Chapter 16. French Theatre Alexandre Hardy – Rowdy audiences/plays Paris became France’s theatre center Medieval staging conventions (simultaneous, emblematic)

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Presentation transcript:

Chapter 16

French Theatre Alexandre Hardy – Rowdy audiences/plays Paris became France’s theatre center Medieval staging conventions (simultaneous, emblematic) except for environmental Italian influence on France because they were “related” Le Cid (Corneille)-earned acclaim for following neoclassical conventions but was criticized for the ones it strayed from

Italianate theatre comes to Paris. Tennis court (public) theatre needed to adapt or die King Louis XIV- “The Sun King” – His approval/ego helped benefit theatres – National self-display – Theatres received royal subsidy and patronage – Still performed for the public – Audience—demanding and sophisticated – Replaced Italy’s as the model for Europe

Two Emerging Playwrights Racine-trained in the classics produced the ultimate Neoclassical play: Phedre (Phaedra) France accomplished producing lasting, popular drama (something England had not) Moliere- actor-dramatist, great comic writer, Roman, Italian and French farce influenced him The Imaginary Invalid Denied last rites; King Louis had to intervene

Theatre Companies 5 companies Sharing companies Had women No householders 3 troupes after Moliere's death – Comedia Francaise-comedies and tragedies – Italian troupe-operas – Lully’s company-entertainment and spectacle

Sentimentalism King Louis XIV influenced this Each individual is basically good Neoclassicism said life was a struggle between good and evil Sentimentalism implied that people were “perfectible”

Changes in Production Costumes—still contemporary rather than historical “Prettified” Vanishing point moved from center to side (angle perspective) Allowed actors to work closer to the scenery and allowed more “perfect” seats for the audience; more than one “truth”

Changes in Performance Practice Lines of business-rigid rules about roles – “walking” lady or gentle men (3 rd line) – Specialist in low comedy or “stage eccentric” (2 nd line) – Hero or heroine (1 st line) Actors declared specialty and remained in that for their careers Utility players-new actors (male and female) gained experience by playing many roles

Possession of parts- agreement that the actor would keep his or her role in the company as long as he or she remained in the company Acting style: Vocal power and versatility Those not in the Comedie Francaise were part of the “illegitimate” theatre not sanctioned by the government; commercial; attracted paying crowd with spectacle

English Restoration Theatre When theatre reopened in 1660 some 50+ years after it closed, it modeled French theatre French traits – Women actors – Conventions of Italianate staging – Newly designed theatres – French-inspired producing arrangements—King approved monopoly patents Very similar to French theatre

Restoration Drama Comedies of manners – Reflected the artificial, mannered, and aristocratic society of the day – Influenced by the life in Louis XIV’s court Audiences were small Sentimentalism-conservative shift – 1730s heroes and heroines embodied middle-class values – Sentimental comedy dominated English comedy, breaking from Neoclassicism

Serious plays-domestic tragedy Minor forms: opera, pantomimes and afterpieces English Theatre in America – William and Lewis Hallam established troupe and performed in Virginia in 1752, opening with Shakespeare’s The Merchant of Venice