Ch10 Theatre in the Eighteenth Century.docx

Theatre in the Eighteenth Century Objectives After studying this chapter, the student should be able to: Differentiate among middle class tragedy, opera, sentimental comedy, and commedia dell’arte. Identify major playwrights from the eighteenth century. Identify major Restoration Theater buildings. Describe the development of theatre in America. Describe costume, scenic, and lighting practices in the eighteenth century. Lecture Topics What was the relationship between the government and the theatre in eighteenth-century Germany and France? What were some of the new dramatic forms that began to appear in the eighteenth century? What was the nature of the struggle between Carlo Goldoni and Carlo Gozzi? Discussion Is the eighteenth-century theatre best known for its actors, playwrights or scenic designers? How were theatres regulated in the eighteenth century? How did the Hallam family contribute to the development of theatre in America? What major changes occurred in scenic design in the eighteenth century? Compare and contrast the acting styles of Dumesnil and Clairon. Multiple-Choice Please choose the answer that best completes each sentence. 1. Any serious play that did not fit the neoclassical definition of tragedy in the eighteenth century was known as: A. comic opera B. sentimental tragedy *C. drame D. melodrama 2. Remembered for his essay, The Paradox of Acting, ___________ argued that the best actors invoke strong emotions in the audience by using calculation and craft. A. John Gay *B. Denis Diderot C. Richard Brimsley Sheridan D. Constantin Stanislavsky 3. In _______________, a parody of Italian opera, there was no sung dialogue. A. sentimental comedy B. drame C. comedie larmoyante *D. ballad opera 4. ________________ reaffirms middle-class morality: the virtuous are rewarded and the wicked punished. *A. Sentimental comedy B. Ballad opera C. Drame D. Storm and stress drama 5. The author of School For Scandal, ________________ is one of the best known writers of sentimental comedy. A. Caron de Beaumarchais *B. Richard Brinsley Sheridan C. Carlo Goldoni D. John Gay 6. In the eighteenth century, actors and actresses believed that the chief criterion for a costume was: A. Historical authenticity B. Consistency in color C. That they were appropriate for a role *D. Showing the performer off to the best advantage 7. What actor was noted for a sympathetic portrayal of Shylock, breaking the tradition of a comical stereotype? A. David Garrick *B. Charles Macklin C. William Hallam D. Geoff Hess 8. In his "Essay on the Theater," ______________ attacked sentimental comedy, calling instead for a "laughing comedy" which would force the audience to laugh at themselves. A. Richard Brinsley Sheridan B. Denis Diderot C. Carlo Gozzi *D. Oliver Goldsmith 9. Eighteenth-century tragedy used subjects from the ___________________ class. A. upper *B. middle C. lower D. theatre history 10. Through his play, The Marriage of Figaro, _________________ questioned the social structure of France. *A. Pierre-Augustin Caron de Beaumarchais B. Jean Baptiste de Poquelin C. Phillippe Jacques de Loutherbourg D. Marie-Francoise Marchand 11. ____________________ was responsible for moving commedia dell'arte from bare-bones scenarios to fully scripted literary works. *A. Carlo Goldoni B. Henry Giffard C. Rene Charles Guilbert D. Samuel Foote 12. In the mid-eighteenth century, a struggle emerged between _______________ over what direction commedia dell'arte should take. A. William Davenant and Thomas Killegrew *B. Carlo Goldoni and Carlo Gozzi C. Richard Brinsley Sheridan and Oliver Goldsmith D. Ferdinando and Francesco Bibiena 13. What two famous French performers were known for their intense rivalry? A. Caroline Neuber & Hellen Hallam *B. Dumesnil & Clairon C. Sarah Bernhart and Isabelle Bibienne D. Sarah Siddons & Laura Duse 14. A set that is built like a real room, only missing one wall, is known as a(n): A. Expressionistic Set B. Unit Set *C. Box Set D. Surrealistic Set 15. The rise of the middle class, and their increased theatergoing, led to the birth of: A. comedy of manners *B. bourgeois tragedy C. melodrama D. ballad opera 16. The "Sturm und Drang" (Storm and Stress) movement was the forerunner of: A. Gesamtkunstwerk B. well-made plays *C. Romanticism D. the modern director 17. The most successful theatrical entrepreneur of the late Restoration was A. Thomas Betterton *B. Christopher Rich C. Aphra Behn D. Charles Macklin 18. Developed from popular entertainers performing at Parisian fairs _______________ presented musical entertainments in order to get around the monopolies, which the French government granted to other theaters. A. commedia dell'arte B. sentimental theaters C. bombastic theaters *D. boulevard theaters 19. Charles Macklin and David Garrick both were innovators and rebelled against: *A. the bombastic, conventionalized style of acting B. the dominance of the proscenium stage C. the Licensing Act of 1737 D. the emergence of the director 20. The _________ family arrived in Colonial America and became one of the earliest professional English companies on record. A. Bibiena B. Macklin *C. Hallam D. Neuber 21. The _______________ was the prominent way of changing scenery in the English Restoration. A. pole and chariot system B. fly system *C. groove system D. turntable 22. John Rich opened this London theater in 1732; it was one of the only two licensed theaters of the time. A. Black Friars *B. Covent Garden C. Astor Place D. The Globe 23. The most influential Italian designers and theater architects of the eighteenth century belonged to the ______________ family. *A. Bibiena B. Hallam C. Dumesnil D. Garrick 24. __________________________ banished spectators from stage. *A. David Garrick B. Goethe C. Edwin Booth D. Patrick Stewart 25. He wrote Rules for Actors, a set of regulations for acting, as well as personal behavior. *A. Johann Wolfgang von Goethe B. Edwin Booth C. David Garrick D. Mandy Patinkin True/False Please choose whether the statement is true or false. 26. “Storm and stress” dramatists rejected dramatic rules and often were radical in subject matter and style, paving the way for nineteenth century romanticism. *True False 27. Eighteenth century theaters sometimes used ground rows, which were curtains at the front of the stage. True *False 28. A box set has flats, which are joined together at angles to form the three-dimensional walls of a room. *True False 29. Spoken décor is a convention, which relies on several vanishing points in scene design. True *False 30. With a natural style of performance rooted in observation and mimicry, Charles Macklin is perhaps best known for his sympathetic performance of Shylock in The Merchant of Venice. *True False 31. While Clairon was known for her spontaneous and intuitive style of acting, Dumesil was known for her intelligent and industrious preparation. True *False 32. Sentimental comedy, based on the comedy of humours, marks the return to “laughing comedy.” True *False 33. From 1737 to 1843, Drury Lane and Covent Gardens were the only two London theaters authorized to present legitimate drama. *True False 34. The Bibiena family was best known for its design innovations. *True False 35. A major change in scenic design in the late eighteenth century was the introduction of single point perspective. True *False Essays 36. Compare and contrast the acting styles of two actors from the eighteenth century. 37. Trace the beginnings of the modern director, citing the work of significant theatre practitioners. 38. Discuss the trend toward “sentimentalism” in the 18th century, and compare it to today’s television dramas.