Restoration Women

Eleanor (Nell) Gwynn Nell Gwynn Meets King Charles II (Bettmann/Corbis)

“Pretty, witty Nell” Grew up in London slums Mother ran a brothel, absent father Started in theatre as an orange girl Became mistress and protégé to Charles Hart, Kings Company Excelled in comedy, singing, dancing and breeches roles. Also prologues and epilogues. Had many affairs but became mistress to King Charles II, had two children with him.

Anne Bracegirdle Celebrated virgin Comic heroines Breeches roles Raised by Thomas Betterton

Thomas Betterton – Actor and Manager attention to detail, self-discipline, majestic restraint; model of English oratorical style Shakespeare’s tragic heroes, skillful in comedy and tragedy Became manager of Duke’s company after Davenant’s death combined the company with Killigrew’s to form United Company Eventually led actor’s revolt against John Rich, formed a second patent company Earned approximately $62,000 in today’s money in his final benefit performance (Actors' Equity Association minimum weekly salary is $1,605 a week)

Women Playwrights Aphra Behn Female Wits

Aphra Behn Playwright, poet and novelist Brought up in West Indies Married a Dutch merchant, but widowed Worked as British Spy Imprisoned for debt Wrote at least 20 plays

Female Wits Pg 240 University Wits Catherine Trotter Mary Pix Delarivier Manley

Representation of Women “Women of quality” - Virgins and Nuns “Virginal Ingénue” character, usually a passive and swooning damsel who must be rescued. Ex. Florinda in The Rover Women of ill repute/Whores Lucetta Ambiguous - neither pure nor innocent Angellica Bianca Aphra Behn Behn – intelligent, witty and independent women – Ex. Hellena Popular dramatic device to dress woman as a man – called breeches roles Considered by religious leaders to be scandalous Example – Hellena in The Rover

Liberation or Exploitation of Women Theatre liberates women and provides them with a means of expression, independence and income Behn, Nell Gwynn Female Wits Theatre exploits women and reinforces stereotypes Sexual objectification of women Actresses often seen as no better than prostitutes Male Gaze Commodified women Women as property Ex. The Rover Dowery, Women for sale; on stage, in the theatre and in life

Restoration Theatre II Theatre Architecture in the Restoration Scenery, Scene-Shifting Technology, Costumes, and Lighting © 2012, The McGraw-Hill Companies, Inc. All Rights Reserved. (© Historical Picture Archive/Corbis)

Major Playwrights Aphra Behn William Wycherley The Country Wife (China scene) © 2011, The McGraw-Hill Companies, Inc. All Rights Reserved.

Thomas Betterton – Actor and Manager attention to detail, self-discipline, majestic restraint; model of English oratorical style Shakespeare’s tragic heroes, skillful in comedy and tragedy Became manager of Duke’s company after Davenant’s death combined the company with Killigrew’s to form United Company Eventually led actor’s revolt against John Rich, formed a second patent company Earned approximately $62,000 in today’s money in his final benefit performance (Actors' Equity Association minimum weekly salary is $1,605 a week)

Acting Companies Actors were hired on a contract system and not a sharing plan Marked a decline of actors’ control over theatre in London Actors were provided with yearly “benefits” where one actor would keep all the profits of a performance Actors learned their craft through apprenticeships Rehearsals lasted less than 2 weeks Acting styles featured broad gestures and powerful declamatory delivery Actors fell back on conventional patterns of stage movement

Government and the Theatres Master of Revels took control of theatre and issued licenses at start of restoration (Killigrew) In 1737, Parliament passed the Licensing Act Only two theatres were authorized to present “tragedy, comedy, opera, play, farce, or other entertainment for the stage for gain, hire or reward” Covent Garden and Drury Lane theatres were the two theatres authorized

Theatre Architecture All theatres were now indoor proscenium-arch buildings Audience areas divided into pit with backless benches and raked from back to front, boxes, and galleries Stage divided into two distinct halves The Apron – the forestage in front of the proscenium – major area for performance Backstage housed the scenery Entire stage was raked Proscenium doors Used for entrances and exits

Ground Plan of a Restoration Stage © 2012, The McGraw-Hill Companies, Inc. All Rights Reserved.

Scenic Practices Sets painted in perspective Flats on groove system Stock settings were normal: drawing room and the park NO CLOSED CURTAIN Scene changes happened while audience watched Costumes followed traditions of English Renaissance Contemporary clothing was standard Traditional costumes and accessories worn to indicate historical figures or eras Lighting was difficult Performances took place in the afternoon to use natural lighting Candles and chandeliers were used to light as well Used footlights – lights on the floor running along the front of the stage

© 2011, The McGraw-Hill Companies, Inc. All Rights Reserved.

© 2011, The McGraw-Hill Companies, Inc. All Rights Reserved.