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| considered the first English opera- written by William Davenant 1656; music, song, w/ scenes in between; used proscenium arch; introduced female actors; incorporated changeable scenery |
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| parody of the heroic tragedy, written by George Villiers in 1670 |
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| by William Henry Brown in 1823; first known play by an African-American playwright; no known copies exist; African Grove Theatre |
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| William Wells Brown in 1858; melodrama, with notable comic moments, about two slaves who secretly marry; read at aboloitionist meetings |
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| A Short View of the Immortality and Profaneness of the English Stage |
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| by Jeremy Collier in 1698; attacks popular comedies from the London stage; accuses playwrights of profanity, blasphemy, indecency, and undermining public morality through the sympathetic depiction of vice |
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| by Victor Hugo 1830; A theatre riot in 1830 at the premiere of Victor Hugo’s Hernani broke out and continued for fifty-five nights. Some of the chaos may have been started and fueled by claques. |
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| most popular melodrama in US |
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| pamphlet “The Vision of the Golden Rump” 1736; Walpole gets hold of a play based on the pamphlet;l reads excerptps to a shocked parliament |
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| George Lillo 1731; merchant’s apprentice led astray; middle and lower class folk are heroes; many speeches in praise of merchants; prose, not verse; unities not observed; fit with 18th century view of human nature |
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| restricted presentation of drama to the Drury Lane and Covent Garden theatres and made the lord chamberlain responsible for licensing plays. |
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| Denis Diderot 1773/1830; what is acting? Does actor feel? –the best do not, they can control outward appearance; actors have less of a soul than normal people |
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| Gotthold Ephraim Lessing 1767-69 reviews of more than 50 performances were published, in the form of 104 brief essays on basic principles of the drama |
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| performed 1784- considered dangerous; censored for a while- feat servant outwitting corrupt master- combines sentiment and comedy with criticism of authority- often cited as lead-up to French Revolution |
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| short versions of full-length plays, excerpts from renaissance plays, performed in taverns |
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| Spanish and French inspired, love vs honor, exotic locales, long ranting speeches, rhymed couplets |
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| plays of English Restoration that featured daring acts of romance and adventure with complex plots |
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| focuses on the upper class, mocking social norms, social conventions, and the upper class’ preoccupation with reputation |
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| different sympathetic characters for different classes, main character makes rational decision |
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| comb. commedia dell’arte, topical satire, myth, comic parts are mute, serious parts sung, presented as afterpieces to main plots |
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| example of drame; focused on bourgeoisie concerns; drew tragic heroes and heroines from the emerging middle class |
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| allowed spoken dialogue, set lyrics to popular tunes, dealt with everyday themes/situation, often used political satire |
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| parody/satire, like ballad opera w/o music, after 1737 targeted literary works rather than politics |
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| late 1700s, early 1800s, out growth of comic opera, by 1800s not more than 3 acts, each of which has at least 5 songs |
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| performed at opera, comedia fracaise, or comedia italienne- operas, tragedies |
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| performed at boulevard theatres |
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| (fairground theatres) 2 booths on Boulevard du Temple- one by a harlequin and one by a puppeteer- booths eventually became theatres- officially recognized as secondary by Napoleon in 1807- showed lots of unconventional entertainments: pantomimes, marionettes, performing monkeys, drames, and parades |
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| brief skit performed outside boulevard theatres to allure customers inside- then a form itself- like commedia dell-arte- stock characters, written-out dialogue, room for improve- ex: The Shit Merchant |
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| musical underscoring; 5 acts; virtuous hero, bothered by villain, who creates thrilling exploits; expository scene; climactic ends to each act; all important events on-stage; local color; status quo; poetic justice |
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| a play that builds mechanically to its climactic moments and is intended mainly to arouse the audience’s interest in there contrived climaxes; cause and effect development |
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| distinct form of full‐length comedy; includes slapstick elements; Minstrel Shows |
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| Type of drama that developed in the 19th century to deal with controversial social issues in a realistic manner, expose social ills, and stimulate thought and discussion. It is exemplified by the works of Henrik Ibsen, who exposed hypocrisy, greed, and hidden corruption of society in a number of masterly plays |
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| shows in which men of all ages in blackface performed songs, skits, jokes, and dances. A black man, William Henry Lane, also known as Master Juba, was known in minstrel shows as the greatest dancer of the period. He received top billing in 1845 with an all-white minstrel troupe. |
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| storm and stress; German dramatists rejected dramatic rules, not uniform in their playwriting techniques; some patterned their works after Shakespeare, using episodic structure, mixing genres, and presenting violence offstage; Johann Wolfgang von Goethe’s Goetz von Berlichingen, Friedrich Schiller’s The Robbers |
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