Performers in Eighteenth Century British Theatre
Eighteenth century British theatre was perhaps the starting point that would evolve into modern theatre. Women started to be allowed on stage and acting techniques were beginning to change. Leading performers were like celebrities with a number of fans. Theatre was an intricate part of the social ladder. In the overall scheme of things the actors and actresses played an important part in making the theatre what it was. Without the performers there wouldn’t really be theatre, so in order to understand the eighteenth century British theatre the performers of that era need to be understood.
The social standing of actors and actresses in the late eighteenth century was mostly understood to be of the lower class but they were not always treated so. "Many performers, furthermore, were received everywhere with cordiality and respect. Several of them made marriages with persons of distinction;" (Hogan, cxx). A problem that would often occur to dampen a performer's social standing would be the result of a character they played. People of the audience would often hold the performer accountable for the faults of their character. "For an actress to portray an adulteress was not only immodest, but it would almost certainly induce her to become one in reality; of an actor profligacy and immorality were his chief characteristics;" (Hogan, cxx).
In a season that could involve 200 nights of performances over 100 plays may be produced (Hogan, ciii). With this in mind many actors and actresses would need to be available to play a great number of parts. For example, "in 1794-95 Quick's first appearance was on 24 September, his last on 25 May. This is a period of 177 nights, out of which he acted on 149, in 47 different parts" (Hogan, cii).
With such an abundance of parts to be learned and understood performers had to develop a system to remember everything. There is no exact detailed system to how performers did this than just completely taking time to focus on the part. Hogan provides an example from Michael Kelly‘s Reminiscences that is perfect in showing the focus and discipline performers had to have. “Previous to the opening of the newly constructed Drury lane in the spring of 1794 its acting manager. John Philip Kemble, must clearly have had his mind occupied with countless details: the superintendence of a large crew of house servants and workmen, of finances, of advertising, of preparing a spectacular revival of Macbeth.
h The form of Elizabethan theatre derived from the innyards and animal baiting rings in which actors had been accustomed to perform in in the past. They were circular wooden buildings with a paved courtyard in the middle. Such a theatre would hold around 3,000 spectators. The yards were about 80 feet in diameter and the rectangular stage 40ft by 30ft in height
Agnew, Robert. 2001. "An Overview of General Strain Theory" ” In Paternoster and Bachman (Eds.) Explaining Criminals and Crime. Los Angeles, CA: Roxbury.
The eighteenth century is widely reputed to have been the Age of Theatre in France. A unique form of entertainment and mass communication, theatrical productions brought together representatives from all degrees of social and economic status in one building to share a common experience. Despite an attitude that emphasized the glorification of French culture, the government viewed the theatre primarily as a form of entertainment and sought to prevent any deviation from this main emphasis. Although plays were monitored through censorship of scripts, the agents of authority made little attempt to shape popular views on specific political issues through drama. In contrast, practitioners of bourgeois drama aimed at converting the theatre into a schoolhouse for moral values and virtue in social interaction. Parisian audiences, especially those standing in the open parterre area in front of the stage, often used the theatre as a forum for voicing their own opinions on political issues. Far from being mindlessly molded by any agenda of the French playwrights or royal patrons, the spectators claimed for themselves the capacity to pass judgment on the plays presented on the stage. The Crown's formal regulation, the playwrights' didactic intention, and the spectators' vocal reactions created an interaction of control, manipulation, and political articulation in eighteenth-century Parisian theatre.
Why was Elizabethan theatre so successful? One of the reasons that Elizabethan theatre was so successful was that it was enjoyed by the Queen. Elizabeth never visited the theatre herself, but was known to have invited companies of actors to perform for her at court, as is shown by this extract from government records in 1572: "To the Lord Chamberlain's players at Whitehall, 25 February 1572, for a play presented by them before Her Majesty on St Stephen's Day. " She was a very important patron of the theatre, even allowing one company to call themselves "The Queen's men". This meant that people would think that the theatre was not a bad thing as the ruler appointed by God supported it, and therefore they could not be doing wrong by following her example.
Those who had remained in England during the Commonwealth had faced years of strict moral repression. Those who fled to France had acquired some of the decadence bred across the channel. In combination, these two forces created a nation of wealthy, witty, amoral hedonists. Their theatre reflected their lifestyles. Thus was born the Restoration Tragedy and the Comedy of Manners.
...he actors get ready for the play they are putting on, what people think of the play, and finally how the playwright is getting ready for his next play.
The love for theatre that King Charles brought back with him from his exile brought reflexivity to who was in the audience. Charles funded many stage productions and the presence of royalty brought a certain amount of prestige to the playwrights and actors and actresses performing at the time. To attend the theatre was a venue for social mingling and self-exploration and expression for women ...
Social Security is a federally administered social insurance program. The program was created in 1935; it was designed to mitigate the financial damage caused by the Great Depression. Social Security provides monthly cash stipends to the disabled and the elderly. As of December 2013, 58 million people were receiving Social Security payments (Social). Social Security is financially unsustainable because there is a significant difference in the number of retired and the number of workers paying into the system. This high retiree to worker ratio is wreaking havoc on the financial stability of Social Security. Fixing Social Security would require an increase in the Social Security tax, more stringent disability eligibility requirements, and a raise in the payroll ceiling.
Strain theories of criminal behaviour have been amongst the most important and influential in the field of criminology. Taking a societal approach, strain theories have sought to explain deficiencies in social structure that lead individuals to commit crime (Williams and McShane 2010). Strain theories operate under the premise that there is a societal consensus of values, beliefs, and goals with legitimate methods for achieving success. When individuals are denied access to legitimate methods for achieving success, the result is anomie or social strain. This often leads an individual to resort to deviant or criminal means to obtain the level of success that they are socialized to pursue. This is the basic premise of strain theory. This paper will explore the evolution of strain theories by first examining their intellectual foundations which laid the foundation for Robert Merton’s theories of anomie and strain. Merton’s strain theory will be discussed in detail including the modes of adaptation that people use when faced with societal strain. Finally, the paper will conclude with the strengths and weaknesses of Merton’s strain theory and an examination of the criminological theories and social policies it has influenced.
The theater was one of the primary forms of entertainment in Elizabethan England, as anyone, rich or poor could attend the plays.The rich would sit in boxes or galleries, while the poorer people would have to stand for the entirety of the play (Haigh). The poor would stand in front of the stage which would normally be raised about 4 to 6 feet and the theater could hold on average 3,000 people (Trumbull). The rich however usually watched plays in indoor private theaters, but sometimes would watch the plays in the outdoor public ones. Performances ...
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