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Transcript of Romanticism Theatre
In Theatre Romanticism History of Romantic Theater (1750-1870) "Cyrano de Bergerac" (1950) Promotes heightened emotions and released passions.
Protagonists are portrayed as rebellious.
Promotes individuality and importance of the imagination.
Little emphasis is placed on believable plots
Awe of Nature
Interest in the common man and childhood
Closest seating became most expensive, with upper galleries the cheapest.
http://www.readwritethink.org/files/resources/lesson_images/lesson1142/CharacteristicsRomanticism.pdf Stephanie Hammell, Emily Rybak, and Taylor Woodruff Counter movement to Rationalism/neoclassicism. Romantics disregard traditional theatrical rules.
In contrast to Rationalism, Romanticists embraced subjectivity and believed nature could never be fully fathomed.
Napoleon led Europe away from Rationalism into Romanticism.
Based on the ideas of Jean Jacques Rousseau who wanted to reclaim human freedom during the Enlightenment.
Sometimes viewed as a return to the Middle Ages, due to the return of the church over reason.
Inspired Nationalism which led to the French Revolution and an unified Germany.
Reign of Terror spurred the desire for a leader who would not rule with cold logic and reasoning. Characteristics of Romantic Theater Romantic Playwrights Romantic Set Design History of Romanticism (cont.) , Sturm und Drang movement of Germany was led by Johann Wolfgang von Goethe and Friedrich Schiller.
contained rousing action, high emotionalism, and protagonist's revolt against society.
The Industrial Revolution was taking place.
The growth of an urban middle class led to the popularization of theater as a whole.
Transportation increased which made possible for a larger audience.
Romantics believed Industrial Revolution was an attack on nature and believed people belonged in the country.
The end of Romanticism is marked by the beginning of Realism. Romantic Acting Romantic acting greatly emphasized freedom of emotion and passion
Very melodramatic- consisted of hero, heroine, villain and accomplice
Protagonist portrayed as strong and unique and often succeed because of trusting his or her gut instinct and emotions Romantic Lighting Actors of the Romantic Period John Phillip Kemble and Sarah Siddons-grace, dignity, and "classical style".
Edmund Kean-"perfected" the Romantic style. Played villainous roles.
William Charles Macready-careful rehearsals, detailed characterizations. Popularized historical accuracy in settings and costumes.
Tyrone Power-comic actor
Henry Irving-realism in staging (concealed set changes)
Sarah Bernhardt-"breeches roles" women playing men
Edwin Booth-interpretation of Shakespearean roles Created to be as realistic as possible and accurate historically and geographically in relation to the play
Scenery included drops, flats, and ground rows of natural settings
Very detailed and realistically painted
Special effects important to make set realistic...
Flying, trap doors, water pump systems, moving panoramas to give the illusion of travel, treadmills allowed for horses and chariot races, volcanic eruptions, fires, etc. Stage illumination shifted from candles and oil lamps to gaslight by the 1830s
Gaslight allowed better control of intensity as needed
Chestnut Street Theatre in Philadelphia was the first to be lit by gas in 1816 Overall Feeling of Romantic plays Romantic acting, drama, and direction were characterized as unrealistic, while the set, costumes, and lighting were realistic. Romantic Playwrights Romantic Costumes Costumes were similar to contemporary clothing during the time period
Decorated outfits- ruffles, ribbons, bows, leg-of-mutton sleeves made of heavy materials
Waistline moved to slimmest part of waist, instead of directly below the bust.
Basque belt-created tight fit of a man's waist.
As romantic theatre progressed, costumes became less elaborate Sturm und Drang Movement (1771-1783) German proto-romantic movement.
Major contributing playwrights to this movement were Johann Wolfgang von Goethe, and Friedrich Schiller.
Means "Storm and Stress".
Emphasizes intense subjectivity
Based on ideas of Rousseau and Johann Georg Hamann.
Stressed faith and experience of the senses
Von deutscher Art und Kunst- pamphlet that acted as a manifesto of the movement
Written by Goethe and Herder Romantic Playwrights Romantic Playwrights Romantic Playwrights Romantic Play: "Cyrano de Bergerac" Gotthold Ephraim Lessing (1929-1981)
German romantic playwright during Enlightenment era.
He is widely considered by theatre historians to be the first dramaturg.
His plays and theoretical writings
influenced the development of
"Miss Sara Sampson" &
First bourgeois tragedies
"Minna of Barnhelm"
Nathan the Wise
Drama René Charles Guilbert de Pixérécourt (1773-1884) French theatre director & playwright who paved the way for French Romanticism.
He is best known for his modern melodramas
"The Dog of Montarges"
"The Magnanimous Slaves"
"The Child of Mystery"
"Child of Paris"
His last play Friedrich Schiller (1759-1805)
German playwright known for his innovative use of the dramatic structure.
Schiller is considered by most
Germans to be Germany's most
important classical playwright.
He is credited with creating the
melodrama & bourgeois tragedy.
"Intrigue and Love"
Historical drama Johann Wolfgang von Goethe (1749-1832)
German playwright whose plays were characterized by long, sprawling action.
He was an early participant in the Sturm und Drang literary movement.
"Faust Part I & Part II"
"Götz von Berlichingen"
"The Natural Daughter"
Verse drama Edmond Eugène Alexis Rostand (1868-1918)
French poet, dramatist, & playwright.
He is associated with Neo-Romanticism.
Rostand's romantic plays were an alternative to the naturalistic theatre popular during the late 19th
"Cyrano de Bergerac"
Adapted into the Broadway
musical comedy,"The Fantasticks"
"La Derniere Nuit de Don Juan"
(The Last Night of Don Juan)
Poetic Drama Heroic comedy written in 1897 by French playwright, Edmond Rostand.
Setting of the play is in France in 1640.
It's about a talented, & brave, but physically unappealing, cadet, Cyrano de Bergerac and his distant cousin, the beautiful and intellectual heiress, Roxane.
Cyrano has an extremely large nose, which he believes is the ugliness that denies him the "dream of being loved by even an ugly woman."
The entire play is written in verse, in rhyming couplets of 12 syllables per line but the verses sometimes lack a caesura or pauses in lines of poetry.