Restoration Comedy in PerformanceCambridge University Press, 29 aug 1986 - 271 pagina's Restoration comedy disappeared from the stage for nearly 200 years until it was revived early this century. Without the benefit of a performance tradition has suffered from an inappropriate literary and moralistic criticism which continues to this day. Yet this brilliant court and coterie comedy of sexual and social behaviour was an extraordinary success in its own time, and enjoys a unique place in theatrical history as an example of the interplay possible between the stage and the audience. In this book John Styan persuades us that only through a performance approach to the great plays of Etherege, Wycherley, Dryden, Shadwell, Vanbrugh, Congreve and Farquhar can we recover a sense of their value. Restoration Comedy in Performance is liberally illustrated with contemporary drawings and modern photographs, and it draws extensively upon documentary and visual evidence of the seventeenth century in order to suggest the importance of the costume and customs, manners and behaviour of the age to an understanding of the sort of theatre and drama it produced. Professor Styan also discusses the problems encountered in the early attempts to revive the comedies in the twentieth century, and pauses frequently in order to offer a descriptive account of a moment of staging or to recreate a scene or a sequence of comic repartee or action. The book aims to bring back to life, therefore, something of a lost art form, not as a piece of conventional stage or production history, but as a true attempt to recognize the virtues of Restoration comedy as a performing art. |
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Inhoudsopgave
Introduction and approach | 1 |
THE CRITICAL REVERSAL | 3 |
THE LIFE IS IN THE STYLE | 5 |
A HOMOGENEOUS AUDIENCE | 7 |
THE BEHAVIOUR OF THE AUDIENCE | 8 |
A SELFCONSCIOUS THEATRE | 11 |
RECREATING THE PERFORMANCE | 16 |
The playhouse and the performance | 19 |
DEPARTURES FROM ACCEPTABILITY | 126 |
THE BREECHES PART | 133 |
Stage and sexual tactics | 143 |
THE SPACIOUS ENTRANCE AND EXIT | 147 |
PATTERNS FOR LOVERS | 153 |
DORIMANT SUFFERS THE RITES OF LOVE | 160 |
LOVERS PLAY LOVERS | 163 |
LOVE IN THE BURLESQUE VEIN | 167 |
THE STAGE DOORS | 23 |
THE BALCONIES | 25 |
THE SCENERY | 27 |
DISCOVERIES | 28 |
FAMILIAR LOCATIONS | 29 |
THE MUSIC | 35 |
LIGHTING AND EFFECTS | 36 |
RESTORATION SETTING ON THE MODERN STAGE | 38 |
The actor | 43 |
THE ACTOR IN COSTUME | 45 |
DORIMANT GREETS THE NEW DAY | 54 |
HIS PERSONAL PROPS | 59 |
THE STYLE IS THE MAN | 65 |
THE BEAU ASSUMES HIS ROLE | 70 |
SIR FOPLING INTRODUCED | 75 |
THE ACTOR SHARES HIMSELF WITH THE AUDIENCE | 79 |
A BRIGHT DANCE OF LIFE | 84 |
The actress | 89 |
EXPLOITING THE ACTRESS | 91 |
DRESS AND UNDRESS | 96 |
THE TOILETTE | 102 |
THE FAN | 107 |
THE MASK | 112 |
THE STYLE OF THE ACTRESS | 118 |
A STAGE FOR DANCING | 170 |
A mode of speech | 175 |
DIFFERENCES IN SPEECH BETWEEN CHARACTERS | 179 |
REPARTEE | 182 |
WHINING OF LOVE | 186 |
LOVE ON THE TONGUE | 189 |
CONTRACTS AND PROVISOS | 194 |
A NOTE ON VERSE SONG AND NONILLUSION | 198 |
DOUBLE ENTENDRE | 201 |
THE GLORIES OF THE ASIDE | 204 |
The spirit of the performance | 210 |
REAL OR ARTIFICIAL? | 212 |
TOWN AND COUNTRY MATTERS | 214 |
CHASE AND CAPTURE SEDUCTION AND CONQUEST | 217 |
MISMATCHES AND CUCKOLDRY | 227 |
A NOTE ON DISGUISING | 232 |
AIMWELLS SWOON | 234 |
A TEMPLE OF PAGAN DELIGHTS | 238 |
THE SPIRIT THE STYLE AND THE REVIVALS | 243 |
Appendices | 252 |
The comedies in order of popularity 16601747 | 258 |
259 | |
264 | |
Overige edities - Alles bekijken
Veelvoorkomende woorden en zinsdelen
actor actress Aldwych Theatre amorous Archer Athene Seyler audience beau Beaux behaviour Bellinda Berinthia Bibliothèque Nationale breeches CELADON century character Cibber Colley Cibber comic stage Congreve Country Wife court Courtall cuckolding dance Dancing-Master door DORALICE Dorimant Dorinda Double Dealer drama dress Dryden Edith Evans entrance Etherege eyes farce Farquhar FLORIMELL fool gallant Garden gentleman gesture girl Hammersmith hand Harriet Horner husband John Gielgud joke kiss Lady Bountiful Lady Brute Lady Wishfort lady's lines look Love for Love Loveit Loveless lover Lyric Theatre madam Margery Marriage mask Melantha Millamant Mirabell mistress Mode never Nigel Playfair Old Vic Palamede performance peruke Pinchwife play players playhouse playwright pretty Provoked Wife PRUE Recruiting Officer Restoration comedy Restoration stage Rhodophil ridiculous scene Silvia Sir Courtly Sir Fopling speak spectator speech Stratagem style Sullen Tattle walk woman women words World Wycherley Young Bellair