More background on Charm

About the author:   http://www.kathleencahill.org/

DMN Reviewo f the play:
http://www.dallasnews.com/sharedcontent/dws/ent/stories/DN-charm_1115gd.State.Edition1.3f77188.html

Stage review: 'Charm' offers modern, and charming, take on 19th-century heroine
By LAWSON TAITTE / The Dallas Morning News ltaitte@dallasnews.com

Charm has, well, charm.
Kathleen Cahill's play is about Margaret Fuller, an early 19th-century American journalist and philosopher whom few in her own era would have called charming. Educated far beyond what society deemed acceptable for women, Fuller struck people as bold and even freakish.

....More on the website....

Background info on production

‘Charm’ takes on the question: ‘What do women want?’
New plays, Orlando theater, Regional theater — posted by Elizabeth Maupin on November, 11 2009 4:56 PM

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Here's a story that's running in Sunday's Sentinel:

By Elizabeth Maupin
Sentinel Theater Critic
Henry David Thoreau is obsessed with bugs. Nathaniel Hawthorne has a serious case of writer’s block. And Margaret Fuller — the journalist, critic and advocate for women’s rights — is trying to imagine a life for herself in a world where all the intellects of the day are men.

That’s the world of Charm, Kathleen Cahill’s comedy of manners about the great American thinkers of the 1840s, which Orlando Shakespeare Theater will present in a workshop production Nov. 19-22. Charm had a public reading last winter at Orlando Shakespeare’s Harriett Lake Festival of New Plays, or PlayFest, and its popularity there led the theater to take it farther down the line.
In Cahill’s quirky view, Fuller is the woman who inspired The Scarlet Letter — “a sexually vibrant woman in a puritan age. It is also a comedy, and it is also like a painting by Rousseau in which the magical and extraordinary coexist with the ordinary. It’s a fantasia on American history with a woman at the center.”
Director Meg Gibson says she has long been a “huge fan” of Thoreau, Hawthorne and their circle, but she was “completely unaware” of their friend Margaret Fuller.
“She’s not part of our common education,” says Gibson, a New York-based director and actor. “Not only was she this amazingly bright woman, but she was up against the most impossible situation. [Charm] is about what do men want, and what do women want, and what do we want when we want each other.”
Charm — which had its genesis in the fact that playwright Cahill grew up swimming in Walden Pond — has had a couple of previous workshops, in New York and in Washington state, and it will have a first full production in Salt Lake City in the spring. As Cahill pointed out earlier this year, the script may be difficult to produce because it has “some special requirements — like a dress that grows, and leaves that fall and become sheets of paper, and a woman’s feet that sparkle.”
In fact, Charm is a play about real people that’s not at all realistic. That’s fitting, Gibson says, for a script about 19th-century writers who were ahead of their time.
“If you’ve read The Scarlet Letter, Hawthorne was very cinematic,” Gibson says. “Cahill is too.”
Gibson, who is also a playwright, got involved in Orlando Shakespeare’s workshop production because she will direct the full production in Salt Lake City.
“I jumped at it,” she says. “It’s a play that requires some extensive improvisation by the actors. And I think the Transcendentalists were the first great intellects of our country.”
Appearing in Charm in Orlando will be Katherine Michelle Tanner (Laura in Orlando Shakespeare’s Glass Menagerie) as Margaret Fuller, Brandon Roberts as Thoreau, T. Robert Pigott as Hawthorne and Nicholas Wuehrmann as Emerson, along with Michael Gill, Kevin E. Kelly, Allison DeCaro and Melissa Mason.
In a workshop, actors move about the stage but have their scripts in hand, and playwrights may add or subtract from their scripts from one performance to the next.
“What’s great for an audience is they get to do a lot of the imagining,” Gibson says of the workshop process, which usually involves minimal props and rudimentary costumes and sets. “They get to focus on the actors and the play.
“It’s a marvelous float between the page and a full production,” she goes on. “Readings tell you some things. But only when a play is up on its feet can you see what kind of legs a play is going to have. I think Charm is going to have some gorgeous legs.”
‘Charm’
What: Orlando Shakespeare Theater workshop production of Kathleen Cahill comedy.
Where: Lowndes Shakespeare Center, 812 E. Rollins St., Orlando.
When: 7 p.m. Thursday Nov. 19, 8 p.m. Friday Nov. 20 and Saturday Nov 21, 2 p.m. Sunday Nov. 22.
Cost: $10.
Call: 407-447-1700 Ext. 1.
Online: Orlandoshakes.org.
What else: A talkback with the playwright, director and actors will follow each performance.

