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-wrote DE ARCHITECTURA -italian renaissance |
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-critic's POV -"to teach and to please" |
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-religious authorities POV -"to teach, please, and to persuade" |
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-audience's POV -"to please the ignorant" |
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-Italian statesman, author, political philosopher -reminiscent of Roman New Comedy -THE MANDRAKE |
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-1580-1584 -mini indoor roman theatre -5 entrances to stage -oldest surviving italian ren theatre |
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-1588 -more representative of common theatres than olimpico -small, 250 -horseshoe shaped area |
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-1618 -permanent proscenium arch stage -circular -floodable orchestra |
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-used Vitruvius as a model to write ARCHETETTURA -used rules of perspective, angled wings and ranked stage -3 settings, 1 per play |
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-group of pre-Shakespearean playwrights -Marlowe, Kyd, Lyly, Greene |
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-university wit -credited with introducing iambic pentameter -DOCTOR FAUSTUS, THE JEW OF MALTA, EDWARD II |
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-university wit -The Spanish Tragedy -influenced HAMLET |
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-known for comedy of humours -wrote court masques -VOLPONE |
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-HENRY THE 8th & TWO NOBLE KINSMEN co-written by shakespeare & Fletcher -PHILASTER -THE KNIGHT OF THE BURNING PESTLE - Beaumont |
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-THE DUCHESS OF MALFI -known for extremely violent, dark plays |
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-court architect and stage designer for James I and Charles I -brought italian innovtions to england: -proscenium arches, systems for changing scenery, painted-perspective stage sets |
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LORD CHAMBERLAIN'S MEN/KING'S MEN |
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-1594-1642 -shakespeare's troupe -performed at the Rose, The Globe |
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-1567-1619 -Elizabethan actor -owned land where the Globe was built -famous for impression of Richard III and other shakespearian characters -tragedy -painter |
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-famous clown in lord chamberlain's men |
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-1594-1621 -Rival to Lord Chamberlain's Men -managed by Philip Henslowe and Edward Allyn -performed at the rose and the fortune |
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-Burbage's counterpart in Lord Admiral's Men -played leading role in several of Marlowe's plays -co-managed Lord Admiral's Men |
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-first private/indoor theatre -1576-1608 -used exclusively by the popular boys' companies -later used by the university of wits and kings men during the winter |
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-1576-1598 -built north of london because theatre had to be located outside of the jurisdiction of city officials |
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-1587-1606 -original had 13 or 14 sides -diameter of inner yard= 49 feet |
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-1599-1644 -most famous theatre built by Richard and Cuthbart Burbage for LCM. -18-20 sides -rebuilt in 1990's |
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-actor, manager, playwright -most popular performer in early Spanish theatre -wrote and directed auto sacramentales for Corpus Christi festivals -wrote secular plays -5 full-length plays and 12 pasos |
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-1562-1635 -made comedia nueva (comedia) most popular of his day -the standard -wrote 400-1800 plays -DISCOVERY OF THE NEW WORLD -FUENTEOVEJUNA -PUNISHMENT WITHOUT REVENGE -ACTING IS BELIEVING |
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-1600-1681 -wrote about 200 plays and autos -SURGEON OF HIS HONOR -LIFE IS A DREAM -PHANTOM LADY |
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-1651-1695 -nun -beauty and intelligence -poetry, music, plays, theological works -HOUSE OF TRIALS -DIVINE NARCISSUS -"Reply to Sor Filotea" |
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-1584-1648 -80 surviving plays out of 200+ -TRICKSTER OF SEVILLE - first Don Juan play -DON GIL OF THE GREEN BREECHES - better women's roles |
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-group of scholars interested in solidifying ideals of French culture -advocated the Neoclassical Ideal |
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-est 1636 -official guardians/arbiters of French language and style |
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-wrote "Observations on Le Cid" -appealed to French academy about LE CID |
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-1606-1684 -THE CID -THE THEATRICAL ILLUSION -elected to French Academy in 1647 |
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-helped Henry 8 rule -concentrated power and authority in crown -cultural power, not just military/political -encouraged formation of French Academy |
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-permanent, public theatre building -had its own acting company -known for great TRAGEDIES -Bellerose and Mountfleury- famous actors -constructed by the Confraternity of the Passion |
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-1634 -public, converted from tennis court and rebuilt after fire -known for famous actors and extravagant design |
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-famous clown, played in whiteface -Moliere wrote for him -played in THEATRE du Marais |
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-1622-73 -inspired by commedia dell'arte troupes -rhyming couplets -actor- King's Men |
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-1608-1678 -designer for Palais Royal -brought italianate design to Paris -pole and chariot system, extravagant scenery |
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-first national theatre in the world -formed when Louis XIV merged two earlier groups -granted monopoly -Corneille, Racine, Moliere |
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-reigned 1643-1715 -performed in ballet de'entrees |
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-actor from Hotel de Bourgogne |
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-Vitruvius -text based on Roman architecture and deals extensively with theatrical design -landscape architecture, construction, materials |
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-Sebastiano Serlio -detailed many of the early methods for creating perspective settings -three settings necessary: -Tragic: stately, high class buildings -Comic: common buildings -Pastoral: trees, hills, cottages |
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-Sor Juana -sacramental play published in Mexico in 1690 |
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"OBSERVATIONS ON THE CID" |
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-Georges de Scudery -attack on Corneille's LE CID -"play doesn't follow neoclassical rules -violates reality, does not uphold poetic justice |
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-Pierre Corneille -very popular -attacked by critics -lead to controversy that had to be settled by the french academy |
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"OPINIONS OF THE FRENCH ACADEMY" |
