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Theater History 1875
Theater history, 1800-1875
| Question | Answer |
|---|---|
| Minstrel shows | American entertainment consisting of comic skits, variety acts, dancing, and music, performed by white people in blackface |
| Burlesque | Ludicrous imitation of a dramatic form or specific play, like satire, but lack moral or intellectual purposes of reform typical of satire |
| Variety and Vaudeville | a style of multi-act theatre which flourished in North America from the 1880s through the 1920s could have music, comedy, athletic feats, magic, animal acts, opera, Shakespeare, banjo, acrobatics, gymnastics and lectures by celebrities and intellectuals. |
| American Museum | NYC 1840s-1860s, Owned by PT Barnum, exibited human curiositys and presented variety acts and plays in a theater built for family audiences. |
| Melodrama | a distinct form of dramam popular throughout the 19th century which emphisised action, suspence, and spectacular effects. stock characters used, unambiguous confrontations between good and evil |
| Mellerdrama | makes fun of melodrama? |
| Well-Made play | deriving from the Restoration comedy of manners—with clear-cut protagonists and antagonists, artificially logical plots, and usually happy endings. These plays often used stock characters and lines of business. |
| The riots | Old Price, Hernani, and Astor Place riots |
| Gesamtkuntswerk | "masterwork" Richard wagner's term for a unified operatic work of art, in which all elements-music, words, story, scenery, costumes, orchestra, etc.-form a total piece |
| Theatre Regulation act of 1843 | abolished monopoly on london theaters |
| Bayreuth Festspielhaus | A theater built for wagner, in 1876, had continental seating, had a sucken orchestra pit and a double procinium arch |
| Box set | Flats hinged together to represent a room, can have doors and windows which are used during the play, this was to make it look more realistic |
| Industrial Revolution | a major shift of technological, socioeconomic, and cultural conditions in the 18th century. economy based on manual labour was replaced by one dominated by industry and the manufacture of machinery. |
| Marxism | The political and economic philosophy of Karl Marx in which the concept of class struggle plays a central role in understanding society's allegedly inevitable development from bourgeois oppression under capitalism to a socialist society |
| Darwinism | a theory of organic evolution claiming that new species arise and are perpetuated by natural selection |
| Romanticism & its effects on drama | rejection of neoclassical rules, no longer purity of genre, no plot, complex characters, no rules, concerned with mood |
| The Romantic Hero | a social outcast who questede for justice knowledge and truth. |
| The three acting styles | Classical, Romantic, melodramatic |
| Actor/playwright managers | create a unified stage picture, through increased rehersal time and attention to detail |
| Technological advances | moving panorama, elevator stage, revolving stage, gas lighting, gas table, incandecent lamp |
| John Philip Kemble | English Actor, manager of drury lane and then covnent gardens, one of best known actors of his time |
| Sarah Siddons | English Actress, "queen of drury lane" sister to kemble |
| William Charles Macready | English Actor, Managed covenent gardens, riot caused when he came to US by rivalry with Edwin Forrest |
| Edwin Forrest | American Actor- Popular in black face, rival of Macready, caused the astor place riots |
| Anna Cora Mowatt | American Actress and playwright, Fasion was her big play |
| Edmond Kean | English Actor, regarded as the best, mercuial romantic style, constructed roles to highlight emotional transitions with explosive highs and lows. |
| Laura Keene | English (but acted in america) Actress/manager, managed her own theater in NY, was on stage when lincoln was shot |
| Eugene Scribe | French playwright, perfected the well-made-play, |
| Madame Vestris | British actress, opera singer, and manager who inaugurated tasteful and beautiful stage decor and set a standard in stage costumes. |
| Sarah Berhardt | a French stage actress. She made her fame on the stages of Europe in the 1870s, and was soon in demand in Europe and the United States. She developed a reputation as a serious dramatic actress, earning the nickname "The Divine Sarah". |
| Delsarte | French teacher of acting and singing, set up rules coordinating the voice with the gestures of all parts of the body |
| Ira Aldrige | American Actor (mostly acted in england), the first black American to achieve stardom in the theatre, |
| Richard Wagner | was an influential German composer, conductor, music theorist, and essayist, primarily known for his operas (or "music dramas" as he later came to call them). |
| Georg II, Duke of Saxe-Meiningen | theatrical director and designer who developed many of the basic principles of modern acting and stage design. |
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