Elizabeth Maupin can be reached at emaupin@orlandosentinel.com or 407-420-5426. 

Photos: Top right: Melissa Mason and Katherine Michelle Tanner in Charm. Below left: Meg Gibson. Photos courtesy of Orlando Shakespeare Theater.

Kitchen Dog Theatre show FRIDAY!

Directed by: Christopher Carlos
Featuring: Cindy Beall, Michael Federico, John M. Flores, Martha Harms, Christopher Hury, Tina Parker, Jeffrey Schmidt And Brian Witkowicz
"Funny yet beautiful, Charm is a visionary show that breathes life into literary icons." – The Daily Utah Chronicle
The Play: Ralph Waldo Emerson, Nathaniel Hawthorne, and Henry David Thoreau get knocked off their respective pedestals by free spirit Margaret Fuller. Magical, surreal, and transcendentally goofy, Charm has been captivating audiences around the country with its humorous look at societal expectations and the ridiculous rules of love.
The Playwright: Kathleen Cahill's work in theater and musical theater has been seen across the country at the Kennedy Center, Porchlight Theater in Chicago, Signature Theater in Arlington, TheaterWorks in Palo Alto, Barrington Stage Company, and Salt Lake Acting Company, among others.

Attendance to show- 50 points
Critique of show- 50 points

http://www.kitchendogtheater.org/


Directions:
From Downtown
Take Akard St. or Olive
towards Woodall Rodgers
Turn right at the first
light on McKinney Ave. (North)
Just past the light atOak Grove,
the road will curve to the right
Turn righ immediately
following "La Tour" high rise
 
From N. Central Expressway:
Take 75 South
Exit 1B Haskell/Blackburn, Lemmon & Hall St.
Turn right at Hall St.(third light)
Turn left at the first light onto Oak Grove
The MAC is one block down on the right, (a blue brick
building, first right after Bowen

The Show starts at 8 p.m., arrive NO LATER than 7:30 p.m. (otherwise you will not get in)

Anouncements for October

Wednesday, Oct. 27: Los Vendidos in the "Pit" at 10:30 a.m. or 12:45 p.m.


Thursday, Oct. 28 Library Instruction day- Arrive at The Eastfield Library NO LATER than 9:30 a.m. Role will be taken.

Tuesday, Nov. 2: Critique over Romeo and Juliet due for 10 points extra credit
Follow Link here: http://www.youtube.com/watch?v=R6zKB6_mo_M
This is Part one, You will need to watch All 14 parts for your critique

Tueday, Nov. 9: Presentations begin: If you do not go on your assigned day, you recieve an "F" for the presentation part of your project.
Presentation: 75 points (Graded on Content, Accuracy, Visual Aides, and Quality)
Paper: 50 points (Graded on Content, Accuracy, and Organization)

Nov. 9:  Antony, Charles, Conner, David K., Denise, Martha
Nov. 11: Aquilla, Lorenza, Jessica R., Rachel F., Elise, Rachel M.
Nov. 16: Jacob, Katie, Jessica M., David D., Erika M., Ayla Ruuska
Nov. 18: Omar, King, Nathan f., Netysha

Paper is due on your assigned presentation date.
There will be a quiz over the presentations, so it would be in your best interest to attend all the dates.

Theatres in Dallas Area

WaterTower Theatre is dedicated to keeping the art of live theatre accessible to all members of the community, and is now offering a "Pay What You Can" performance for each main stage production in the 2010/2011 season.

For these performances, seating is general admission on a first come, first served basis. Advance reservations are not available. Box office will open 1 hour prior to showtime. We look forward to seeing you at the theatre!

Our Town: Sunday, September 26, 7:30pm
The Lieutenant of Inishmore: Sunday, January 9, 7:30pm
The Traveling Lady: Sunday, April 3, 7:30pm
Shooting Star: Sunday, May 29, 7:30pm
Little Shop of Horrors: Sunday, July 24, 7:30pm

Many students at the high school and college levels are required to see outside performances as a part of their curriculum. While it is not always possible for teachers to put together student groups, rush tickets are an affordable way for students to fulfill this requirement. Fifteen minutes prior to curtain, the best available seats are made available to students with valid ID for only $12.

Theatre 3 Dallas

http://www.theatre3dallas.com/education/studentRush.html

Theatre Three offers two ways for students to receive discounted tickets to any of our productions.

