18th Century Theatre Chapter 11

18th Century/ 1700’s Homogenous, self contained societies are disappearing, things are becoming more global Increase in manufacturing Increase in middle classes Age of enlightenment or simple the enlightenment. Increased exchange of knowledge and learning Increased demand and supply of dictionaries and encyclopedias. Europe adhered to neoclassicism, but new forms were evolving

Denis Diderot October 5, 1713 – July 31, 1784 chief editor/contributor of the Encyclopédie wrote and championed new genre - drame Middle class tragedy/domestic tragedy A serious play that didn’t fit neoclassical definition of tragedy Rise in middle class plays reflected the rising middle class audience

What is “good” acting?

Diderot Wanted greater realism on stage Acting and scenery "When you write or act, think no more of the audience than if it had never existed. Imagine a huge wall across the front of the stage, separating you from the audience, and behave exactly as if the curtain had never risen.“ Developed the concept of the fourth wall

Diderot’s Fourth Wall An imaginary wall between the actor and the audience. Actor’s shouldn’t acknowledge the audience and the audience should not interfere with the actor

Diderot’s theories were (are) contraverisial Henry Irving Opposed Diderot 100 years later

Diderot’s Paradox of Acting Best actor invoke strong emotions in an audience through calculation and craft, not by experiencing these emotions themselves The studied actor is better than the one who relies on inspiration and feeling the part

Acting in England Rehearsal were about 3 hours a day for two weeks In England actors were mainly contracted French actors in government theatres were part of a sharing plan. Comédie-Française was democratic, actors voted. rehearsals run by the actor-manager.

Dumesnil and Clairon Both actresses at Comédie-Française

Dumesnil 1713-1803 natural abilities but sometimes erratic. Wore expensive contemporary fashions for all roles played.

Clairon more studied actress Interested in historical accuracy, Less declamatory.

Carlo Goldoni and Carlo Gozzi Both were involved with writing commedia dell’arte plays Goldoni wanted more realism; moved commedia from scenarios to full scripts, discouraged masks and improvisation

Gozzi Theatre of the fabulous Commedia meets prose and poetry Planned in improvise actions Both were popular and were influential

James Quinn, actor (1693-1766)

Charles Macklin

Charles Macklin

David Garrick Started as an actor, played Richard III in 1741 in Goodman’s Fields, an unlicensed theatre. Noted for having a natural style, based his action on observation

A Night at the Theatre Shows started at 5 or 6pm, England - a whole evening of entertainment (musical performance, full length play, entertainments between acts, afterpiece, sometimes a short one act. Offered less but still put entertainments between acts and an afterpiece. Complexity of the bill led larger companies

Garrick Became actor-manager of Drury Lane Made actors rehearse longer and to performance standards Established penalties for not following rules Gave actors direction Worked with designer and inventor Philip James de Loutherbourg

Garrick Placed lights behind scenery Introduced local color, did away with stock scenery Shortened the apron Did not allow actors to use the stage doors Removed seating on the stage

Johan Wolfgang von Goethe Weimar Court Rules for Actors Stage German (RP in UK) Oversaw staging and costumes Believed in historical accuracy Audience reactions should be limited to applause or no applause.

Goethe’s Three Questions What was the artist trying to do? Was he/she successful in doing it? Was it worth doing?