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Transcript of ELIZABETHAN & JACOBEAN THEATRE. Influences on the Development of the Elizabethan Theatre vMedieval...
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ELIZABETHAN & JACOBEAN
THEATRE
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Influences on the Development of the Elizabethan Theatre
Medieval Stagecraft Protestant Reformation
Tudor Pageantry Renaissance Learning and Ideas
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Influence of Medieval Theatre Eager audience Established tradition of theatre and actors MYSTERY AND MORALITY PLAYS:
Mixing of high seriousness and low comedy
FOLK PLAYS: Pagan remnants: fairies and sprites Feast of Fools
INTERLUDES: Humanistic debates
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Medieval Concepts of Tragedy De casibus: tragedies of fortune
Tragedy is less the result of individual action than a reflection of the inevitable turning of Fortune's wheel.
Fortune, traditionally female because of the association of women with the moon and changeability, has two faces, one benign, one severe.
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Feast of Fools
Held between Christmas and Epiphany, particularly on New Year's Day
The ruling idea of the feast was the reversal of status.
The celebrations were relics of the ancient ceremonies of birth and renewal which took place at New Year and involved a temporary overturning of all values.
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Feast of FoolsThe Ass, a widespread feature of the festival, was a mixture of Celtic, Roman and Christian traditions, for the Ass is at once a
relic of ancient magical cults, a fertility symbol, a symbol of strength and the epitome of stupidity.
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The Protestant Reformation
Elizabeth (ruled 1558-1603) worked out a compromise church that retained as much as possible from the Catholic church while putting into place most of the foundational ideas of Protestantism.
Mystery and Morality plays were outlawed as they taught Roman Catholic doctrine
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1588: Defeat of the Spanish Armada The disgrace to
Spain damaged its prestige
England's star was on the rise.
Elizabeth took the defeat of the Armada as a sign of divine blessing
English patriotism and devotion to the Queen soared : history plays
The Battle of Gravelines: at which the English Fleet dispersed the Spanish Armada
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Tudor Pageantry A hybrid dramatic form of literature,
ritual, and politics, Royal entries and aristocratic
entertainments -- fashionable literary forms were turned to the service of national propaganda Pageants Parades Masques
Composed by the bright young men who haunted the court in hopes of securing political office.
Full of spectacle: music, dance, elaboratestaging, fireworks
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Renaissance Rebirth of Classical knowledge and ideals Roman theatre as model Humanistic Ideas Universities
Oxford Cambridge Inns of Court
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Influence of Roman Theatre
5 act structure Comedy: Plautus and
Terence Plots Stock characters
Tragedy: Seneca Revenge motif Irony Use of ghosts Violent spectacle
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Elizabethan Stock Characters Senex: old man in authority Miles gloriosus: braggart soldier Shrew: sharp-tongued woman Clever servant Machiavel: political schemer “Calumniator believed” : a liar who is believed Idiotes: a malcontent Parasite: a “moocher” Pedant: in love with the sound of his
own didactic voice Young Lovers Fools and clowns
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Early Senecan Tragedies Gorbuduc by Thomas Sackville and
Thomas Norton The Spanish Tragedy by Thomas Kyd
Play within a play fromThe Spanish Tragedy
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Humanism:from Morality to Chronicle
It was the aim of the humanists to educate those who ruled in wise and virtuous government.
How do you teach a king? Very tactfully . . . The effectiveness of the morality play was attractive to
humanists, who changed the nature of the moral from religion to political virtue without changing the techniques of the drama.
Theatre was a natural medium for the humanists to use in educating the king, for plays were frequently performed at Court.
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Chronicle or History Plays
Explore the workings and legitimacy of kingship What is a good King? Historical exemplars (Lear, Macbeth, Julius Caesar) Often turn into tragedies
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Types of Plays Chronicle or History
Plays Comedies
Romantic Pastoral Feast of Fools Social Humors
Tragedies Senecan Revenge De casibus -- turn of
Fortune Fatal flaw
Romances far-away adventures
Any combination of the above
“The best actors in the world, either for tragedy, comedy, history, pastoral,pastoral-comical, historical-pastoral, tragical historical,
scene individable or poem unlimited.” -- Hamlet
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University Wits
University-educated playwrights, noted for their learning and clever language
George Peele (1556-96) Thomas Lodge (1558-1625) Thomas Nashe ( 1567-1601) Robert Greene (1560-92): best known
as first Shakespearian critic John Lyly (1554-1606)
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Christopher Marlowe1564-93
MA from Cambridge Established blank verse as
dramatic medium: “Marlowe’s mighty line”
Overreacher Tragedies:
Tamburlaine Dido Queen of Carthage Dr. Faustus Edward II Massacre at Paris Jew of Malta
“Quod me nutrit me destruit” That which nourishes me, destroys me
Killed in a brawl
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Ben Jonson1572-1637
Educated at Westminster School -- no university but the most learned of playwrights
Important comedies of humor include: Every Man in His Humor, Volpone, The Alchemist, Bartholomew Fair
Wrote and staged court masques with Inigo Jones
Celebrated poet and conversationalist: “Sons of Ben”
After Abraham van Blyenberch, 1618.©National Portrait Gallery, London.
