” - chariot and pole system |
| first important figure of spanish theater | lope de rueda - eufemia - actor and playwright - noticed for religious plays in Seville |
| who summoned Lope de Rueda | kings because he was so popular |
| who was considered to be the founder of spanish theater | lope de rueda spanish theater + italian touring dramas very makeshift, for popular taste |
| focus on comedia plays is what | plot, not the characters rarely seen a spanish play named after a character - always one set of lovers, one set of comic characters - heroines dress in male clothes, dishonorable but they needed to GET honor |
| how was Fuenteovejuna not like a typical comedia | real uprising so neither of the categories generic lovers some comic servants |
| Fuente Ovejuna by Lope de Vega | “based on a historical event in 1476 where the villagers of Fuenteovejuna united to kill their tyrannical commander, Fernán Gómez de Guzmán, and collectively claimed responsibility” |
| what verse form was Fuente Ovejuna written in | redondilla - give and take back and forth even though in verse |
| Is Lorencia's speech in Fuente Ovejuna comical or strong? | She’s funny, intelligent, outsmarts men frequently We care about her so when she is abused it becomes more upsetting and more critical of the men |
| how is honor pervasive in Fuente Ovejuna | Given just as much as its received Commandador just receives it, does not give it |
| Wit's End by Lope de Vega translation | very loose, very witty world play in original asides, almost shakesperean comedic show of the time |
| adaptation ending change of Wit's End | - Smart sister admirer goes after the richer dumber sister - Mercenary guy gets money - Smart sister settles for man whom she does not love, she is punished for being arrogantly intelligent - CHANGE: both women end up w who they want |
| what would people who lived in the buildings surrounding the courtyard of the corrales do | rent out their balconies for shows |
| environment of corrales | It was very noisy and loud Lots of musketeers, they would like yell at people, try to get onstage to fight Women were just as rowdy as the men -They would criticize fashion and throw fruit Both men and women were allowed to bring in noise makers |
| A Sharing Company - spanish theater | Certain number of members who control it - the sharing members - Lead actors share holders, playwrights, etc - This group then hires seasonal actors, musicians - And then apprentices underneath |
| what companies were touring and allowed women in stage in spain? | sharing companies - prefered to perform in Spain or Sevillie - had to get a lisence to perform - theater can get you excommunicated by the church |
| no copyright laws in spain at this time | actors may see a show, get together and try to recreate it, write their own version, and then get it approved |
| actors/acting in spain at this time | when they perform what church like - yay! when not - boo women could be onstage only is husband was |
| zarabanda dance | voluptuous dance - church was like stop ban this please actors had to be good actors AND dancers |
| Cinco de Oro | actor's guild! - very exhausting part of why public theater declines - costumes important bc lowk women red carpet walking when performing |
| other Lope de Vega plays | The Gardener's Dog, Madrid Steel |
| Lope de Vega small controversy | His work was attacked by people in spain bc he wasn’t writing higher level of prose He argued there was a spanish manner, didn’t wanna right in the greek way Was abandoning practices that influence spain from the italian renaissance |
| Life is a Dream general | kind of like Mulan wacky, weird language plot is less focus, more on ideas + language |
| Calderon most famous cape and sword play | The Phantom Lady |
| what kind of death did calderon have | open casket transient life into death |
| life is a dream plot | based on a tale from arabian nights, kinda like oedipus rex - symbolism not well translated - hippogryff symbol for justice, off-kilter w/ society - critical of society - speech from this show one of most famous spanish |
| facets of calderon plays | action is its own justification plot not as important in his works 90% do not probe into human vibes (what prevents themfrom being done here) emotional state of characters w/ relation to personal introspection |
| how did le cid break the rules | Infanta alone, but no soliloquies allowed - its a "prayer" unity of time - technically 24 hours, but "cheap ass excuses" to make this happen unity of space - not actually all in seville violance onstage - the slap |
| Cardinal Richelieu | in charge of the whole government, but specifically the arts and culture |
| richelieu founded what | the french academy - writers coming together to talk about proper standards - used le cid controversy as basis - still exists to this day, only 40 allowed, for life appointment |
| sympathy for phaedre? | Maybe, she acknowledges that what she feels/is doing is wrong But her excuse is passion! - fate brings him back - fear of own feelings |
| phaedre original production | kind of a flop at the start, severely overshadowed by another production with much better marketing - BUT in months the competition started to flop, and Racine took popularity |
| phaedre informal language | She says “You Monster” in the informal - So the audience knows now that she is “fucked” as Jeff says - can't stay in rules, fall apart --- NEOCLASSICAL RULES often considered BEST of these kinds of plays |
| who used to be at Hotel but moved to Marais | Mlle Champmesle, racine brought her bc she wanted to do drama |
| in this era what happens when you are cast in a role | you play it for life |
| Comedie Francaise | still there today and was a new theater recognized by the government |
| what was home to moliere's troupe | Theater de Petit Bourbon |
| who was a famous actress that cofounded with moliere | Madame Bejart |
| first performance of le misanthrope | Palais Royale w/ the Moliere troupe - not a great success |
| what kind of comedy if le misanthrope | Comedy critiquing 17th century French society - characters all aspects of these errors, satire dramatics - verbal comedy |
| what is over honest connections in le misanthrope | Hierarchy and vanity - Alceste shouldn’t go after C because she is the embodiment of everything he despises, and yet he still does - He asks her to abandon high society and live with him, which she rejects Alceste is completely unreasonable and a hater |
| what is not true about love in le misanthrope but is in le cid | In Le Cid we never see them in love without the problems, but that is not as true here |
| why does le misantrhope not have to follow neoclassical rules | Bc it was a COMEDY We lost Aristotle’s book of comedy |
| what playwright has a million adaptations of le misantrhope | Martin Crim |
| moliere and the king | Nicomede in front of king and it was flop city Le Docteur Amoureux was epic tho for the king after |
| who did moliere compose operas with | Jean Bapstiste Lully |
| how do we get more scenery in our plays help we love scenery | Musical act interlude with more scenery |
Created by:
atallarida