Students who make advanced reservations can receive $3 off the regular ticket price. Reservation can be made at 214-871-3300. High school and college students must show a valid ID at the ticket window.

Students can also receive a $10 standby ticket half-an-hour before showtime. Tickets are subject to availability and are on a first come, first serve basis. High school and college students must show a valid ID at the ticket window.

Students are welcome to call the ticket office on the day of a performance to check on the likely availability of rush tickets. 214-871-3300

Dallas Theatre Center

http://www.dallastheatercenter.org/

Kitchen Dog Theatre
http://www.kitchendogtheater.org/

Bath House Cultural Center

http://www.dallasculture.org/bathhouseculturecenter/

Rover Dramawerks
http://roverdramawerks.com/

Repertory Company Theatre
http://rcttheatre.com/Home_Page.html

Pocket Sandwich Theatre
http://www.pocketsandwich.com/

Tartuffe Part 1 (04/19/08)

Neoclassicism in Theatre

An 18th-century Neoclassical theatre in Ostankino, Moscow

Neoclassicism was the dominant form of theatre in the 18th century. It demanded decorum and rigorous adherence to the classical unities. Neoclassical theatre as well as the time period is characterized by its grandiosity. The costumes and scenery were intricate and elaborate. The acting is characterized by large gestures and melodrama.
Theatres of the early 18th century – sexual farces of the Restoration were superseded by politically satirical comedies, 1737 Parliament passed the Stage Licensing Act which introduced state censorship of public performances and limited the number of theatres in London to just two.

Historical Background Notes:

• Classicism is a philosophy of art and life that emphasizes order, balance and simplicity.
• Ancient Greeks were the first great classicists - later, the Romans, French, English and others produced classical movements.
• the Restoration period marked a Neoclassical movement (1600 to 1700), modeled on the classics of Greece and Rome.
• reason and restraint became the standard for writing.
• John Dryden became the leading poet, critic and dramatist - upholding common sense, moderation and conformity as the ideal.
• Charles II encouraged new playhouses to be built and a renewed interest in drama.
• noted for elaborate scenery, costumes and lighting.
• women for the first time were allowed on stage to act!
• actors employed highly particular ways of standing, speaking and gesturing.
• two types of drama: 1) the heroic tragedy and 2) the comedy of manners.

The Heroic Tragedy

• heroes and heroines faced exaggerated conflicts between love and honour.
• characters expressed noble ideals in high sounding speeches (couplets).
• example: Dryden, All for Love, based on Shakespeare's Antony and Cleopatra.

The Comedy of Manners

• pictures the carefree, immoral world of the aristocracy.
• brilliant, witty comedies.
• "virtue" comes form succeeding in catching a lover or cuckolding a husband without getting caught
• "honor" comes from reputation, not integrity.
• "witty"—saying things in clever ways.
• influenced by the comedies of Moliere in France.
• example: Tartuffe, by Moliere; or The Country Wife, by Wycherley.

Elizabethan Theatre

Theatre's Transition in Europe

The theatre’s transition from the medieval to the Renaissance was more readily apparent in England than in Italy or France ... in those countries, the shift from medievalism to Neoclassicism / Renaissance seemed much more abrupt . We can see much more apparent gradual changes – with the English theatre showing characteristics of medievalism and the Renaissance simultaneously, and occurring over a couple centuries.

The Renaissance did not seem to have much of an influence till the late 15^th century (1400’s) because of wars and internal strife.

Influences on Elizabethan Drama:

The Renaissance / Neoclassical was less binding than in the rest of Europe.

The classics gradually went to England, and some of the early English Renaissance plays reflect that influence.

Ralph Roister Doister – by Nicholas Udall, a headmaster at Eton Academy (1505-1556).

Plot – about a boastful coward -- Indebted to Plautus’s The Braggart Warrior – foolishness of boastful coward and his courtship of a widow Advanced dramatic construction

Gammer Gurton’s Needle – written at Cambridge University, by Mr. "S." (some believe Thomas Sackville) between 1552 and 1563.

Plot – two households disagree /misunderstand about the loss of a needle. Fuses subject matter and characters similar to medieval farce with the techniques of Roman comedy.

Inns of Court – residences and training for lawyers produced plays for self and important guests, like schools.

Gorbuduc – Thomas Sackville and Thomas Norton – 1561 – the "first English Tragedy" – with a "political" statement to make (about leaving the order of succession of the throne unknown – support for Elizabeth’s reign) -- Queen Elizabeth attended.

