Western Theatre History c. 550 BCE - 1710’s CE Western Theatre C. 650 BC - 1710’s CE Greek Theatre…………………. 650’s - 27 BCE Roman Theatre……………….. 27 BCE - 476 CE The Medieval Eras……………. 500’s - 1500’s CE Commedia Dell’Arte………….. 1560’s - 1700’s CE The Elizabethan Era………….. 1572 - 1642 CE Restoration Comedy…… 1660’s - 1710’s CE Origin of Greek Theatre ● Ancient Greek Theatre evolved from a yearly religious celebration called City Dionysia, a.k.a. The Festival of Dionysus ○ ● This festival was created in order to honor Dionysus, the Greek god of fertility and indulgence. Every spring each town would have a parade, or Pompe, with dancing in the hopes of having a fruitful year for the crops and population growth. Soon, the festival extended to include a weeklong Play Festival in Athens, in which 3 playwrights would compete with each other, each showing a trilogy of Tragedies and a Satyr play. On the 4th Day, the winner would be announced. ■ ■ A Satyr play is semi-comedic play full of bawdy jokes meant to help alleviate the dark emotions evoked by the tragic plays the audience just watched. Aeschylus, Sophocles, and Euripedes were common winners of this competition. Greek Amphitheaters ● As many Ancient Greek Theaters were designed to house an audience of 14,000-17,000 patrons, Greek ampitheaters were designed like a fan and with a theatron, or auditorium, built into a hillside. Theatron means "seeing place" and is the etymological origin of the word theatre. ○ ● ● In the front row were stone chairs reserved for the priests of Dionysus. A semi-circular area in front of the auditorium was called the orchestra, meaning "dancing place." This space was likely used by the chorus for dancing. Some other scenic elements used during productions: ○ ○ ○ Pinakes: Painted panels similar to modern flats Periaktoi: Triangular prisms with a different scene painted on each side. Mechane: A crane used to show characters in flight. Greek Theater Layout Skene- Building used as a Dressing Room Proskenium- façade of skene building used as a backdrop Parados- entrance & exit to the theater used by actors & chorus Orchestra- the stage; where the actors performed Thymele- altar to Dionysus in center of orchestra Theatron- where the audience sits Major Greek Playwrights Aeschylus ● ● ● The “Father” of Tragedy Expanded Theatre from consisting of just a chorus of about 50 men and women to a main character who interact with a smaller chorus, therefore introducing conflict to theatre. Most Famous Plays: ○ ○ ○ The Oresteia The Persians Agamemnon Sophocles ● Most Popular Playwright of his time ○ ● ● ● Expanded Theatre by introducing the third character ○ ● Won 24 of the 30 competitions he entered Euripedes Cast now included a main character, a few smaller characters, and a chorus. Most Famous Plays: ○ ○ ○ Oedipus Rex Antigone Ajax ● The “Most Tragic” Greek Playwright Expanded Theatre from writing the gods and mythological characters like archetypes to developing them into ordinary people in extraordinary circumstances. Most Famous Plays: ○ ○ ○ Electra Medea The Trojan Women Origin of Roman Theatre ● The Romans are known for their taste for extreme entertainment. Many associate Roman entertainment with: ○ ○ ○ ○ ● ● Gladiator Fights, in which fighters were pitted against each other, often to the death. Chariot races Animal fights, Venationes Naumachiae, staged sea battles. When theatre became a major form of entertainment in during the Roman Empire (27 BCE- 476 CE), one hundred days a year were devoted to theatrical fare, and seventy-five days were devoted to other types of entertainment like gladiator fights. However, despite this increased interest in performance, during the Empire, Romans were not interested in drama, but rather overtly theatrical performances. Roman Theatre Layout Scaena: Stage house Scaenae frons: The elaborately decorated front of the stage house Pulpitum: The stage, 5 feet off the ground, 20 to 40 feet deep, and 100 to 300 feet long Cavea: The auditorium Velarium: Cooling system, shades the audience from the sun, painted Aulaeum: Front curtain mounted on telescoping poles. Most Popular Roman Play Genres Fabula palliata: Comedies based on Greek subjects Fabula togata: Comedies based on Roman subjects Fabula Atellana: Also known as Atellan farce, these were short comedic performances that typically served as the afterpiece to a play. They were named after the Southern Italian city from which they originated. Fabula riciniata: Also known as Roman mime, this was a minor theatrical form. The performances were usually short, but sometimes quite elaborate and complex in its use of spectacle and cast size. Women performed in mimes and