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| Producer of the Restoration English theatre. Wrote The Siege of Rhodes which was the first English opera as well as the first production in which female actresses appeared on stage and where changeable scenery was used in the English theatre. Worked with Thomas Killigrew. |
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| Producer of the Restoration English theatre. Part of the Royalist cause. Wrote many tragic comedies. Formed Kings Company. Had monopoly of theatre in London. Worked with William Davenant |
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| the Restoration, late 1600s. Wrote All for Love, a restoration tragedy. Wrote successfully in practically every genre. Theorist of theatre and defender of English drama. |
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| the Restoration, late 1600s. Wrote The Way of the World (1700), a comedy of manners. Perfected comedy of manners. |
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| the Restoration, late 1600s. Wrote The Recruiting Officer (1706), begins the shift towards sentimentality. |
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| the Restoration, comedy of manners. He wrote The Country Wife |
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| the Restoration. Mary Pix, Delariviere Manley, Catharine Trotter |
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| the Restoration. First woman known to make a living as a playwright. Wrote The Rovers (1677-1680), a comedy of intrigue. |
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the Restoration. Popular well into 1800s. An English poet and actress and one of the premier dramatists of the 18th century. During her long career at Theatre Royal, Drury Lane she became known as the Second Woman of the English Stage after Aphra Behn. Her success was so great that David Garrick chose one of her plays in which to make his farewell performance.
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| He wrote The Rivals and The School for Scandal. He was trying to find a balance between upholding middle-class virtues and still making fun of social pretensions. He is also known as the best-known writer of sentimental comedy. |
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| He wrote The Good Natur'd Man and She Stoops to Conquer. He is the best-known English dramatist to modify sentimental comedy. He wanted to create a laughing comedy rather than a sentimental comedy. |
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| Italy. Hated "reformed" comedy that "copied" life. Didn't like mixing high and low classes (no decorum). Wrote fiabe. Wrote The King Stag (1762). |
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| Italy. Sought a "reformed" comedy, more realistic. Wrote The Servant of Two Masters (1743). |
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| Most popular pantomime author/performer |
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| Hugely popular playwright of late 1700s France. Influenced by Diderot's ideas. Known for "Figaro" plays, beginning with Barber of Seville (1775). Also, Marriage of Figaro (1784). |
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| wrote The Robbers, a popular Storm and Stress play |
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| He was a French playwright who was incredibly popular in the 1790s. All of his plays contained spectacular effects, violent action, and moral lessons. They fell under the melodrama genre. |
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| African Grove Theatre in NYC. First known African-American playwright. Wrote King Shotaway. |
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| Abolisionist drama. Ex-slave. Wrote The Escape or A Leap of Freedom (1858). Read at abolitionist meetings. |
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| A minister in the late 1600s who wrote A Short View of the Immortality and Profaneness of the English Stage. Some historians go as far as to say that his treatise marks the end of the theatrical Restoration. After him the sexual content of plays was toned down and morality became stressed in English comedy of the eighteenth-century. |
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Mid to late 1800s. Composer, playwright, director. Three ideas:
- dramatist = myth maker
- Gesamptkunstwerk - "total art work"
- Classless theatre space
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| reformer in German theatre. Playwright and manager. Got rid of Hanswurst and improv. Careful rehearsal/polish. Actors have additional duties. Moral standards for actors. Influential to later troupes. |
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| reformer in German theatre. Playwright and critic. Hamburg National Theatre. Tried to create interest in non-commercial, national theatre. Known for plays and his journal, Hamburg Dramaturgy. Praised English drama over neoclassical. Considered first dramaturg. |
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| reformer in German theatre. Playwright, theorist, ends as romantic. Creates "Weimar classicism." Actors and rehearsals - extremely exacting, lots of preparation, attention to blocking. |
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| romanticism in France. Early 180s. Influenced by melodrama and romantics. Wrote Preface to Cromwell (1827), a manifest for romanticism. Produced Hernani in 1830 - 5 acts (not neoclassical), revolutionary staging, romantic acting style. Wrote Dos Anglais ("The English Back"). Usable staircase on stage. Caused a riot - "Battle of Hernani" - longhairs (romantics) vs baldies/wigs (traditionalists) and claques. |
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| mid to late 1700s France. Theorist and playwright. One of the main thinkers of 1700s. His main work of dramatic theory was the Paradox of the Actor. Tried to stretch theatre beyond neoclassicism. Drame - tears and laughter should mingle. Fourth wall - idea stems from him. |
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| 1860s and 70s. Formed Meiningen players. Performed classical and romantic drama. Pictorial Illusionalism: historical accuracy in costumes and sets. Autocratic director. Broke up star system - cast young actors and rotated leading actors in ensemble. Known for stunning crowd scenes. |
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| He revitalized eighteenth century theatre with his reforms in staging. He is often described as an early director since he oversaw the entire production process. In 1747 he became one of the patent holders at the Drury Lane Theatre. He was also a fairly accomplished writer, adapting the works of many early playwrights such as Shakespeare. He was concerned with the visual elements of his productions. He experimented with historically accurate and appropriate costuming and is credited with his attempts to hide obvious stage lighting to make it appear more natural. |
