Transcript Restoration Theatre- England and France

Restoration TheatreEngland and France
Actors of the Erathe players
•RICHARD BURBAGE
ENGLISH
P L AY E D T R A G I C C H A R A C T E R S
B U I LT T H E G L O B E T H E AT R E
•EDWARD ALLEYN
played tragic figures
built the Fortune Theatre
•WILLIAM KEMP
LOVED COMIC CHARACTERS
B E C A M E FA M O U S F O R PA R T O F B O T T O M
Restoration Theatre1660-1737
•J A M E S I – R U L E D A F T E R E L I Z A B E T H I D I E D
•P O L I T I C A L U N R E S T I N E N G L A N D
•C H A R L E S I C A M E T O P O W E R
•O L I V E R C R O M W E L L B E C A M E T H E L E A D E R O F P A R L I A M E N T
•T H E P U R I T A N S C O N T R O L E N G L I S H L A W - B E H E A D C H A R L E S I
- B A N T H E AT R E
- CONSIDERED DENS OF INIQUITY
- P L AY S W E R E S T I L L P E R F O R M E D B U T A C T O R S W E R E O F T E N
ARRESTED
Restoration TheatreEngland and France
1660- CHARLES II RETURNS FROM FRANCE AND TAKES
THE THRONE
- LETS DRAMA RESUME IN ENGLAND
- HAS PERMANENT INDOOR THEATRES BUILT
Charles II- changes to theatre
 - theatres are designed after the French theatre
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deep apron on stage
large proscenium arch
used flats to create perspective
flats set parallel to curtain
flats give illusion of distance
candles and oil lanterns lit the stage
women are finally allowed to act on stage
Audiences
 sophisticated, educated groups
 witty
 loved foolish pleasures
 takes place around the time of the American
Revolutionary War
 most plays were comedies of manners
plays were comedies of manners
 Comedies of Manners were usually written by sophisticated
authors for members of their own social class, and they
typically are concerned with social usage and the ability or
inability of certain characters to meet social standards,
which are often exacting but morally trivial.
 The plot, usually concerning an illicit love affair or other
scandalous matter, is subordinate to the play's brittle
atmosphere, witty dialogue, and pungent commentary on
human foibles (failings).
 Only rarely do these creatures betray the traits of sympathy,
faithfulness, kindness, honesty, or loyalty.
 They follow a life of pleasure, bored, but yawning behind a
delicate fan or a kerchief of lace.
Costumes of the Time and Their Changes
Plays of the time- laws
 Licensing Act Still used
only two theatre groups could do plays
Lords Men of Drury Lane
Covent Garden
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 Plays:
She Stoops to Conquer
HMS Pinafore
Tartuffe
The Miser
Acting Styles and Actors
 Bombastic stylepompous, grandiloquent, turgid, florid, grandiose. Bombastic, flowery,
pretentious, verbose all describe a use or a user of language more elaborate
than is justified by or appropriate to the content being expressed. Bombastic
suggests language with a theatricality or staginess of style far too powerful or
declamatory for the meaning or sentiment being expressed
 Later- toned down the style
 Actors-
David Garrick
Sarah Kemble
Edmund Kean
David Garrick
English actor, playwright, theatre
manager, and producer, who influenced
nearly all aspects of theatrical practice
throughout the 18th century and was a
pupil and friend of Dr. Samuel Johnson.
He appeared in a number of amateur
theatricals, and with his appearance in
the title role of Shakespeare’s Richard
III.
Garrick promoted realistic acting that
departed from the bombastic style that
was entrenched when Garrick first came
to prominence.
Sarah Kemble
was a British actress, the bestknown tragedienne of the 18th
century.
Edmund Kean
he picked up music from Charles
Incledon, dancing from D’Egville,
and fencing from Angelo. In 1807 he
played leading parts in the Belfast
theatre with Sarah Kem le Siddons,
who began by calling him “a horrid
little man” and on further experience
of his ability said that he “played
very, very well”, but that “there was
too little of him to make a great
actor”.