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-1638 -intellectuals, not public judge if a play is good -CID violates decorum -plot is unrealistic -violates unities -"An example must be made" |
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-Moliere -short play written, planned, and acted in a week -was Moliere's defensive reaction to his critics |
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-Sor Juana -open letter that responds to a letter supposedly writeen by a fellow nun (was actually a male priest) -defends rights of women to be educated -validates women's pov |
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-Italian Ren -short pieces appearing between acts of full-length plays -depicted mythological tales -thematically related to full-length play -often required spectacular scenic effects -disappeared in 1600s |
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-Italian Ren -romantic pieces about shepherds and shepherdesses and satyrs -action is serious, end with happy loves -influenced by greek satyr plays but not as bawdy |
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-mid-1500s -improvised, masked theatre -comic plots and stock characters -widely popular thruout europe during renaissance -ahighly adaptable -acrobatics, music, and acting -set scenarios |
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-lovers (young ingenue and male lead) -unmasked -companies had major/minor pairings -performed collected poems |
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-foolish old man -often villain -Mr. Burns (simpsons) |
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-"doctor" -bumbling know-it-all |
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-servants -masked except women |
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-servant -cunning and cynical -mustache -goal is to outwit lovesick fool, rob a miser, or beat up a creditor |
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-servant derived from devil character -acrobatic sideman -often with wooden sword or slap stick |
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-servant who is always gluttonous or hungry -beak-like nose |
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-female comic roles -usually unmasked |
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-written in 1300s and 1400s by italian playwrights -religious dramas written in Medieval style -"sacred representations" based on Biblical stories and lives of saints |
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-1400s-mid-1500s -catch-all term for a type of performance -often presented between courses of a banquet -often 8 actors -could be a dramatized conversation meant to impart a moral lesson -THE PLAY OF FOUR PP |
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-early 1500s-1580 -plays written in English that incorporated popular tastes and themes -reason for the development of boys' acting troupes |
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-Ben Jonson -four humors- one character for each |
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-elaborate entertainment presented at court -favorite of royalty and nobility |
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-a burlesque of the main theme (masque) |
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-boy troupes performing for public and court -often cutting satire -developed because of School Drama |
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-one-act religious spectacles performed at Corpus Christi festivals by professional -used carros -allegorical characters |
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-"play" -created by Lope de Vega -ignores neoclassicism -3 acts (jornadas) with into (loa), 2 other skits between acts (entremeses) -polymetric -widely adaptable format -often used stock characters -performed by professionals -performed in corrales |
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-dramatic pieces combining folk songs and narratives -sometimes seen as precursor to modern musical -Spanish court entertainment -performed at royal hunting lodge |
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-skits between acts of comedias -could be spoken or sung |
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-introductory piece to comedia -usually not written by the same playwright as comedia |
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-"act of faith" -stylized public ceremony in which convicted heretics were either reconciled back into the church or "relaxed" to secular authorities to be burned at the stake |
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-dialogue alternated with dancing scenes -performed for court -Moliere |
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-like English masques -allegorical -simple court dances with an explanatory libretto -performed between the acts of Corneille and Racine's plays -Louis XIV |
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-male comic servant in Comedia |
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-special effects and spectacle |
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-rules formulated by Italian critics -formulated to imitate Greeks and Romans -decorum -verisimilitude -3 unities -no mixture of genres -no violence on stage -no chorus |
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-"likeness to truth" -reality, morality, universality -plays must be recognizable and verifiable from real ife |
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-the good rewarded with good and bad rewarded with bad |
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-norms of behavior for types of people and plays -servants should be servile -kings should be noble -men should be manly |
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-TIME- action cannot exceed 24 hrs -PLACE- must take place in one location, nowhere that can't be reached in 24 hours or less -ACTION- only one main action, no subplots |
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-how the human eyes see -set design -angled wings and raked stage -helped achieve some 3d effects |
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-special effect flying machines that helped with scenery changes in Italian Ren |
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-a shift from seeing reality from god's perspective to seeing reality through human perspective |
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-piece of well-rehearsed comic action commonly used in commedia dell'arte -repeated bits of physical comedy business |
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-moveable wagon-stages at the Corpus Christi festival on which plays were performed |
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-performance space -courtyard surrounded by 3 buildings -strict segregation of genders |
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-"cleanliness of blood" -underlying social concern for the Spanish |
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-1479 -process by which the church detected, tried, and reconciled heretics -cleansing, not converting -used fear, peer pressure, and anonymous testimony |
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-honor is defined by gender roles -women- purity/fidelity. can be preserved, but once lost, it cannot be recovered by woman -men- protecting purity of wife, mother, daughter, sister, etc. honor can be recovered but is constantly threatened |
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-"stew pot" -gallery opposite the stage on a back wall above the main entranceway in the yard -women's seating area -guarded |
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describes theatre in the time of King James I |
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-describes theatre in the time of King Charles I |
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