Forces Shaping English Drama from Medievalism to Elizabethan:

1. Religious and political controversies.

Henry VIII, Mary Queen of Scots, Puritans,

Elizabeth became queen in 1558, died 1603. She outlawed religious drama (her father was Henry VIII, who in 1534 separated from the Catholic Church to form the Anglican Church, or Church of England, with the English monarch as the head of the church – Catholic / Protestant disputes followed and were rampant, and Elizabeth the Queen wanted no religious dissension) – therefore, there was a rapid development of secular drama as a result.

In 1588, the Spanish Armada was defeated (ironically partly because of the weather); and thus there was a time of peace, domestic calm (?) and the gradual supremacy of English, rather than Spanish, influence as a major world power.

2. Medieval Influences: dramas and interludes

Before, during, and after Elizabethan theatre – a sometimes bizarre mixture of classics and native drama (of "sophisticated" and "simple" theatre).

3. Acting became a legal profession in the 1570’s.

The English theatre was directly under the control of the government. Acting companies had to have a license, requiring the patronage of a noble. Provincial troupes were deprived of legal status, so theatre was concentrated around London.

The merchant class disliked theatre (most were part of growing Puritan population), while the aristocracy liked it.

Till 1608, theatre buildings were illegal in the city limits of London, the center of theatre, so theatres were built outside of the city limits.

The first – by James Burbage, head of the first important troupe, the Earl of Leicester’s Men, licensed in 1574 – called "The Theatre."

Despite opposition, by 1580, two companies or more were playing around London.

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University Wits

Acting companies needed new plays. Some of these new plays came from The University Wits – an informal group of scholars applying classical standards to the needs of a vigorous contemporary stage.

Robert Green (1558-1592)

Thomas Kyd (1558-1594)– The Spanish Tragedy – c. 1587.Most popular play of the 1500’s.

John Lyly (c. 1554-1606) – prose comedies

Christopher Marlowe (1564-1593) – Dr. Faustus, Edward II

The University Wits all helped develop:

elegant prose

romantic comedies

complex protagonists

humanism and neoclassicism combined

blank verse – iambic pentameter, not rhymed (called a "couplet" if rhymed)

Marlowe – the most critically acclaimed of the four – Cambridge educated.

1. focus is on the protagonist; episodic story illuminating his complex motivations
2. development of the "chronicle" play – History Play – (i.e.: Edward II) – rearranging, telescoping, and altering events to create a causal sense...
3. helped perfect blank verse

Iambic pentameter, no rhyme. "Couplets" were rhymed.

Tamburlaine parts I&II, 1587 & 1588

Dr. Faustus c. 1588

Edward II c. 1592

Marlowe died in a fight at 29.

Other "University Wits":

John Lyly (c. 1554-1606) and Robert Greene (1558-1592).

The Theatre buildings / structures:

Public theatre emerged with lack of religious and political subjects.

A need for more plays.

By 1604, with James I and the beginning of the Stuart reign, all troupes were licensed to members of royal families. Before that, when Elizabeth came to power in 1558, gentlemen could maintain a group of actors – otherwise, they were considered to be vagabonds.

A license was required to perform plays. But local authorities (many of the Puritans) found ways to keep troupes from performing.

By 1597, the Crown agreed to limit the number of troupes, but took a firmer support of those it sanctioned.

Pre-Shakespearean Acting Troupes:

Many before 1570’s, but little known about them. Noblemen probably paid a fixed yearly sum, and they probably did additional public performances for extra money.

By 1570, government decrees mad acting more secure, daily performances stimulated building permanent theatres and assembling larger companies.

First important troupe: Earl of Leicester’s Men, licensed in 1574, headed by James Burbage – builder of the first theatre in London.

Lord Chamberlain’s Men – with the Burbage family, Shakespeare’s troupe.

A plague of 1592-3 forced many troupes to dissolve or combine.

In 1603, Lord Chamberlain’s Men became the King’s Men, until 1642.

Actors were paid by the court, yearly fee plus other expenses.

Most troupes worked on a sharing plan – risk and profits shared. Democratic, self-governing,

Some troupes or members of troupes owned theatre buildings—they were know as "householders."

Stagehands hired "hirelings" for a salary.

Troupes were all male, men or young boys playing women’s roles, some specialized in particular types of roles.

Large repertories: a different bill each day.

Elizabethan Acting Style

The actual style is not known.

