Chapter 10

1. Chapter 10

2. 18th Century/ 1700’s • Homogenous, self contained societies are disappearing, things are becoming more global • Increase in manufacturing • Increase in middle classes • Age of enlightenment or simple the enlightenment. • Increased exchange of knowledge and learning • Increased demand and supply of dictionaries and encyclopedias.

3. What is “good” acting?

4. Rococo Art • Antoine Watteau, • Pierrot, 1718-1719

5. Denis Diderot • Denis Diderot • Drame– a serious play that did not fit the neo-classical idea of tragedy • Ex. Middle class tragedy • Domestic tragedy • Rise in middle class plays reflected the rising middle class audience

6. More Diderot • Actor’s Paradox • Best actors invoke strong emotions in an audience by using calculation and craft, NOT by experiencing the emotions themselves. • Strasberg wouldn’t agree

7. Diderot • Wanted greater realism on stage • Acting and scenery • "When you write or act, think no more of the audience than if it had never existed. Imagine a huge wall across the front of the stage, separating you from the audience, and behave exactly as if the curtain had never risen.“ • Developed the concept of the fourth wall

8. Diderot’s Fourth Wall • An imaginary wall between the actor and the audience. • Actor’s shouldn’t acknowledge the audience and the audience should not interfere with the actor

9. Diderot’s theories were (are) contraverisial • Henry Irving Opposed Diderot 100 years later

10. Acting in England • Rehearsal were about 3 hours a day for two weeks • In England actors were mainly contracted, rehearsals run by the actor-manager. • French actors in government theatres were part of a sharing plan. ComedieFrancaise was democratic, actors voted. • Shows started at 5 or 6pm, a whole evening of entertainment (musical performance, full length play, entertainments between acts, afterpiece, sometimes a short one act.

11. Dumesnil vs. Clairon

12. James Quinn, actor (1693-1766)

13. Charles Macklin

14. Charles Macklin

15. David Garrick • Started as an actor, played Richard III in 1741 in Goodman’s Fields, an unlicensed theatre. • Noted for having a natural style, based his action on observation

16. Garrick • Became actor-manager of Drury Lane • Made actors rehearse longer and to performance standards • Established penalties for not following rules • Gave actors direction • Worked with designer and inventor Philip James de Loutherbourg

17. Garrick • Placed lights behind scenery • Introduced local color, did away with stock scenery • Shortened the apron • Did not allow actors to use the stage doors • Removed seating on the stage

18. Johan Wolfgang von GoetheWeimar Court • Rules for Actors • Stage German (RP in UK) • Oversaw staging and costumes • Believed in historical accuracy • Audience reactions should be limited to applause or no applause.

19. Goethe’s Three Questions • What was the artist trying to do? • Was he/she successful in doing it? • Was it worth doing?

20. Carlo Goldoni and Carlo Gozzi • Both were involved with writing commedia dell’arte plays • Goldoni wanted more realism; • moved commedia from scenarios to full scripts, • discouraged masks and improvisation

21. Gozzi • Theatre of the fabulous • Commedia meets prose and poetry • Planned in improvise actions • Both were popular and were influential