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Restoration Theatre-England and France
•RICHARD BURBAGEE N G L I S H
P L A Y E D T R A G I C C H A R A C T E R SB U I L T T H E G L O B E T H E A T R E
•EDWARD ALLEYN
played tragic figures
built the Fortune Theatre
•WILLIAM KEMPL O V E D C O M I C C H A R A C T E R S
B E C A M E F A M O U S F O R P A R T O F B O T T O M
Actors of the Era- the players
•J A M E S I – R U L E D A F T E R E L I Z A B E T H I D I E D
•P O L I T I C A L U N R E S T I N E N G L A N D
•C H A R L E S I C A M E T O P O W E R•O L I V E R C R O M W E L L B E C A M E T H E L E A D E R O F PA R L I A M E N T•T H E P U R I TA N S C O N T R O L E N G L I S H L AW - B E H E A D C H A R L E S I - B A N T H E AT R E - C O N S I D E R E D D E N S O F I N I Q U I T Y - P L AY S W E R E S T I L L P E R F O R M E D B U T A C T O R S W E R E O F T E N A R R E S T E D
Restoration Theatre-1660-1737
1660- CHARLES I I RETURNS FROM FRANCE AND TAKES THE THRONE
- LETS DRAMA RESUME IN ENGLAND
- HAS PERMANENT INDOOR THEATRES BUILT
Restoration Theatre-England and France
Charles II- changes to theatre
- theatres are designed after the French theatre
deep apron on stage large proscenium arch used flats to create perspective flats set parallel to curtain flats give illusion of distance candles and oil lanterns lit the stage women are finally allowed to act on stage
Audiences
sophisticated, educated groupswitty loved foolish pleasurestakes place around the time of the American
Revolutionary Warmost plays were comedies of manners
plays were comedies of manners
Comedies of Manners were usually written by sophisticated authors for members of their own social class, and they typically are concerned with social usage and the ability or inability of certain characters to meet social standards, which are often exacting but morally trivial.
The plot, usually concerning an illicit love affair or other scandalous matter, is subordinate to the play's brittle atmosphere, witty dialogue, and pungent commentary on human foibles (failings).
Only rarely do these creatures betray the traits of sympathy, faithfulness, kindness, honesty, or loyalty.
They follow a life of pleasure, bored, but yawning behind a delicate fan or a kerchief of lace.
Costumes of the Time and Their Changes
Plays of the time- laws
Licensing Act Still used only two theatre groups could do
plays Lords Men of Drury Lane Covent GardenPlays: She Stoops to Conquer HMS Pinafore Tartuffe The Miser
Acting Styles and Actors
Bombastic style- pompous, grandiloquent, turgid, florid, grandiose. Bombastic,
flowery, pretentious, verbose all describe a use or a user of language more elaborate than is justified by or appropriate to the content being expressed. Bombastic suggests language with a theatricality or staginess of style far too powerful or declamatory for the meaning or sentiment being expressed
Later- toned down the styleActors- David Garrick Sarah Kemble Edmund Kean
David Garrick
English actor, playwright, theatre manager, and producer, who influenced nearly all aspects of theatrical practice throughout the 18th century and was a pupil and friend of Dr. Samuel Johnson. He appeared in a number of amateur theatricals, and with his appearance in the title role of Shakespeare’s Richard III. Garrick promoted realistic acting that departed from the bombastic style that was entrenched when Garrick first came to prominence.
Sarah Kemble
was a British actress, the best-known tragedienne of the 18th century.
Edmund Kean
he picked up music from Charles Incledon, dancing from D’Egville, and fencing from Angelo. In 1807 he played leading parts in the Belfast theatre with Sarah Kem le Siddons, who began by calling him “a horrid little man” and on further experience of his ability said that he “played very, very well”, but that “there was too little of him to make a great actor”.