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COMEDY OF HUMORS The comedy of humours presents characters with a single attribute so exaggerated
that they become caricatures. Derives from the Latin humor, meaning "liquid." Renaissance theory held that the
human body contained a balance of four humours. When properly balanced, these humours were thought to give the individual a healthy mind and a healthy body
Humors: Choleric: yellow bile --
argumentative, angry Sanguine: blood --
cheerful, active Phlegmatic: phlegm --
thoughtful, passive Melancholy: black bile -- melancholic
Volpone at Carter Barron Theatre
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Jacobean Tragedy
A sense of defeat A mood of spiritual despair The theme of insanity, of man pressed
beyond the limit of endurance Moral confusion ("fair is foul and foul is fair") that
threatens to unbalance even the staunchest of heroes. This sinister tendency came to a climax about 1605 and was in
part a consequence of the anxiety surrounding the death of Queen Elizabeth I and the accession of James I.
While the Elizabethans affirned life, the Jacobeans were possessed by death.
James I
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Jacobean Dramatists John Webster (c.1580-c.1632) Thomas Middleton (1580-1627) Francis Beaumont (c. 1585-16) John Fletcher (1579-1625) Cyril Tourneur (c.1575-1626) John Ford (1586-c.1639) Elizabeth Cary (c. 1585-1639)
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John Websterc. 1580-c.1625
Son of a London tailor, member of Merchant Taylors’ Company
Collaborated on several plays with Thomas Dekker and John Marston
Fame rests on two tragedies, The White Devil and The Duchess of Malfi
Bob Hoskins and Helen Mirren inThe Duchess of Malfi
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Acting Companies 1590 -- 1642: approximately 20 companies of actors in
London (although only 4 or 5 played in town at one time) More than a hundred provincial troupes. Companies usually played in London in the winter and
spring and to travel in the summer when plague ravaged the city
Members: Shareholders Apprentices Hired men
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Boy Actors No women on the English stage in Shakespeare's day.
The parts of women were acted by child actors--boys whose voices had not yet changed.
Whole acting companies were created with child performers: the Children of the Chapel Royal, and the St. Paul's Boys. The children's companies played regularly at Court.
The Puritans, who disapproved of the theatre in general, were particularly scandalized by boys cross-dressing as women.
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Censorship Largely Puritan leaders
of the City of London disapproved of the theatres.
The Privy Council was wary of the political comment often present in topical plays.
Censorship under the direction of the Master of Revels was strict.
In 1596 the City Corporation ordered the expulsion of players from London and the closing of the inn-theatres.
Theatres moved across the River
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William ShakespeareApril 23, 1564-April 23, 1616
Born in Stratford-upon-Avon Married Anne Hathaway in 1582
at age of 18 3 children: Susanna (1583) and
Hamnet and Judith (1585) 1585-92: “the lost years” 1595 record of membership in
Lord Chamberlain’s Men
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Early Works: prior to 1594 History Plays:
Henry VI: 1,2,and 3 Richard III
Poetry: Venus and Adonis, The Rape of Lucrece, sonnets Plautine Comedy:
A Comedy of Errors Courtly Comedy:
Two Gentlemen of Verona Farcical/problem Comedy:
The Taming of the Shrew Senecan Revenge Tragedy:
Titus Andronicus Romantic Tragedy:
Romeo and Juliet
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Lord Chamberlain’s
Men Originally formed under the patronage of Lord Strange, but
when he died in 1594, the players found a patron in Henry Carey, the Lord Chamberlain.
Performed at the Theatre and the Curtain 1599 moved to the newly built Globe. By 1600 they had
emerged as the leading theatrical company in London 1603 became the King's Men under a royal patent from
James I. The company continued successfully until the Puritans closed the theatres in 1642.
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The Globe Built by the Burbages in 1598
for the Lord Chamberlain’s Men
Burned down in 1613 during production of Henry VIII
Rebuilt 1614
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The New Globe: opened 1997
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Blackfriars Theatre
Theatre Interiors
Sketch of the Swan Theatre
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Popular Success: 1595-1600 Comedies:
Love’s Labour’s Lost A Midsummer’s
Night’s Dream Much Ado About
Nothing As You Like It Twelfth Night The Merchant of Venice Merry Wives of Windsor
Histories: King John Richard II Henry IV:
1,2 Henry V
Tragedies: Julius
Caesar Hamlet
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New Place, Stratford, from a print of 1880,
purchased by Shakespeare in 1597
Anne Hathaway’s Cottage Stratford
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17th-century LONDON
from a view by Claes Jansz Visscher
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A Darker Vision: 1601-1607
Problem Plays: All’s Well That Ends Well Measure for Measure Troilus and Cressida
Tragedies: Othello King Lear Macbeth Antony and Cleopatra Coriolanus
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Final Works: 1608-1612
Tragedy: Timon of Athens Romances:
Cymbeline Pericles The Winter’s Tale The Tempest
Collaborations with John Fletcher: Henry VIII Two Noble Kinsmen
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Shakespeare was buried on April 25, 1616 in Holy Trinity Church, Stratford, where he had been baptised just over 52 years earlier
Good friend for Jesus sake forbearTo dig the dust enclosed here!
Blest be the man that spares these stones,And curst be he that moves my bones
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First Folio: 1623
The first collected edition of Shakespeare's plays.
Included thirty-six plays, eighteen of which had never been published before
The editors of the volume, Shakespeare's fellow actors John Heminge and Henry Condell, arranged the plays in three genres: Comedies, Histories, and Tragedies.
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