Some scholars argue that acting was formal:

• Males doing female roles
• Non-realistic scripts
• Conventionalized stage sets
• Large repertory

Some scholars argue that acting was more realistic:

• Shakespeare’s "advice to the players" in Hamlet
• Contemporaneous references to convincing characterizations
• Emphasis on contemporary life and manners in many comedies
• Truthfulness of human psychology displayed
• Closeness of audience to performers

In either case, vocal quality and flexibility were necessary.

The Elizabethan Theatre

Elizabethan Theatres

Two kinds:

• Outdoor or "public"
• Indoor or "private"

Both were open to anyone who could pay, but the private theatres cost more, were smaller, and had a more select audience.

Nine Public playhouses were built between 1576 and 1642.The three most important – were all outside the city limits of London:

The Globe (1599)

The Fortune (1600)

The Swan

General features of public playhouses:

• Varied in size – largest seated 2-3,000.
• Varying shapes: round, rectagonal, octagonal
• Had a "pit" or "yard" – where the "groundlings" were – un-roofed space, surrounding the stage on three sides, enclosed by three tiers of roofed galleries. The yard cost less (general admission), the Gallery cost more. There were probably some private galleries.
• The stage was raised, 4-6 feet, extending to the center of the yard.
• A "Tiring house" at the rear of the raised platform – where the actors would wait and change.
• The stage was roofed – called "the heavens"—supported by columns. Flying was common, with cranes and ropes.
• Traps in the floor, for fire, smoke, other effects.
• Two doors in the tiring house—represented widely different locations (France or England, for instance).
• A hut above the Tiring House, for equipment and machinery.
• Flag on top of hut – to signal performance day.
• Musicians’ gallery, below hut, third level.
• Perhaps: Two playing levels, upper and lower; maybe a third. Audience may have sat on 2^nd level..
• Perhaps: a discovery space (probably between the two doors, portable or permanent, 1 or 3 curtains thrusting out.

Indoor / Private Theatres

Less is known about the Elizabethan indoor theatres.

• Smaller, roofed.
• Troupes did shows in winter when it was too cold to be outside – suggesting that the staging was probably similar.
• 1576 – Blackfriar’s – a former monastery – was the first one – closed by 1584.
• The New Blackfriar’s opened in 1596 by James Burbage. Their company, the King’s Men, used it after 1610 as their winter performance area.
• Children’s troupes had been popular for a while until 1610.
• By the time of Shakespeare (1595?), actors had achieved a satisfactory level of financial and social stability.
• By 1642, there were six private theatres in London.
• Private theatre rose in popularity from 1610 to 1642. Public theatres were used only during the five warm months.
• Size: about ¼ - ½ of the seating capacity of the public theatres.
• Spectators sat in the pit or in galleries or private boxes. The stages were probably similar.

Acting Troupes: (review from earlier)

Most troupes worked on a sharing plan – risk and profits shared. Democratic, self-governing,

Some troupes or members of troupes owned theatre buildings—they were know as "householders."

Stagehands hired "hirelings" for a salary.

Troupes were all male, men or young boys playing women’s roles, some specialized in particular types of roles.

Richard Tarleton, William Kemp, and Robert Armin – clowns

Richard Burbage, Edward Alleyn – tragedians.

William Shakespeare (1564-1616)

Between 1590 and 1613, he wrote 38 plays (although, for some, the authorship is still in doubt), some written with others (John Fletcher, for instance).

Histories: (English history, like Marlowe’s Chronicle plays) such as Henry IV, V, VI, VIII, Richard II, Richard III

Tragedies: Romeo and Juliet, Othello, Hamlet, King Lear, Macbeth – generally considered to be his greatest works

Comedies: Twelfth Night, As You Like It, Comedy of Errors

Little known about his life:

• Actor and shareholder in Lord Chamberlain’s Company (Later the King’s Men) by 1595.
• After 1599, a shareholder at the Globe Theatre.
• Actor, playwright, and sometimes director.

Shakespeare and his contemporaries:

General characteristics of the plays:

1. Early point of attack
2. Several lines of action (subplots), independent at first, then somehow merge together – unity in apparent diversity (King Lear  is a perfect example).
3. Large number and variety of incidents; mixing of tears and laughter; gentle and violent passions
4. Time and space used freely – a sense of ongoing life behind the scenes
5. Large range and number of characters; 30 is common; rich and poor, all individuals.
6. Varied language: elegant, ribald, witty, prosaic; all to enhance character and action
7. Subjects from many sources (mythology, history, legend, fiction, plays) but reworked to become his own.

