Introduction:
The historic Drury Lane theatre, which is more formally known as Theatre Royal, Drury Lane is one of the oldest theatres in London, dating back to 1663. Drury Lane building is located in Covent Garden, the eastern part of City of Westminster, the ‘theatreland’, which is a place dedicated to professional theatres in the western end of the central London. ‘Theatreland’ is the venue for more than forty theatres, out of which Drury Lane theatre, Cambridge Theatre, Fortune Theatre etc. are prominent.
Drury Lane is included among the class of West End theatre, which is deemed as one of the elitist class of commercial theatres in English-speaking countries, drawing tourists from all over the world. During the puritanical rule in England, theatrical performances along with other forms of public entertainment were prohibited. It was after the restoration of King Charles II, that this moratorium was uplifted. During first two centuries of its inceptions, it remained the leading theatre of London which was granted monopoly license, with few other theatres, by Charles II to perform serious drama on the stage.
On 7th May 2013, the theatre celebrated its 350th anniversary. The contemporary theatre is owned by ‘Really Useful Theatres’, whose owner is Lloyd Webber. It has staged many
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Charles Hart was fond of playing the role of male half of amusing couples. Michael Mohun was a famous English actor of stage. After the inception of King’s Company, he was bestowed full share in this company through an agreement. Samuel Pepys was very much impressed and declared him the best actor in the world. Mohun enjoyed the power in King’s Company and used his powers to frequently sign official documents. This sharing of power between Killigrew and Mohun gave rise to various conflicts on different occasions and prevented the business venture from gaining phenomenal
The Restoration in England was an era ripe for the development of new ideas in the arts. The return of the Stuart monarchy under Charles II marked the end of eighteen years of almost dictatorial control by Oliver Cromwell and his Puritan parliament. Cromwell had campaigned actively to halt all theatrical activity. In the end, however, his laws were actually responsible for helping move England forward in theatrical history. Actors, under Cromwell's laws, were to be apprehended a rogues if they were caught "in the act" so to speak of performing their trade. Some left their careers and sought employment elsewhere. Most, however, remained undaunted by parliament's threats. Productions continued quietly in tennis courts, inns and private houses. Officials were bribed to keep silent their knowledge of violations. The theater in England had moved indoors as it had already done in France and Italy. Although the reasons for the move were different, the end result was the same. Up until this time plays had always been performed outdoors in the early afternoon. Performances traditionally relied on sunlight, natural scenery, and minimal set pieces that could be easily transported from one location to another. Indoor productions required something much more elaborate. The preliminary concepts of scenic design and lighting design began to form in England in the late 1650's. During the Restoration, as controls were lifted, technical theater began to flourish. Many early examples of modern stage techniques were born between 1660 and 1800, making the Restoration a significant era in the history of scenic design and lighting for the theater. The art of scenic design did not begin in England. As early as 1570 the Italians were giving elaborate opera performances in the ducal courts using perspective scenes and various types of stage machinery. The French mimicked the design ideas of the Italian's and gave them a name, la scene a l'italienne. (Southern 221) Although Cromwell had banned public theater, opera was still considered a lawful art form. In England, just prior to the Restoration, John Webb designed the scenery for William D'avenant's 'opera' production of The Siege of Rhodes.
If there is truly tradition to be found among the great theatres both on and off Broadway, then certainly the Sullivan Street Playhouse and its long running production of The Fantasticks rates as one of the most celebrated of New York theatrical traditions. Maintaining its place as the longest running production Off Broadway, The Fantasticks remains an enchanting and insightful tale of both young love and bitter disillusionment. It also reminds one, in this age of spectacle and the mega-musical, how powerful and truly inspiring theatre itself can be. Clearly, one of the great strengths of this production and a large part of its appeal for audiences over the last four decades lies in the fact that both the story and the style of presentation compliment each other so completely. Here we find the non-essentials are stripped away, and we are left to rely simply on the imagination of both the audience and the performers to create a magical evening.
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.
Kenrick, John. Musical Theatre A History. New York: The Continuum International Publishing Group, 2008. Print.
first famous theater on record is none other than the Globe Theater. This wasn't your everyday
“Lecture, concert will tell State Theater History.” Bay City Times 7 Oct. 2010: C1: Print. LaLonde, Pati. “Out with the old.”
The National theatre, Old events at the Old Vic Archive,Past Events,Past productions 1996-2000 date accessed 20/03/10 http://www.nationaltheatre.org.uk/8209/past-events/past-productions-19962000.html
In conclusion, The Adventures of Huckleberry Finn, although very controversial, is a novel where learning is inevitable. Whether it be learning from the overall message that the beautifully crafted story promotes for others, or discovering all of Twain's indirect lessons taught, it is a very prestigious piece of literature. Although many of the novel's critics base their ideas solely on Twain’s diction incorporated, most specifically his use of the word “nigger,” the novel does not become any less valuable. The meaning and purpose behind all of Twain's choices withheld in it, only reveal truths and openness concerning America, what it used to be back in the 1800s, and what it is now. Therefore, if it is to be taught in schools, it should
This new theatre was an extremely risky venture. Any actor caught performing would be imprisoned. Box office receipts would be confiscated for the Commonwealth. Enormous fines would be levied against any daring to sit in an audience. Entire playhouses would be destroyed, their interiors gutted or exteriors burned. Theatre faced extinction. It became an obsequious art, catering to Cromwell's strict moral code. Killigrew would survive, and eventually form the Theatre Royal, but he lived in constant fear. Davenant worked through legal channels to produce theatre Cromwell could not dispute. His pieces were simple, more opera then play, and propaganda for the Commonwealth. Interestingly, the first woman to appear on the British stage did so in this time, in Davenant's The Siege of Rhodes. He began pushing the envelope, uncomfortable in his new sycophantic role. He renewed his ties to the British aristocracy, exiled to France. He befriended Charles II, and when the young king made his triumphant return to power, Davenant was given the monopoly on all theatre in London. He shared this power with his old friend Thomas Killigrew. Under their guidance, the theatre exploded back into being.
Russell Brown, J. 1995. The Oxford Illustrated History of the Theatre. 3rd ed. Oxford: Oxford University Press.
Theatre has heavily evolved over the past 100 years, particularly Musical Theatre- a subgenre of theatre in which the storyline is conveyed relying on songs and lyrics rather than dialogue. From its origination in Athens, musical theatre has spread across the world and is a popular form of entertainment today. This essay will discuss the evolution and change of musical theatre from 1980-2016, primarily focusing on Broadway (New York) and the West End (London). It will consider in depth, the time periods of: The 1980s: “Brit Hits”- the influence of European mega musicals, the 1990s: “The downfall of musicals”- what failed and what redeemed, and the 2000s/2010s: “The Resurgence of musicals”- including the rise of pop and movie musicals. Concluding
...ressing plays, plays were definitely suppressed. Over the next decade, attempts to revive performances were made but this edict practically closed theaters, marking the end of Elizabethan drama.
A mere mention of the term theatre acts as a relief to many people. It is in this place that a m...
In the seventies, we could do anything. It was the rainbow coalition, anti-Vietnam, all of those elements. And then we morphed over to where it became extremely straight-laced and non-risk taking. I think we are beginning to take risks again but within those societal norms.” Theatre only goes so far as society will allow it, as showcased by the Conservatory and it being influenced by the culture surrounding it.
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 ...