Theater history 18th century
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| Drame | any serious play that didn’t fit the neoclassical definition of tragedy
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| Ballad opera (opera comique) | 18th century, english burlesqued opera: no recitative, songs were set to popular tunes, characters drawn from lower classes ex: The Beggar's Opera
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| Sentimental comedy (comedie larmoyante) | 18th century england, comedy reaffirmed middle-class morality; virtuous rewarded, wicked punished
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| Middle class (Bourgeois) tragedy | tragedy-heros from middle class, dramitizations of middle class morality; sentimental; melodramatic
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| Drury Lane & Covent Gardens | only two theaters in london to present legitimet drama
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| Chiaroscuro | in painting, emphasis of contrasts between light and shadow, assosiated with Giambattista Piranesi and others
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| Licensing act of 1737 | Restricted plays to two patent holding theaters in london, all scripts must be approved by the lord chamberlain.
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| Boulevard theaters | Theaters located in 18th century france, along the buolevard du temple in paris, catering to popular tastes.
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| Multiple point (angled) perspective | use of 2 or more vanishing points, frequently at sides of a painted design. Ferdinando Bibiena introduced it in the early 18th century
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| Bombastic/Declamatory | Standard patterns of stage movement, emphasis on oritoracle skills, often address lines to audience.
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| Laughing comedy | comedy where people laugh, coined by Oliver Goldsmith
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| Baroque | exaggerated motion and clear, easily interpreted detail to produce drama, tension, exuberance, and grandeur
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| Hanswurst | a pantomimic character in comic performances on the German stage; a great favourite at one time with the vulgar; distinguished for his awkwardness, his gluttonous appetite, and his rotundity.
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| The Enlightenment | advocated Reason as the primary basis of authority
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| Sturm and Drang | emphasized the volatile emotional life of the individual, 1767-85
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| Scenic design in this period | Influenced by italy, most had wing and shutter settings, painted perspective and used the pole and chariot system. Ground rows were invetned, chiaroscuro used
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| Acting in this period | bombastic acting
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| Emergence of the director | came about because playwrights and actors had other primary concerns
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| Denis Diderot | 18th century famous French Philosopher who edited Encyclopedia, came up with the genre Drame Burgois, wanted greater realism, playwright
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| Oliver Goldsmith | 18th century English Playwright, Attacked sentimental comedy calling instead for laughing comedy
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| Charles Macklin | 18th century English Actor, Natural style of performing, also playwright
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| Richard Brinsley Sheridan | 18th century English Playwright, wrote sentimental comedy, viewed as a link between two periods
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| Beaumarchais | 18th century french Playwright, his works reflect the explosive political, economic, and social issues of the time, ex: the marrage of figaro
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| Carlo Goldoni | 18th century italian playwirhgt, wanted plays to be more realistic and more lifelike
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| Dumesnil | 18th century french stage actress, better actor than singer, worked in Comédie-Française, rivals with Clarion
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| Clarion | 18th century french actress, in the Comédie Italienne, then to the Comédie-Française, rivals with Dumesnil
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| David Garrick | 18th century english actor, producer and playwright, managed Druery Lane, more realistic acting, reformed stageing of plays, became like a director
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| The Bibienas | 18th century scenic designers, came up with multiple point perspective, leaders in scenic design
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| George Lillo | 18th century playwright, invented domestic tragedy, ex. the london merchent
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| Johann von Goethe | 18th century German Director, playwright, critic, philosopher, minister of court of Wimar, and efficient leader, made intense rehersal process, and regulations for acting behavior
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| Caroline Neuber | 18th century German actress-manager who was influential in the development of modern German theatre. impruved actors social standing
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| Carlo Gozzi | 18th century Italian PLaywright, wanted theater to be more fantastical
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