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| Written by William Wycherley; double entendres with sexual references; "china closet" scene had Horner making love to another man's wife; witty dialogue and names (Quack, Horner) |
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| acting roles for women that required cross-dressing; held strong sexual fascination |
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| Eighteenth-century English form that burlesqued opera |
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| interior setting using flats to form the back and side walls and often the ceiling of a room |
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| Form of comic drama that became popular in seventeenth-century France and the English Restoration, emphasizing a cultivated or sophisticated atmosphere and witty dialogue |
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| 18th century French term usually denoting a serious drama that dealt with middle-class characters |
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| Imparting of information necessary for an understanding of the story but not covered by the action onstage; events or knowledge from the past; or occurring outside the play, which must be introduced so that the audience will understand the characters or plot |
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| Richard Wagner's theory of a unified work of theatrical art. |
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| Dramatic form, made popular in the 19th century, which emphasized action and spectacular effects and also used music; it had stock characters and clearly defined villains and heroes |
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| Continental European term for a theatre director; it often denotes a dictatorial director |
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| Acting company that at any given time can perform a number of plays alternately; also, the plays regularly performed by a company |
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| Movement of the 19th century that sought to free the artist from rules and considered unfettered inspiration the source of all creativity |
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| Antineoclassical 18th century German movement that was a forerunner of romanticism; in German, Sturm and Drang |
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| Dramatic form popular in the 19th century and early 20th century that combined apparent plausibility of incident and surface realism with a tightly constructed plot |
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