1. 18th Century Theatre
Chapter 11

2. 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

3. 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

4. What is “good” acting?

5. 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

6. 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

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

8. 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

9. 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.

10. Dumesnil and Clairon
Both actresses at Comédie-Française

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

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

13. 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

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

15. James Quinn, actor ( )

16. Charles Macklin

17. Charles Macklin

18. 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

19. 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

20. 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

21. 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

22. 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.

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