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| She was a prominent London actress-manager. Theatre management was at the time an unusual profession for a woman and a financially unstable profession for anyone at the time because of the disorder and chaos of the London theatre. She overcame these obstacles and made major innovations in staging. She also made a profit as proprietor of the Olympic theatre. |
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| He was both an actor and a director of nineteenth century English theatre. His father was an actor as well so he grew up in the theatre. For a while he wanted to go into law but when his father died he went on stage to support his family. He thought it would only be temporary but he became very successful and continued as an actor. He didn’t enjoy playing in melodramas but when he finally got a role in tragic roles he began to truly excel. He thoroughly researched and rehearsed each role, which made him a dignified and studious actor. He also directed and was one the first directors to apply blocking on his actors. He is important because his work paved the way for the realistic acting and staging of the late nineteenth century theatre. |
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| Naturalism. Wrote Therese Raquin. |
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| Vladimir Nemirovich-Danchenko |
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| the founder of the Moscow Art Theatre with Stanislavski |
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| observed successful actors. Actor cannot access emotions/unconscious directly. Trick self into believing in a set of imaginary circumstances. Focus on surface details. |
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| Started in African Grove Theatre. Called "African Roscius." Made his career in London and Europe. Noted for Shakespearean characters. |
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| USA minstrel shows (1820s-1910s). "Jim Crow". Originated "negro clown" character. Known for grotesque movements and speech. One of the first superstars of US theatre. Eventually "Ethiopian operas" |
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| USA minstrel shows. William Henry Lane. Black performer considered "master of the art." Danced "the jig" - seen as precursor to tap. |
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| Importance of objects as physical clues. Importance of audience having more knowledge than the characters do. Playwrighter/dramaturgy. |
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| Italy early 1900s. Wrote Founding and Manifesto of Futurism in 1909. |
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| Playwright, critic, politician, and pamphlet writer. Thought comedy of manners was "petty and mean." Preferred Sentimental Comedy; wrote The Conscious Lovers. |
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| Thought Upper-class tragedy was too isolated from the audience. Preferred domestic tragedy; wrote The London Merchant. In this play, the unities were not observed, and it was all written in prose (as opposed to the popular verse). |
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| Used the well-made play structure to write his works. Best known for The Lady of the Camellias, or Camille. |
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| Used the well-made play structure; best known for A Glass of Water, A Scrap of Paper, and Let's Get a Divorce |
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| Playwright, used many special effects in The Poor of New York, for example, a tenement burned onstage. He was responsible for the introduction of fireproofing in the theatre. |
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| Often mentioned as an early director who focused on coordinating production elements. Ran the Gymnase, a Parision boulevard theatre, and strove for more realistic settings and acting in popular well-made plays. |
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| Realism playwright; famously wrote The Sea Gull, The Cherry Orchard, The Bear, and The Marriage Proposal. |
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| founder of modern dramatic realism. As a playwright, known for his mastery of dramatic technique, his psychological insights into human nature, and his poetic symbolism. His most famous play is A Doll's House. |
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| Restoration actress famous for her comic performances, her dancing, and her liaison with Charles II. Her acting specialties were "breeches roles," in which she wore men's clothing and the delivery of prologues and epilogues. |
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| Restoration actress famous for her portrayal of enticingly clever urban women in Restoration comedy and sympathetic heroines in tragedy, but perhaps her most famous attribute was her virtuous reputation; she was called the "celebrated virgin." She was the leading comic actress at the United Company. |
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| Also known as "Madame Sarah." Made her debut at the Comedie Francaise. Master of stage technique, but her cheif asset was her voice. |
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| Actress who formed her own company. Her repertoire included the poetic dramas of her lover Gabriele d'Annunzio, the melodramas of Dumas fils and Sardou, and the realistic plays of Ibsen. George Bernard Shaw loved her acting style. Never wore make-up, but used her expressive face, eyes, and gestures to convey the thoughts of a character. |
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French novelist and dramatist considered one of the most important French playwrights of the 18th century, writing numerous comedies for the Comedie-Francaise and the Comedie-Italienne of Paris. His most important works are Le Triomphe de l'amour, Le Jeu de l'amour et du hasard and Les Fausses Confidences.
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an English novelist and dramatist known for his rich earthy humour and satirical prowess, and as the author of the novel Tom Jones.
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English actor. He performed in many parts including a role in Siege of Rhodes. He was held in high esteem by Charles II, who sent him to paris to examine stage improvements.
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| was an English actor, regarded in his time as the greatest ever. Acted at Drury Lane. Late 1700s-early 1800s. |
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French author of the late 1800s. She is considered to be a pioneer of anti-realistic drama and a participant in the Decadent movement. She wrote Pleasure!
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A French actor and theatre director. When he was 19 he entered the Paris Conservatoire and became part of the Theatre Libre.
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Belgian playwright, poet, and essayist wo wrote in French. He was awarded the Nobel Prize in Literature in 1911. The main themes in his work are death and the meaning of life. His plays form an important part of the Symbolist movement.
Most importantly, he wrote Intruder, The Blind, and Pelleas and Melisande.
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