Governmental Influence on Theatre

Marriage of Figaro atch?v=vPkiLseVfBE 2:43-4:10 and 5:42-7:40 The Marriage of Figaro by Beaumarchais Banned by Louis XVI, but loved by Marie Antoinette, shown to King in 1784 (French Revolution 1789) Play also banned in Vienna

18 th century controls on theatre England – Patent theatres and the Licensing Act of 1737 France – Subsidized three state theatres and placed restrictions on all other theatres Germany – states provided subsidies to theatres.

England Charles II issued two patents (licenses) to operate theatres to Killigrew and Davenant. – The patents were gradually sold off into shares By 1737, Drury Lane and Covent Garden were the two patent theatres Act of 1737 issued due to insult to Robert Walpole

Prime Minister Question Time __o __o mNJE mNJE

Licensing Act of 1737 Applied to “tragedy, comedy, opera, play, farce, or other entertainment of the stage, for gain, hire or reward” Limited plays to City of Westminster (London) Lord Chamberlain’s approval required for all plays L.C. control until 1968

Licensing Act 1843 Lord Chamberlain has to have a good reason to ban Could ban if "it is fitting for the preservation of good manners, decorum or of the public peace so to do” Allowed local governments to license theatres, the patent theatre system no longer in effect.

Effects – New forms Burletta – 3 Act play with 5 or more songs per acts Melodrama – Music + Drama Later - Music Hall Burlesque

France Three subsidized theatres Commedie Francaise Opera Commedie Italienne

Boulevard Theatre Located on Boulevard du Temple Catered to popular tastes Could produced shows more popular that the shows in subsidized theatres

Boulevard Forms Comic opera Pantomime Melodrama Variety Later vaudeville

Germany

State subsidized theatres Rulers established theatres Some gave significant financial support beyond box office receipts Stability Government controlled theatre through the reward of financial support.

German Melodrama Not need to avoid regulation Develop out of theatrical interest in manipulating emotions in theatre through music

Governmental Influence Censorship ex. Saved Licensing – ex. Patent theatres Regulation -ex. Licensing Act 1737 Political pressure ex. Red Scare in USA/ USSR and theatre Funding – NEA

Censorship in America 1655 a play know as The Bear and the Cub was performed in Virginia The actors were arrested on the charge of public wickedness They were latter released

Censorship in America 1750 the General Court of Massachusetts prohibited stage plays and theatrical entertainments of any kind 1759, the House of Representatives in the Colony of Pennsylvania passed a law forbidding plays and acting Rhode Island passed a law preventing theatre from being performed Northeast generally did not tolerate theatre due to heavy Puritan influences

NEA Four Karen Finley, Tim Miller, John Fleck, and Holly Hughes

NEA vs. Finley – 1990 law requiring the National Endowment for the Arts (NEA) to consider “general standards of decency and respect” in the awarding of federal arts grants on behalf of performance artist – “NEA Four" received funding then lost it on the basis of decency,

NEA Four – they challenged the NEA’s decision based on freedom of speech. – 1998 Supreme Court ruled in an 8-1 opinion that the 1990 “standards of decency” statute was constitutional. As a result, NEA can deny funding based on the grounds of decency.