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52 Cards in this Set
- Front
- Back
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French Neoclassical Comedy
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middle class characters
less concerned with unities under less scrutiny than tragedy, but still expected to promote morality. |
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Molière play
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Tartuffe (1664)
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Molière
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Plays tend to be satirical, mocking respected members of society
Popular with audiences, often not with those in power Was careful not to mock the monarchy |
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Popular Theatre
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designed to appeal to a broad audience.
designed to make money More likely to be comedy |
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Commedia dell’Arte
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Traveling troupes
Semi-improvised Unmasked: Lovers Masked: Servants and masters Performance highly physical |
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Opera Buffa
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“comic opera”
Depicted and was popular with “everyday people Similar plots and characters to Commedia |
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Kabuki Aesthetics
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Generally loud, exciting, big.
Music Movement Elaborate design: Make up, costume, set, etc. Men Performances would often last 12 hours |
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Kabuki plays
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Often improvised or adapted from other stories
Episodic rather than linear Not divided into tragedy and comedy Subjects varied, but often history (especially samurai) or domestic scenes |
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Tachiyaku:
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Good, loyal, courageous men
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Katakiyaku:
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Villainous men
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Dokekata:
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Comic roles (including comic villains)
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Koyaku:
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Children’s roles
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Onnagata:
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Women’s roles
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Theatre Licensing Act of 1737
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All plays must be approved by Lord Chamberlain
He can demand revisions or forbid the play entirely This lasts until 1968 Spoken drama” can only be produced at limited number of “patent theatres” During 18th century, at most three in London |
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Theatre Production in the 18th Century
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limited competition between theatres
Continued rise of stars, actor manager system Example: David Garrick Increasing emphasis on morality, emotion Design: often elaborate sets and costumes which could be reused from production to production |
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Sentimental Comedies
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Also called “weeping comedies”
End happily (usually with marriage), not necessarily funny Emphasize morality, triumph of good over evil Characters often led astray but reform |
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The Conscious Lovers Richard Steele (1722)
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Arranged marriages rejected in favor off love matches
Disparities in class fixed by discovery of young orphan’s true father |
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Laughing Comedy
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Generally comedy of manners; plays rely on humor
More similar to Restoration plays than sentimental comedies, but with greater focus on morality Much less common – Richard Brinsley Sheridan and Oliver Goldsmith are two who attempt this. |
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Richard Brinsley Sheridan
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Manager of Drury Lane Theatre for several years
NOT actor Gradually handed over management as he became more invested in politics Politician – Member of Parliament for 32 years Whig Party – generally supported limited monarchy |
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Melodrama
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Reinforces community values
Values emotion rather than reason Clear division between good and evil Designed to provoke sentimental reactions (happiness, pity, sorrow). Justice is done at the end |
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Melodrama Heroines
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delicate, innocent
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Melodrama Heroes
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strong, noble
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Melodrama Villains
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immoral and malicious (often tries to force heroine to marry him)
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Melodrama Hero’s sidekick
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assists hero, good (but perhaps not quite as noble), sometimes provides comic relief
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Melodrama Fallen woman
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prostitute, woman who was otherwise “led astray.” Often compassionate, kind, but can never fully redeem her past sins.
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Melodrama Mother figure
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maternal, kind. Often used by villain to manipulate heroine.
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Melodrama Set
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Animals, flooded stages, panoramas, pyrotechnics, etc.
Many scenes with elaborate scenery Scripts often written to allow for dramatic special effects at the end of each scene |
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Uncle Tom’s Cabin
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Based on Harriet Beecher Stowe’s 1852 novel
Melodrama |
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T.D. Rice �
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the father of minstrelsy�
Begins as a comic afterpiece to another show, so popular that he uses it more and more often � |
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Minstrel Shows�
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Minstrel Line/Semi Circle (jokes, dance, songs, Interlocutor)
Olio (short comic pieces, often including “stump speech”) Afterpiece (longer skit – often parody of popular story, e.g. Uncle Tom’s Cabin) |
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Interlocutor
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straight man, not in blackface
narrator of sorts |
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Sambo
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happy, lazy, stupid. Often musical, laughing (also known as Jim Crow)
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Zip Coon
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Northern free slave, tries to mimic white ways but gets them wrong (often delivers stump speech)
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Mammy
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Fat, sexless, looks after white children
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Uncle Tom
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Older man, loyal to white masters
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Bert Williams (1874-1922)�
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Popular entertainer, famous enough to be able to do some less racist work�
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Vaudeville�
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variety-type family shows. Feature acts ranging from singing to comedy to animals to acrobatics
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Burlesque
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entertainment for men, includes scantily-clad women and political satire
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Revues
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collections of songs without plot. Often featured spectacular costumes (e.g. Ziegfield Follies
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“Book”
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the spoken dialogue
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"Lyrics”
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the sung words
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“Libretto”
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Book + Lyrics
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"Score”
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Lyrics + Music played by the band/orchestra
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Golden Age Musical Theatre�
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1943-1968 (ish)
World War II, Cold War Most musicals are book musicals in this period Musicals generally display optimistic stories with American values and patriotism, whether or not the play is set in America Focus on women protagonists |
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Showboat (1927)
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First (?) “integrated” musical – songs help tell story.
Deals with serious issues: racism, marital struggles. � |
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Hallie Flanagan �
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director
�The Federal Theatre Project� |
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Living Newspapers�
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Purpose: educate audience on one major issue that effect them.
Characters: “Loudspeaker” / “Voice of the Living Newspaper” “Little Man” Historical figures Non-realistic writing and staging Example: One Third of a Nation (subject: housing) |
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The Cradle Will Rock (1937 by Mark Blitzstein)
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Mr. Mister, a rich industrialist controls all of “Steeltown, USA” (Newspapers, college, church, artists, doctors). He is challenged by Larry Foreman and the unions
Non-realistic, didactic. Characters stand in for ideas/professions |
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Concept Musical�
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Idea rather than story is central
May be episodic, focus on large ensemble of characters Examples: A Chorus Line (1975) |
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Rock Opera�
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Rock music, minimal dialogue
tend to be transgressive, push boundaries Rent (1996) � |
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Mega Musical�
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British influence
Everything is BIG Plots, casts, design Les Miserables (1985) �Most shows by Andrew Lloyd Webber, including Cats (1982) and Phantom of the Opera (1986) |
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Jukebox Musical�
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Musical built around popular songs that already exist
Generally, but not necessarily by one artist/group Emphasizes nostalgia, audience’s pre-existing emotional connection with music �Mamma Mia�, Rock of Ages (Various 80s artists, 2009) American Idiot (Green Day, 2010� |
