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Preambolo: prima del Settecento Teatro della Restaurazione (1660-1705) I generi: heroic tragedy e comedy of manners Glorious Revolution (1688)

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Presentation on theme: "Preambolo: prima del Settecento Teatro della Restaurazione (1660-1705) I generi: heroic tragedy e comedy of manners Glorious Revolution (1688)"— Presentation transcript:

1 Preambolo: prima del Settecento Teatro della Restaurazione (1660-1705) I generi: heroic tragedy e comedy of manners Glorious Revolution (1688)

2 Il movimento per la riforma del teatro: sentimentalismo e sentimental comedy Jeremy Collier, A Short View of the Immorality and Profaneness of the English Stage (1698) Colley Cibber, Loves Last Shift (1696): prima sentimental comedy. Joseph Steele: scopo della commedia non è suscitare il riso ma una generosa compassione (epilogo a The Lying Lover); The Conscious Lovers (1722).

3 Tragedia neoclassica e patetica Joseph Addison, The Spectator; Cato (1713) Nicholas Rowe: she-tragedy; The Fair Penitent, 1703: sorrows like your own George Lillo: domestic tragedy; The London Merchant (1731)

4 La satira politica e il mock-heroic: John Gay e Henry Fielding Scriblerus Club Parodia: John Gay, The What DYe Call It (1715), a tragi-comi-pastoral-farce

5 John Gay, The Beggars Opera (1728): Newgate pastoral Dialogo Beggar/Player (Introduction): I hope I may be forgiven that I have not made my opera throughout unnatural, like those in vogue. ballad opera

6 John Gay, The Beggars Opera Jonathan Wild (rogue literature) Daniel Defoe, The True and Genuine Account of the Life and Actions of the Late Jonathan Wild, 1725 Henry Fielding, The History of the Life of the Late Mr. Jonathan Wild the Great, 1743

7 John Gay, The Beggars Opera Satira politica Peachum (impeach em) e Lockit (lock it): 'Tis for our mutual interest, 'tis for the interest of the world, we should agree (atto II, sc. X) Sir Robert Walpole (primo ministro whig, 1721-42)

8 John Gay, The Beggars Opera Critica sociale: letica borghese del profitto Peachum a Lockit, II.10: Business is at an end if once we act dishonourably

9 John Gay, The Beggars Opera Satira del matrimonio borghese (Polly e MacHeath) Mrs Peachum: The comfortable estate of widowhood is the only hope that keeps up a wife's spirits Polly (1729)

10 La carriera teatrale di Henry Fielding Little Theatre (Haymarket) – teatri illegittimi vs. Covent Garden e Drury Lane The Historical Register for the Year 1736 + Eurydice Hissed (1737) Theatre Licensing Act, 1737 (censura preventiva del Lord Chamberlain + duopolio Drury Lane/Covent Garden)

11 La seconda metà del secolo laughing vs. sentimental comedy Oliver Goldsmith, She Stoops to Conquer (1773) Richard Brinsley Sheridan, The School for Scandal (1777) Il nuovo Drury Lane (1794, Henry Holland)

12 La scena spettacolare ottocentesca 1. Il contesto: ampliamento degli spazi ricerca di effetti spettacolari (innovazioni tecniche) frammentazione dello spettacolo (generi minori)

13 Teatro romantico: Byron, Werner (1830) Teatro vittoriano > eclettismo melodrama

14 2. La seconda metà del secolo il ritorno della borghesia a teatro: Bancroft + Robertson al Prince of Wales T.W. Robertson e gli issue plays: Society (1865), Caste (1867), Home (1869), Progress (1869), Birth (1870), War (1871) Reform Act (1867)

15 T.W. Robertson, Caste Caste is a good thing if its not carried too far. It shuts the door on the pretentious and the vulgar; but it should open the door very wide for exceptional merit. Let brains break through its barriers, and what brains can break through love may leap over (III atto)

16 Il Society drama Scribe + Sardou: pièce bien faite > well-made play (Jones + Pinero) fallen women plays > A.W. Pinero, The Second Mrs Tanqueray (1893) (Henrik Ibsen 1828-1906)

17 G. B. Shaw e il social drama Fabian Society The Quintessence of Ibsenism (1891)

18 G. B. Shaw e il social drama Plays Unpleasant: Widower's Houses (1892) Mrs Warrens Profession (1893) The Philanderer (1893) Plays Pleasant: Arms and the Man (1894) Candida (1894) You Never Can Tell (1895)

19 Mrs Warrens Profession prostitution is caused, not by female depravity and male licentiousness, but by simply underpaying, undervaluing, and overworking women so shamefully that the poorest of them are forced to resort to prostitution to keep body and soul together (Mrs Warren's Profession, Prefazione)

20 Mrs Warrens Profession The only way for a woman to provide for herself decently is for her to be good to some man that can afford to be good to her. (…) Ask any lady in London society that has daughters; and she'll tell you the same, except that I tell you straight and she'll tell you crooked (Kitty Warren alla figlia Vivie, Mrs Warren's Profession, Atto II)


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