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| Protestants in the religious civil war. |
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| The way Henri IV solved the religious strife. It offered non-Catholics equality and tolerance under French law. |
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| A major political force during the reign of Louis XIII. Advanced Italian culture in France. Probably most responsible for France's rise to political and economic power in the 17th century. |
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| The cardinal when Louis XIV ascended to the throne. Wielded the real power. |
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| "Confraternity of the Passion." An organization that came together to organize religious plays. Used various locations in Paris for its presentations, then later moved to a theatre. |
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| The theatre the Confrerie de la Passion built in 1548. May have been the first permanent theatre constructed in Europe since Roman times. |
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| A literary group formed in the mid-1500s whose cause was to further writing and culture. It produced French plays based on neoclassical models. |
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| The person generally considered to be the first professional French playwright. Used neoclassical devices such as messengers and the five-act structure, but paid little attention to the unites of time, place and action. |
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| The first theatre in France with a fixed proscenium arch and a stage using flat wings. Commissioned by Cardinal Richelieu. |
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| A group limited to 40 writers and other intellectuals. |
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| He wrote the play Melite in his spare time and after an acting troupe did well with it, he began to spend much of his time writing plays. He was appointed by Cardinal Richelieu into the Society of the Five Authors which was commissioned to write plays for the Cardinal's entertainment. |
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| Corneille's first serious play. Recounts the story of Rodrigue and Chimene who are in love but are separated because of a quarrel between their fathers. |
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| Showed an extraordinary ability to create dramatic tension through concentration and characterization. Strictly adhered to the unities. |
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| Specialized in comedy. He insisted on depicting vices and follies truthfully. Combined farcical humor with a gift for witty dialogue and a keen eye for human foibles. |
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| a form of ballet that became popular at the court of Louis XIV. The dances were not complicated and the king often took part. |
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| The pit for standing spectators. |
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| boxes around the side and back walls of theatres. |
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| The third tier of galleries along the side walls. "Heavens" |
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| The Hotel de Bourgogne's first competition. A converted indoor tennis court. |
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| Italian scenic wizard who was brought to France in the mid-1640s to design scenery and install scene-changing equipment. |
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| Pole-and-chariot scenery shifting |
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| A platform stage was built 6 feet high, 49 feet wide and 48 feet deep and a system was built to move scenery easily. |
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| An undivided gallery that contained inexpensive bleacher-like seating. |
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| Another stage wizard who was ordered from Italy to prepare the Tuileries Palace. |
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| The "hall of Machines." Completed in 1660, it was the largest theatre in europe. The backstage equipment included one piece of machinery on which the entire royal family could be "flown" into the space above the stage. |
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| A major theatre building of the French Neoclassical period. Housed the French national theatre. Another converted tennis court, but the sight lines were significantly better because its interior had a horseshoe shaped construction. |
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| Shareholders in the sharing plan |
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| Actors contracted to perform minor roles. |
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| The head of the company. The actor with the longest service in the troupe. |
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| The leading actor with the company at the Hotel de Bourgogne (The King's Players) from 1620s to 1647. Excelled at both comedy and serious drama. |
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| The outstanding actor at the Theatre do Marais. A favorite of Cardian Richelieu, who granted him subsidy. |
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| Replaced Montdory in the Marais as the outstanding actor of the group. |
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| A highly acclaimed actress in Moliere's group. Played tragic heroines early on, but later performed comic roles for Moliere. |
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| The finest French actor of the late seventeenth century. Noted for his less stilted, more natural acting style. Recognized as the leading serious actor on the french stage. |
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| The leading actress in Moliere's troupe in its later years. Became his wife. Was trained for the stage by Moliere and also inspired some of his writing. |
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| A theatre company started by Armande, Madeleine and her brother Joseph and even Moliere. |
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| Took over as the puritan leader of England during the commonwealth period. He passed a law saying all theatres should be closed and dismantled. |
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| Was reinstated as the king after the commonwealth died out. Ruled without Parliament. Treated theatre as a "royal property" and it became an upper-class event. |
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| The name given to the time when the monarchy was restored over the commonwealth. |
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| Acquired the Salsbury Court Theatre. Rebuilt it and began to train a company of boys there. During the commonwealth. |
