Restoration Theatre II Major playwrights and actorsactresses Government

Major Playwrights Aphra Behn © 2011, The Mc. Graw-Hill Companies, Inc. All Rights Reserved.

Thomas Betterton – Actor and Manager – attention to detail, self-discipline, majestic restraint; model

Actresses – Eleanor (Nell) Gwynn – Anne Bracegirdle Nell Gwynn Meets King Charles II

Actresses • Representation of Women – “Women of quality” - Virgins and Nuns •

Liberation or Exploitation of Women – Actresses often seen as no better than prostitutes

Acting Companies • Actors were hired on a contract system and not a sharing

Government and the Theatres • Master of Revels took control of theatre and issued

Theatre Architecture • All theatres were now indoor proscenium-arch buildings – Audience areas divided

Ground Plan of a Restoration Stage © 2012, The Mc. Graw-Hill Companies, Inc. All

Scenic Practices • Sets painted in perspective • Flats on groove system – Stock

© 2011, The Mc. Graw-Hill Companies, Inc. All Rights Reserved. 1 -16

© 2011, The Mc. Graw-Hill Companies, Inc. All Rights Reserved. 1 -17

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Restoration Theatre II • • Major playwrights and actors/actresses Government and the Theatres Theatre Architecture in the Restoration Scenery, Scene-Shifting Technology, Costumes, and Lighting © 2012, The Mc. Graw-Hill Companies, Inc. All Rights Reserved. (© Historical Picture Archive/Corbis) 1 -2

Thomas Betterton – Actor and Manager – attention to detail, self-discipline, majestic restraint; model of English oratorical style – Shakespeare’s tragic heroes, – skillful in comedy and tragedy – Became manager of Duke’s company after Davenant’s death – combined the company with Killigrew’s to form United Company – Eventually led actor’s revolt against John Rich, formed a second patent company – Earned approximately $62, 000 in today’s money in his final benefit performance (Actors' Equity Association minimum weekly salary is $1, 605 a week)

Actresses – Eleanor (Nell) Gwynn – Anne Bracegirdle Nell Gwynn Meets King Charles II (Bettmann/Corbis) Anne Bracegirdle (Mander and Mitchenson/ Arena. PAL) © 2012, The Mc. Graw-Hill Companies, Inc. All Rights Reserved. 1 -5

Actresses • Representation of Women – “Women of quality” - Virgins and Nuns • “Virginal Ingénue” – character, usually a passive and swooning damsel who must be rescued. • Ex. Florinda in The Rover – Women of ill repute/Whores • Lucetta – Ambiguous - neither pure nor innocent • Angellica Bianca • Aphra Behn – intelligent, witty and independent women – Ex. Hellena – Popular dramatic device to dress woman as a man – called breeches roles • Considered by religious leaders to be scandalous • Example – Hellena in The Rover

Liberation or Exploitation of Women – Actresses often seen as no better than prostitutes • Not necessarily a sign of equality or equal treatment by allowing women to perform – Commodified women • Women as property » Ex. The Rover » Dowery, • Women for sale; on stage, in theatre and in life – Angellica’s photos and price • Theatre liberates women – Behn, Nell Gwynn • Theatre exploits women and reinforces stereotypes • Today?

Acting Companies • Actors were hired on a contract system and not a sharing plan – Marked a decline of actors’ control over theatre in London – Actors were provided with yearly “benefits” where one actor would keep all the profits of a performance • Actors learned their craft through apprenticeships • Rehearsals lasted less than 2 weeks • Acting styles featured broad gestures and powerful declamatory delivery – Actors fell back on conventional patterns of stage movement

Government and the Theatres • Master of Revels took control of theatre and issued licenses at start of restoration (Killigrew) • In 1737, Parliament passed the Licensing Act – Only two theatres were authorized to present “tragedy, comedy, opera, play, farce, or other entertainment for the stage for gain, hire or reward” • Covent Garden and Drury Lane theatres were the two theatres authorized

Theatre Architecture • All theatres were now indoor proscenium-arch buildings – Audience areas divided into pit with backless benches and raked from back to front, boxes, and galleries • Stage divided into two distinct halves – The Apron – the forestage in front of the proscenium – major area for performance – Backstage housed the scenery – Entire stage was raked • Proscenium doors – Used for entrances and exits

Scenic Practices • Sets painted in perspective • Flats on groove system – Stock settings were normal: drawing room and the park • NO CLOSED CURTAIN • Scene changes happened while audience watched • Costumes followed traditions of English Renaissance – Contemporary clothing was standard – Traditional costumes and accessories worn to indicate historical figures or eras • Lighting was difficult – Performances took place in the afternoon to use natural lighting – Candles and chandeliers were used to light as well – Used footlights – lights on the floor running along the front of the stage