Renaissance
VI.
I.
Political / Social Economic
a.
Renaissance: French word “Rebirth” roughly 1400-1650
b.
Humanism, discovery, exceptional art
c.
Man changes thinking
d.
Rediscovers classical periods of Greece and Rome
II.
b.
c.
Development of Theatre in the Italian Renaissance
Theatre performed in Court Theatres for Wealthy Patrons
who give financial support for artist.
Academies: Formal institutions of Learning
Desire to see studied plays performed
a.
b.
c.
d.
Major Contributions of Italian Renaissance to Theatre
Commedia dell’arte
Dramatic Criticism
Theatre Architecture
Scenic Design
a.
b.
c.
d.
e.
Genre / Forms
Tragedy after the Greeks and Romans
Comedy after the Greeks and Romans
New Form “The Pastoral”
Intermezzi
Opera
a.
III.
IV.
V.
a.
b.
c.
d.
e.
f.
Physical Theatre
Roman theatres built indoors temporary and permanent
Audience Space: Indoors Stadium Seating, Elongated U,
Boxes, Gallery, Orchestra: Central Floor Space.
Stage Space: Divided by Proscenium Arch, Rake, Stage
Floor Machinery, Painted Drops, Curtains, And Mechanical
Devices.
Perspective Scenery: Angled wings to Flat wings, Canvas
stretched over Wood frames, Borders, Side Wings, Back
Drops and Shutters
Scene Shifting Devices: The Groove System and Chariots
and Poles.
Machinery and Glories “Flying Machines”
Lighting: Candles and Oil Lamps
1. Theatres of Note:
a. Teatro Olimpico
b. Teatro Farnese
2. Three Basic Settings
a. Tragic Setting – Street of Stately houses
b. Comic Setting – Common street scene
c. Pastoral Setting – Showing Trees, Hills,
and Cottages
VII .
Commedia dell ‘Arte
a.
Actor centered
b.
Improvised working from scenario
c.
Physical adept “Lazzi” surefire comic bit
d.
Adapted to any playing space
e.
Stock Characters: Stock Costumes, Masks (half)
i. Lovers 1 to 2 sets (no masks)
ii. Professionals: Pantalone,
Dottore, Capitano
iii. Zanni: Servants,
Summary:
The innovations of the Italian Renaissance in theatre architecture and
scene design have been unmatched in theatre history. For the next 200
years, anyone attending a theatre anywhere in Europe would be in a
proscenium-arch playhouse watching the stage action from either the pit,
a box, or a gallery. The scenery would consist of painted-flat wings and
shutters which could be shifted either by a mechanized pole-and-chariots
system or-like in England, the Netherlands and the United States-by
stage hands who pulled them off in grooves. The Italian Renaissance
also produced Opera, Commedia dell’arte, and the neoclassical rules of
dramatic structure. Although this period left theatre no significant plays
the rigid neoclassical rules help shape much of the drama presented
world wide through the 18th Century. Commedia dell’arte was highly
popular until the 1700s and has influenced many playwrights,
contemporary movements and theatrical experimentations.