the actors did not wear masks. Fabula saltica: Pantomime, this was a form of theatrical performance introduced to Rome in 22 BCE. This was a storytelling dance that was often performed solo, with accompanying music. Major Roman Playwrights Plautus ● ● Adapted Greek play styles to fit Roman entertainment preferences. While the story styles remained Greek, the locations and gods became Roman, and the dialogue became slapstick and bawdy. Most Famous Plays: ○ ○ ○ Addictus Caecus Hortulus Terence ● ● ● ● Seneca Roman African Playwright ● Wrote in a simple, plain language that made his plays ● more accessible to Romans. His plays were used to learn and practice Latin well into the Renaissance. ● Most Famous Plays: ○ ○ ○ Andria Hecyra Adelphoe ● Only Roman Playwright known for Tragedies Differing from his philosophy of Stoicism, his plays were grim and full of intense emotions. His plays didn’t follow the Greek outline, but rather a 5 act set-up. Most Famous Plays: ○ ○ ○ Phaedra The Trojan Women The Phoenician Women Medieval Theatre ● ● ● Due to the spread of Christianity, theatre was generally outlawed from the 6th century until the 10th century CE. During the 12th century CE, mimes, minstrels, bards, storytellers, and jugglers became common roadwise attractions. Shortly after this, Morality and Mystery plays grew in popularity throughout Europe. ● ● Morality Plays pulled themes and stories of ethics from the Bible and were performed as traditional plays. Mystery Plays were various stories from the Bible that were put on at the same time in various parts of a village. ○ ○ ○ Villagers would travel from business to business on a festival day to see the entire story. Each guild would put on their scene at their place of business, showcasing their talents through their costumes and sets. The cycle would end at a church with a Hellmouth, a large entrance meant to look like the opening to Hell, to show what awaits people who didn’t heed the lessons in the plays. Commedia Dell’Arte ● ● ● ● Commedia Dell’Arte was a type of theatrical performance that was popular in Italy and throughout Europe from the 16th to the 18th centuries CE. ○ “Commedia Dell’Arte” translates to Comedy of the Profession. Commedia troupes often travelled from town to town, performing their shows for royalty or crowds of people for tips. Each actor played only one character archetype. ○ These stock characters were easily distinguishable to audience members because of their distinct mask. ○ Each troupe would have similar masks for each stock character. Commedia is commonly known as the first precursor to the romantic comedy. Commedia Dell’Arte Characteristics ● ● ● Each actor specialized in one stock character, perfecting the voice, movements, and attitude of their specific archetype. While Commedia actors memorized several freestanding scenes and monologues, they would often present them in new orders with improvisations slipped in as well. ○ This kept each performance fresh and original. Actors communicated the feelings of their characters through exaggerated movements called lazzi. This added to the slapstick elements of the comedy. ○ If a character was hungry, for instance, the actor might perform a lazzo (singular) of hunger, miming a desperate need for food and possibly even miming eating set pieces or parts of his own body. Commedia Dell’Arte Character Types: Zanni One of the main character groups were the servants, or Zanni. These characters were not the protagonists of plays, but they provided comic relief and helped move the plot along, often through humorous miscommunications. The word ''Zanni'' is the etymological root for the English word ''zany.'' Arlecchino Arlecchino, often known in English as Harlequin, is a servant whose primary interest is food. He often misunderstands orders he is given and is easily distracted. His mask has round cheeks and a snub nose. He usually wears a colorful jester costume and he carries a large wooden stick that he uses as a sword, a musical instrument, or other prop. Pulcinella Pulcinella is sometimes called the Southern Arlecchino because of his similarities to the Harlequin character. He is usually depicted as more intelligent than Arlecchino and he is less sympathetic. His mask has a hooked nose and he wears a white costume with a tall white cap and sometimes has a hunchback. Colombina Columbina is usually depicted as a maid. She usually helps the lovers in their quest to get together. Like other female characters, she does not wear a mask. Unlike other forms of theatre at the time, female Commedia characters were usually depicted by women. Commedia Dell’Arte Character Types: Vecchi The term ''Vecchi'' means ''old men'' and it refers to a specific type of character in Commedia. In contrast to the servants and the lovers, all of whom were usually quite young, the Vecchi were older but not necessarily wiser members of the cast. The Vecchi all believe themselves to be in charge, but all of them are incompetent in their own ways and are often outsmarted by the Zanni or the lovers. Pantalone Pantalone in Commedia Dell'Arte is often known as The Miser, though his original name was Il Magnifico. Many depictions of Pantalone were based on antisemitic stereotypes. Pantalone is often obsessed with money and sometimes tries to seduce young women. He wears red and his mask usually has a long, hooked nose, a white moustache, and white eyebrows. Il Dottore Il Dottore, a doctor, is a pedantic older man who believes that he knows everything. He often lectures other characters about the world but, crucially, is always wrong. He often wears robes and his mask shows a lined forehead, a round nose, and a often a curled moustache and bushy eyebrows. Il Capitano Il Capitano is sometimes considered to be one of the Vecchi and sometimes a warrior. He is a soldier known for being cowardly. He often speaks with a foreign accent and brags about his fictitious heroism. His mask usually has a long, straight nose, sometimes used as a humorous phallic symbol. Commedia Dell’Arte Character Types: Innamorati The final important character category in Commedia Dell'Arte is the Innamorati, or the young lovers. Most Commedia shows featured a young man and a young woman who wanted to be together but who had to overcome a series of comedic obstacles before finally getting together at the end of the play. The male lover in Commedia plays was usually called Lelio, but other possible names included Mario, Flavio, or Fabrizio. The young woman was generally called Isabella, though Flaminia, Lidia, or Silvia were also common. The Innamorati did not wear masks and the intrigue of the play usually centered around their attempts to communicate their love for one another. Sometimes, the Innamorati would pass love notes using Arlecchino as a go-between, but since Arlecchino was illiterate, there was a lot of room for error and misunderstanding. Il Capitano Arlecchino Pantalone Innamorati Elizabethan Era Queen Elizabeth is widely regarded as one of the greatest English monarchs. She also had a dramatic flair, dressing ostentatiously to win the hearts and minds of her subjects. Elizabeth I is remembered for navigating a number of tensions that threatened to pull England apart. Instead of falling prey to these divisions, a united England stepped forth onto the world stage, winning major battles and commanding the respect of formerly superior rivals. As a result of the peace that Elizabeth ensured within England, her reign was characterized by intense commercial activity. It is at this time that English ships started to sail the seven seas, reaching the newly discovered continents of North and South America. Newfound wealth and confidence left an indelible mark on English society under her leadership. In addition to ensuring the peace required for trade, Elizabeth I had the good sense to remove some government obstruction in the realm of arts and culture. She did approve of a 1572 law that gave a monopoly to theater companies that were patronized by nobles by designating the older traveling companies as "vagabonds." However, Elizabeth was a great fan of the theater, and asked numerous companies to perform in her court. It was under her reign that the first permanent theaters were established, and they continued to thrive under her successor, James I. Elizabethan Era While they had gained some acceptance, actors still had to jump through bureaucratic hoops in order to perform. Those not directly associated with an aristocratic house had to seek permission from the office of the Master of Revels to perform. If granted, they were given a license that protected them from prosecution. The establishment of formal theaters eventually led to the popularity of theater in England. Though theater remained illegal within the City of London, numerous playhouses were built in the suburbs in the mid- to late-1570s. City-dwellers simply crossed the River Thames to go see a performance. Technically, all performances were simply "open rehearsals," justified because theater companies needed to practice before performing for Queen Elizabeth. However, most of their income came from these "rehearsals." The growth of commercially successful permanent theater venues after the 1570s speaks volumes about the popularity of the art form. Crowds of theatergoers were willing to deal with the restrictions