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Ch. 14 The Renaissance - Coggle Diagram

- - - - medieval innyard
      - trestle stage
      - pageant wagon
    - - Puritan city officials forbade the public presentation within the city
    - - built on three levels, enclosed on all sides but only partially roofed to leave a large central expanse open to the sky
    - - Plays were written to be staged and restaged
        in a variety of locales and settings
      - particular stage
        architecture or staging practice could be considered fixed
      - three public theatres operated at various times by his company produced his works at so called private theatres and at court
        
        The Theatre, The Curtain, and The Globe
      - Shakespeare’s theatre was also a touring company
    - - plays were frequently remounted on the shortest of notice in royal palaces
  - - - group traveled as a family, rarely staying long in any one location but shifting between court and city and country as economic, social, and legal conditions dictated
    - - boys who were apprenticed to the troupe played female parts
    - - nobles would even continue their patronage from one generation to the next
    - - the Lord Admiral’s Men
        
        Philip Henslowe
        
        enterprising manager-producer
        
        Edward Alleyn
        
        celebrated tragic actor
        
        Christopher Marlowe
        
        great playwright
        
        found in The Rose and The Fortune
        
        every promising English dramatist of the era either wrote for or collaborated in a play that was produced by them
      - the King’s Men
        
        Known as the Chamberlain’s Men
        under the rule of Queen Elizabeth I
        
        came under the personal patronage of King James I in 1603
        
        Shakespeare was a member of this company from at least 1594 to the end of his life
        
        actor
        
        playwright
        
        1/10 owner of the The Globe in 1599
  - - - The great plays of the years immediately preceding Shakespeare’s rise were set in distant parts of Europe and Asia
      - Not only did Shakespeare (and his fellow playwrights) take most of his plots from foreign sources, but he also frequently added foreign phrases into the dialog
        
        audience was expected at least partially to comprehend
    - - copyright law to protect the author’s interests, and author or producing company gained anything by publication
      - quartos
        
        usually “stolen and surreptitious” copies of the major play turned up in single-play editions
      - The predominant language structure was verse
        
        blank verse
        
        written in unrhymed iambic pentameter
        (a ten syllable line with stress on the second, fourth, sixth, eighth, and tenth syllables).
        
        jokes, puns, taunts, challenges, curses, vows, crudities, and ringing declarations
    - - tragedies,
      - comedies,, ,
      - city plays,
      - tragicomedies
      - chronicle (or history) plays
      - domestic dramas,
      - and elegant court masques
    - - but props and set pieces were used
  - - - He is almost universally acclaimed as the greatest writer in the English language
      - most famous Englishman who ever lived
      - the greatest playwright, sonneteer, and dramatic poet
    - - Christopher Marlowe
        
        born in the same year as Shakespeare
        (1564)
        
        was the more successful of the two rival playwrights
        at the time of his death in 1593
        
        His mastery of the blank
        verse form—paved the way for the grandeur of Shakespearean
        dramatic poetry
        
        Tamburlaine the Great,
        in 1587–1588
        
        The Tragedy of Dr. Faustus, Marlowe’s masterpiece,1588,
        
        received a clerical and classical
        education at Canterbury,
        
        and at Cambridge University
- - - - translating Plautus and writing comedies in a style that became known as commedia erudita (“learned comedy”)
        
        it followed models “learned” from the ancient Romans, with conventional plots and stock characters.
      - Mandragola (c. 1518) was the greatest of
        these works
    - - lasted for two centuries
        
        Punch and Judy of English puppet theatre are direct descendants of the commedia’s Pulcinello and his fellows
      - a largely improvised theatre event
        
        no scripts left
        
        Most of its performances were built around a scenario and made use of set speeches, stock characters, and practiced physical business, usually of a comedic, even farcical, nature
      - The action of the commedia dell’arte was broadly
        physical
        
        slapstick was a traditional device that was to lend its name to the whole genre of physical farce.
      - flourished from about the middle of the sixteenth century,
        but its roots may go back centuries before that.
      - Molière was greatly influenced by the commedia actors
  - - - wrote some fifteen hundred plays
      - more than four hundred survive
      - Most of them concern what was to become the classic theme of Spanish drama: personal honor.
      - His work was
        enormously popular with the Spanish public
    - - wrote two hundred plays
        
        wrote for both the public corrales and the royal courts
      - plays were more philosophical than physical.
        
        Most other plays of Calderón focus on instances of “honor”
    - - women performed onstage throughout most of the 16th century
- - - - reasoning
      - creative
      - unique
      - possibly heroic being
  - - - Greek philosopher Protagoras when he said, “Man is the measure of all things.”
    - - the individual was the new Apollo