By: Cassie Fry and Danielle Johnston Women in Theatre By: Cassie Fry and Danielle Johnston

A Brief Background Restoration Theatre Political Background 1629 -1640: Charles I rules w/o Parliament 1642: Civil War begins 1649: King Charles beheaded 1642 - 1660: The Commonwealth 1660 - 1685: Reign of Charles II 1688: William and Mary take throne Theatrical Background Pre-Commonwealth court theatre Court masques Courtiers perform Scenery 1633 William Prynne's treatise 1642: Theatres are closed Commonwealth Theatre Theatres closed/ disassembled Actors - rogues Drolls Davenant's musicals Italianate Scenery The Siege of Rhodes 1660: Theatres open Restoration of Theatre Theatre as royal property Master of Revels: reduced role Permits to 2 London companies William Davenant: Duke's Company Thomas Killigrew: King's Company

Women off the Stage Jeremy Collier’s A Short View of the Immorality, and Profaneness of the English Stage (London, 1698) Collier was a churchman who contributed 5 books to the collection of anti-theatre works. “Obscenity in any company is a rustic uncreditable talent; but among women it is particularly rude. Such talk would be very affrontive in conversation, and not to be endured by any lady of reputation. Whence then comes it to pass that those liberties which disoblige so much in conversation, should entertain upon the stage. Do women leave all the regards of decency and conscience behind them when they come to the play-house? Or does the place transform their inclinations, and turn their former aversions into pleasure? Or were their pretences to sobriety elsewhere nothing but hypocrisy and grimace? Such suppositions as these are all satire and invective; they are rude imputations upon the whole sex. To treat the ladies with such stuff is no better than taking their money to abuse them. It supposes their imagination vicious, and their memories ill furnished: that they are practiced in the language of the stews, and pleased with the scenes of brutishness. When at the same time the customs of education, and the laws of decency, are so very cautious, and reserved in regard to women; I say so very reserved, that it is almost a fault for them to understand they are ill used”

Women off the Stage “Through their reiteration of the sensual pleasures of the stage, these works establish a dynamic of spectatorship which links the gaze inevitably with the sexuality not only of the object gazed upon but of the spectators themselves. Theatre thus becomes dangerous not merely as representation in itself but as representation before an audience. Through the medium of sight, theatre both excites the passions of viewers and encourages them to imitate the passions they see enacted before them. Ultimately, concerns of spectatorship underlie almost every argument against the immorality of the stage. This link between sight and sex becomes of primary importance with regard to the female spectator, whose gaze becomes the true source of anxiety for Jeremy Collier and his followers.” (Jean Marsden)

Women off the Stage Emerging influential female audience Day to day running of theatre Orange Sellers

Women on the Stage Women’s first appearance on the English stage was in 1629. Objection Tolerance Wanted Video Women Stage Actresses (5:15)

Elizabeth Barry (1658-1713) “Not handsome, her mouth opening most on the right side” Unsuccessful at first First actress to receive a benefit performance

Nell Gwyn (1650-1687) Started her career as an Orange Wench Joined Killigrew’s Company in 1665. Picked out by Dryden

Anne Bracegirdle (1674-1748) Trained for the stage at an early age. Her infamous beauty got her and others into trouble. Mistress or wife? Video: Actresses and Mistresses (4:40)

Women Playwrights Mrs. Aphra Behn (1640-1689) Mrs. Manly and Mrs. Susannah Centlivre Women writers fought an uphill battle Various tactics were open to women writers trying to cope with prejudice