Renaissance Drama In Action

Anthony Giacomelli
Mind Map by Anthony Giacomelli, updated more than 1 year ago
Anthony Giacomelli
Created by Anthony Giacomelli over 5 years ago
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Concepts extracted from Chapter 2, "The Life of These Things Consists in Action; Staging the play" (pp 22-43) from book, Renaissance Drama in Action: An Introduction to Aspects of Theatre Practice and Performance - by Martin White
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Renaissance Drama In Action
1 The Life of These Things Consists in Action, Chapter 2 pp 22-43
1.1 Casting, p27
1.2 Rehearsal, p28
1.3 Writer-directors, p33
1.4 Actor-directors, p 37
1.5 Documenting the production, p 38
1.5.1 The prompt-copy, p 38
1.5.2 The actor's part, p 39
1.5.3 The Plot, p 40
1.6 p 22, Staging the play
1.6.1 pp 22-23, re: summer 1593 letter by Edward Alleyn to his wife; "Whatever the truth, this letter is as close as we get to the moment as which an Elizabethan actors stepped onstage."
1.6.2 p 23 '... the few guides we have to the skills and practices of Elizabethan and Jacobean actors are found in ...
1.6.2.1 "descriptions or reminiscences of performances from the point of view of audiences,"
1.6.2.2 "playhouse artefacts such as prompt copies and 'plots',"
1.6.2.3 "the demands and expectations revealed by the texts the actors performed,"
1.6.2.4 "the possible implications for acting in the relationship between the texts,"
1.6.2.5 "their performance spaces and audiences,"
1.6.2.6 "and the various attacks on, and defences of, the theatre that appeared throughout the period."
1.6.3 p 23, "Edward Alleyn retired as an extremely wealth man, having amassed a fortune from his acting, [and other investments]"
1.6.3.1 p 24, "Alleyn's transformation from Elizabethan actor to Jacobean gentleman was, however, exceptional."
1.6.3.1.1 p 24, "Joan Alleyn's letter to her husband informing him that a fellow actor, Robert Browne, leader of the company at the Boar's Head, was 'dead, and died very poor' may record a more typical fate." "Indeed, very few actors accumulated real wealth."
1.6.4 p 24, "Variety and flexibility were also necessary since, like many supporting actors today (though perhaps more often), the performers had regularly to play more than one part in a play ..." "... conventions of costume change were at times suggestive rather than complete." ex. "... the actor has a brief ... time offstage to do the change."
1.6.5 p 24, "The 1607 Quarto of the Fair Maid of the Exchange, for example, printed a guide to show how 'eleven may easily act' the twenty-two characters in the play," .... p 24, "... the breakdown is not accurate ... the claim for eleven actors is wrong and that twelve is the required number,"
1.6.6 pp 25-26, "...intricate doubling schemes are characteric of theatre practice throughout the period and it seems reasonable at least to speculate that customs were fluid enough to allow such ingenious solutions when absolutely necessary, such as when touring with a significantly smaller number of actors than were available for London performances."
1.6.7 p 26, "Playing multiple parts within one play .... possibly sharing one part among different actors, presumably meant that performances often focused on some clearly defining characteristic in voice, gesture, make-up or costume." ex. Bottom's list of beards from A Midsummer Night's Dream
1.6.8 p 27, The quality of 'bad quartos' may reflect the frequency of 'fribbling' caused by memory-lapses, though an actor could clearly also be 'put beside his part' by stage fright ... or by the presence in the audience of a professional playwright ... who might sit in the gallery ..."
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