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| Young performer in training in an Elizabethan acting company |
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| Small private compartment for a group of spectators built into the walls of traditional proscenium-arch and other theatres |
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| Gallery above the tavern in the back wall of the theatres of the Spanish golden age; the area where unescorted women sat |
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| Full-length (three-act) nonreligious play of the Spanish golden age |
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| Acting troupes in the Spanish golden age, organized according to a sharing system |
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| Theatre of the Spanish golden age, usually located in the courtyard of a series of adjoining buildings |
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| in theatre buildings, the undivided seating area cut into the walls of the building |
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| system in which tracks on the stage floor and above the stage allowed for the smooth movement of flat wings onto and off the stage; usually there were a series of grooves at each stage position |
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| Member of an Elizabethan acting troupe who was paid a set salary and was not a shareholder |
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| Comic pieces of business used repeatedly by characters in Italian commedia dell-arte |
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| Lavish, spectacular court entertainment primarily during the late English Renaissance |
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| Rules developed by critics during the Italian renaissance, supposedly based on the writings of Aristotle |
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| In the theatre of the Spanish golden age, the pit area for the audience |
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| Illusion of depth in painting, introduced into scene design during the Italian Renaissance |
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| Floor of the house in Renaissance theatres. It was originally a standing area; by the end of the eighteenth century, backless benches were added in most countries |
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| The sequence and patterned arrangements of events in a drama, with incidents selected and arranged for maximum dramatic impact |
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| Giacomo Torelli's mechanized means of changings sets made up of flat wings |
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| Indoor theatres in Elizabethan England |
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| Outdoor theatres in Elizabethan England |
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| In Elizabethan acting troupes, members who received pat of the profits payment |
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| Script containing only a single performer's lines and cues. Elizabethan actors learned their roles from sides. |
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| a type of comedy or comic business that relies on exaggerated or ludicrous physical activity for its humour |
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| Speech in which a character who is alone onstage speaks inner thoughts |
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| Term referring to the preference that a play's plot occur within one day (unity of time), in one place (unity of place), and with no action irrelevant to the plot (unity of action) |
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| pit or standing area in Elizabethan theatres |
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| Comic male servants in Italian commedia dell-arte |
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| short pieces depicting mythological tales; presented between the acts of full-length plays often thematically related to the full length works; spectacular scenic effects |
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| rebirth; refers to an awakening of arts and learning in the western world |
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| major literature movement which imitated the Greeks and Romans and focused on human beings rather than gods |
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| drama set entirely to music; Italian recreating of Greek tragic style; always considered more part of music |
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| comedy of professional artists; no set text, invented words and actions as they went along, only had scenarios; stock characters with traditional costumes |
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| short plot outlines without dialogue |
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| overriding concern of the neoclassicists by which they meant that drama should be true to life |
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| stage; created a semicircular orchestra |
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| playwright; iambic pentameter; "Doctor faustus"; mighty line; dramatic poetry |
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| actor then playwright; lord chamberlain's men group; excelled in tragedy, comedy and history; powerful metaphors and well-rounded characters; master of plot construction; the globe theater |
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| considered one of the finest actors in England during the time of shakespeare |
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| Elizabethan acting companies; three types of shareholders with only the top tier getting profits from the company |
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| one of the most proliic spanish dramatists of all time; "The Sheep well" |
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| Spanish playwright; "life is a dream" |
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| most famous comic playwright of the french renaissance; created characters who carried an idea or obsession to excess; actor and leader of a theater troupe; influenced by commedia dell'arte; "Tartuffe"; Pierre Corneille and Jean Racine=tragedy |
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| "The Way of the Wrold"= a bridge between restoration comedy and the later, more traditional morality of 18th century English sentimental comedy; sinful punished |
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| English female playwright "The Rover" |
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| a yearly performance by an English actor or actress where they kept all the profits |
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| comedy of manners except that it reaffirms middle=class morality; "the rivals"; "the school for scandal" |
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| the eye was attracted on stage to various vanishing points, and the set seemed to extend beyond the proscenium |
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| Italian designer family; innovated angular or multipoint perspective; grandiose, lavish, and ornate designs |
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| emphasized the performers oratorical skills |
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| an older Spanish man's attempt to seduce a servant girl, key character is a comic servant, social and political satire; |
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| actor and theatre manager; know for his role in Richard III; modern stage director |
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| thirty raked rows; forming a fan-shaped auditorium where audiences exited at the ends of rows |
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| allows sections of a stage floor to be raised or lowered |
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| large turntable on which scenery is placed |
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| equivalent of a modern dimmer board |
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