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| Short versions of full-length plays. |
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| A particularly important theatrical producer during the commonwealth period. Had been a playwright previous to the closing of the theatres. He was able to circumvent the ordinances against theatre by describing the presentations as musical entertainments. Wrote The siege of Rhodes which is considered the first English opera. Formed "The Duke's Company" |
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| The son-in-law of Inigo Jones. Designed Davenant's theatre. Used Italianate devices such as a proscenium arch and a wing and shutter setting. |
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| A favorite of Charles I. Wrote tragicomedies. Along with Davenant, was given a patent that gave them a monopoly on theatrical productions in London. Formed "The King's Company" |
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| Considered the first English opera. Also, the first production win which an actress appeared on the English stage and the first public performance in which changeable scenery was used. |
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| Formed by Killigrew with older, more experienced actors. |
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| Formed by Davenant. Had several promising young actors. Went on to be the stronger and better managed company. |
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| Dealt with extraordinary characters who undertook extraordinary deeds. Deal with the themes of love and honor and are reminiscent of the dramas of the Spanish olden age. |
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| Adhere to the neoclassical rules. Became popular during the last quarter of the 17th century. Many of Shakespeare's plays were reworked into a neoclassical mold with happy endings. |
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| The most noted author of Restoration tragedy. Wrote "All for Love" |
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| One of the most successful writers of comedies of intrigue. The first woman English playwright. The first to have earned a living by writing. Mostly wrote plays of intrigue. |
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| Focuses on the fashions and foibles of the upper class. Poke fun at the social conventions and norms of the time and satirize the preoccupation of the upper class with reputation. |
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| Satirized the elegant, dissolute society of Restoration england. Playwriting, for him, was a way of proving his cleverness and with. He showed the faults of all members of his glittering society rather than just making fun of the usual fools. |
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| One of the Restoration's finest dramatists. Wrote "The Way of the World." |
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| Included Catharine Trotter, Mary Pix and Delariviere Manley. Used to be derogatory but later came to signify the importance of these figures to a feminist revision of late 17th century theatre history. Worked in the London theatre world in a highly collegial manner. Worked to increase the involvement of female playwrights in English theatre. |
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| Women selling fruit. Usually also their bodies. They were prostitutes. |
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| Parts that required a woman to dress like a man. |
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| Noted for his performances in Shakespeare's plays. Worked with Elizabeth Barry. The greatest actor of the Restoration age. Admired for his attention to detail, self-discipline and majestic restraint. |
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| The best-known theatre personality of the era. Famous for her comic performances, her dancing and her liaison with Charles II. |
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| Created when the Duke's Company merged with the King's company. Betterton headed it at Drury Lane, but it was financially controlled by a group of patentees. |
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| Achieved resounding popularity for her portrayal of enticingly clever urban women in Restoration comedy and sympathetic heroines in tragedy. Called "The Celebrated Virgin." The leading comic actress in the United Company. |
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| Marked a decline in the actors' control over theatre in London. Actors were hired for a specific period of time at a set salary. |
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| Often part-owners of theatre buildings and companies. |
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| A performance from which one actor would keep all the profits. Frequently, the ticket pries were increased so the performer's earnings would be greater. |
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| A new attempt to regulate London theatre. Only two theatres were authorized to present "tragedy, comedy, opera, play, farce or other entertainment for the stage for gain, hire or reward." The Lord Chamberlain became responsible for licensing plays. The two theatres were Covent Garden and Drury lane. |
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| The different areas for the audiences. Al had benches. |
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| Designed and painted wing-and-shutter settings for court entertainments during the Caroline and Jacobean periods. Influenced his son-in-law to use these devices at the close of the commonwealth in his design for "The Siege of Rhodes." |
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| A basic scenic component in which two halves of a stiff backing at the rear of the stage opened or closed. |
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| A system of scenery changing in which flats were placed in grooves behind the proscenium and on the backstage floor. The flats were pulled off into the wings. |
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| Lights on the floor running along the front of the stage. |
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| A minister who wrote "A Short View of the Immorality and Profaneness of the English Stage." After his attack, the sexual content of the plays was toned down. |
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| The most commercially successful of the English female playwrights of the Restoration. Wrote The Gamester, The Basset Table, The Busy Body, The Wonder: A Woman Keeps her Secret and A Bold Stroke for a Wife. |
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| Many of his plays are described in terms of the "realism." May have been partly autobiographical. |
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