placed on performances and travel out to the city suburbs to catch a show. The works of leading playwrights quickly gained acceptance as valuable artistic works, along with those of poets. A new age was born. Characteristics of Elizabethan Theatre Modern theater companies tend to tour a single play for months, and if it is popular, they may tour it for quite a long time. Not so during the English Renaissance. During this period, it was almost unheard of for a company to perform the same play two nights in a row. Instead, every night would bring a new play with it. Much more was demanded of actors in that time than today. Actors wore elaborate costumes in Elizebethan times The plays that these actors would perform each night did possess a number of shared characteristics. Among them are: ● ● ● ● Sparse scenery with few props Low pay for playwrights Texts that were rarely printed Only male actors Elizabethan Theater Popularized during the 16th century Major Elizabethan Playwrights William Shakespeare ● ● ● ● ● World’s Most Famous Playwright Wrote 154 sonnets, 38 plays, and 2 narrative poems Ran acting troupe Lord Chamberlain’s Men Popularized iambic pentameter, blank verse, & hundreds of unique words/phrases Most Famous Plays: ○ ○ ○ Romeo and Juliet Hamlet A Midsummer Night’s Dream Christopher Marlowe ● ● ● ● Most Famous Playwright during the Elizabethan era Known for intense emotions from his protagonists and heavy violence/bloodshed Thought to be a prevalent influence of Shakespeare Most Famous Plays: ○ ○ ○ Dido, Queen of Carthage Doctor Faustus The Massacre at Paris Ben Jonson ● ● ● ● Popularized Comedies of Humours While he wrote a couple tragedies, he was known for his realistic and satirical comedies. Vivid characters and intricate plots distinguished him from other comedic playwrights. Most Famous Plays: ○ ○ ○ Every Man in His Humour The Devil Is An Ass The Alchemist Restoration Comedy In England during the mid-17th century, King Charles II was dethroned by a Puritan named Oliver Cromwell. Cromwell banned public stage performances for 18 years. When Charles, who was a personal fan of the arts, was restored back to the monarchy in 1660, one of his first acts was to bring theater back. That's why it's known as the Restoration period - the Restoration era of theatre. It was as though all of these social and performance pressures had built up over those 18 years of Cromwell's rule of boredom, and the decadent Charles II let them all out in grand style. That's why, above all else, Restoration comedies are marked by their emphasis on highly sexual situations. During this time, the first professional actresses took the stage. Prior to that, there were men and boys cross-dressing to fill the female roles. Now they actually let women play women parts. This alone brought in lots of theater-goers at the time; it was considered something of a novelty, maybe a little bit risqué. Also, for the first time in history, it was fair to say that there were truly diverse theater audiences. Everyone from the king to servants patronized the theater during this time, and the bawdy, naughty scripts of the day took advantage of this fact. Going hand-in-hand with that, Restoration comedies aren't really known for being satirical or overly critical of society, at least not in any obvious way. They basically just took the social mores of the day and ran with them, trying to entertain as many people as possible because they had really been starved for entertainment. Restoration Theaters Its chief characteristics are refinement in detail of the proscenium stage and of the Renaissance horseshoe-shaped auditorium and seating plan. The innovations of the period were introduced in the private court theatres. As many as five shallow balconies were stacked vertically in the auditorium. For the first time there appeared an orchestra pit in front of the stage, sunk below ground level. The stage floor, which previously had extended only a few yards back from the proscenium arch, was now deepened to accommodate scenery, equipment, and dancing. With the rise of grand opera and ballet, inventors and designers were called upon to provide increasingly elaborate, portable, perspective scenery and complicated stage machinery, both above and below stage, to effect scene changes (nearly always carried out in full sight of the audience). A rigid court etiquette dictated that the lines of perspective should provide a perfect stage picture from the point of view of the royal box, which directly faced the stage. Theatre lighting in this period was provided by candlelights concealed behind the wings and proscenium arch and at the edge of the stage apron.