A fluid and flexible production style is needed:

Small props, small set pieces maybe

Costumes important – they were usually contemporary, except for supernatural characters and conventional costumes (for Turks, Spaniards, animals), and with the addition of drapery to suggest periods (Romans wearing toga-like sash).

Shakespeare’s plays seem to be accepted as the most dramatically effective – he attempted all popular forms and subjects.

But his reputation during his lifetime was lower than Jonson or Fletcher of Beaumont. His fame grew in the late 17^th century and reached its peak in the 19^th. Has leveled now.

Survival of his plays depended on fellow actors (i.e.: Henry Condell and John Heminges) – Original edition of his plays was in 1623, called the First Folio.

His four greatest tragedies: Hamlet, Lear, Macbeth, Othello

Shakespeare’s Contemporaries:

Ben Jonson (1572-1637): Considered the best after Shakespeare, but thought he was better.

Perhaps the most influential of his time.

An actor turned playwright.

Followed "the rules" more, but altered them.

Wrote many "masques"—more than anyone else.

In 1616 was made England’s "poet laureate."

In 1616, his plays were published – something usually reserved for poets.

His plays were limited in scope: purpose to reform human behavior, concentrated on foibles of contemporary types.

More harshly moralistic that Shakespeare.

Called "comedy of humors"—

The four bodily "humors" – since classical times, the four humors – blood, phlegm, yellow bile, and black bile – health was thought to depend on them—extended in Elizabethan times to human psychology – the eccentricities of human behavior attributed to them.

Johnson wrote mostly comedies such as Every Man in his Humor (1598.)

His two tragedies Valpone (1606) and The Alchemist (1610), were respected, but popular failures.

Less celebrated contemporaries:

George Chapman, John Marston, Thomas Dekker, Thomas Heywood, Thomas Middleton

Characteristics of their plays:

• early point of attack
• chronological organization
• basic unit is short scene,
• non-illusionistic, developing action
• serious and comic tones
• moral order emphasized (man can make choices but is ultimately responsible to forcer greater than himself)
• struggle between good and evil (but less obviously than medieval).

Jacobean and Caroline Dramatists:

"Jacobean" comes from James I, King after Elizabeth’s death, reigned from 1603-1625.

"Caroline" refers to Charles I, reigned 1625-1642.

After 1610, a significant change in English drama, which set the standard for tragedies between 1610 and 1642:

More technical proficiency than Shakespeare, but subjects shocking rather than profound.

Subject matter – went from penetrating questions to thrill of exciting stories.

Tragicomedy increases in popularity.

Technical skill increases: exposition more adroit, fewer episodes, built complications into startling climaxes, alternated quiet and tumultuous scenes.

John Fletcher (1579-1625) (273):

One of his plays has a brother and sister incest – but the moral problem is resolved when it turns out they’re not really related.

John Webster (c. 1580-1630) (273):

The White Devil  (1609-1612)

The Duchess of Malfi  (1613-14) – insane Prince Ferdinand.

Modern scholars say he is closest to Shakespeare, but flawed by obscure action, always secondary to characterization. Characters surrounded by corruption and receive no new insight – lack Shakespeare’s sense of affirmation.

John Ford (1586-c. 1639):

Exemplifies the decadence of Jacobean / Caroline drama .

‘Tis Pity She’s a Whore (1629-1633)

Sympathetic treatment of brother / sister lovers.

Essentially good characters caught up in abnormal situations

Illuminates evil by associating it with ordinary people – makes him of special interest to modern critics.

The Stuart Court Masque

James I and Charles I were from the house / family of Stuart (whereas Henry VIII and Elizabeth I were Tudors); therefore, the masques were done in the courts of Stuart monarchs.

Masques were allegorical stories intended to compliment individuals or occasions. Scripts were a pretext for spectacle (similar to the intermezzi). Professional actors played roles; but it was three dances that were central to the masques, Much money was spent on them.

Inigo Jones (1573-1652) was an Englishman who studied at Florence and brought almost all of the ideas about Italianate staging to England court theatres.

Significance of the masques:

1. used Italianate staging
2. Puritans associated them with the monarchy –

So when the Puritan Revolution of 1642 came around, Charles I was beheaded, Oliver Cromwell became Lord Protectorate, and all the theatres were closed.

We will examine some aspects of the theatre that returned after the monarchy was restored (called Restoration Theatre) after we take a look at Spanish theatre during the renaissance.

  * From NOVA Online Intro Course