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    TIMSON: History of Theatre (The)
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• • 提森: 戏剧史 / TIMSON: History of Theatre (The)
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  • David TimsonThe History of Theatre‘He that denies then theatres should be,He may as well deny a world to me.’ So wrote Thomas Heywood in 1612, shamelessly borrowing anidea from his contemporary William Shakespeare. It is a thought that echoesthrough this history, that the theatre reflects the world, and the world, thetheatre. Is art, imitating life, or vice versa? The world would have rolled on if the phenomenon of theatrehad never existed, but the quality of human life would have undoubtedly been thepoorer. Theatre may not be a physical necessity, but as King Lear says, ‘allownot nature more than nature needs, man’s life’s as cheap as beasts’. At its best the theatre is an arena for ideas, stimulatingand controversial ideas at that, for it is in its nature to be anarchic and tocontinually question accepted views. Thus, Ibsen and Chekhov raise in theirplays, social questions the 19th century would rather have ignored, and pointthe way forward in the 20th century for playwrights such as Bertolt Brecht,George Bernard Shaw and Arthur Miller. Food for thought is one thing, however,but it is also the theatre’s job to entertain and add to the ‘gaiety ofnations’. Celebration of the human spirit is also important. The feeling ofsatisfaction as evil is defeated, the joy when a love-match works out, oramusement as a fool is exposed. This is why the long-time symbols for thetheatre, recognized the world over, are the masks of Comedy and Tragedy. Theybalance each other and are inseparable, reminding us that you can’t have onewithout the other. The serious and the ridiculous go ever hand in hand in ourstory. Sophocles and Aristophanes, Racine and Molière, Ibsen andFeydeau. These are the playwrights whose work endures from age to age, but thestory of the theatre is also the story of actors, “that despicable race”, whoseinspiration, invention and dedication to their ephemeral art, provide thelife-blood of this story. As acting styles continually changed with eachgeneration, moving inexorably towards a more naturalistic ‘real life’presentation, so too theatre buildings evolved to match those styles. From thegiant arenas of the Greeks, the open platform of the Elizabethans, the intimateCourt-theatres of Molière, the picture-frame stages of the 19th century, to theflexible small studio spaces of the 20th. Any history is bound to be subjective, and there will beomissions, and aspects of this history treated too briefly for some. Selectiontoo has meant that this ‘History’ is essentially a history of Western Theatre.Both Western and Eastern theatre evolved from ritualistic dances linked toreligion, but whereas Western theatre sought an ever more naturalisticpresentation, the theatre of India, China and Japan retained a highly stylizedmanner of performance. Their repertoire is unchanging and timeless. It is adifferent tradition and requires a separate study. I have tried to give at least a taste of all the majordevelopments in this long and diverse history, which spreads over 2,500 years.I hope the taste will wet the appetite for listeners to go on their ownjourneys of discovery. I have tried to stick to the highways, but the bye-waysof theatre history are too tempting at times not to explore. My hope is thatthis colorful and eventful history will contain something to catch everylistener’s imagination, and that: ‘we shall both make you sad, and tickle ye.’(Thomas Middleton, 1613) Notes by David Timson GLOSSARY OF TECHNICAL TERMS NOT FULLY EXPLAINED IN THE TEXTAMPHITHEATRE - From the Greek amphi, meaning around.Literally a theatre that surrounds the action. Developed by the Romansoriginally for gladiatorial fights, and later drama. The Colosseum is asurviving example. APRON-STAGE (or Forestage) - The part of the stage in frontof the proscenium arch, and before the curtain (if there is one). It projectsinto the auditorium, allowing the actors to be closer to the audience.BACKCLOTH - The drop-scene at the back of the stage. Usuallypainted to represent a scene such as a garden or street, or else just blue todepict the sky. BOX-SET - Used in the 20th century to depict a naturalisticroom. Where a setting is made up of ‘flats’ linked together to give theappearance of solid walls and ceiling. BUSINESS - A term which describes any action on a stage,comic or serious, which does not involve dialogue, e.g. ’He spends the next twominutes silently tearing up all his manuscripts and throwing them under thetable...’ (The Seagull) FLATS - A canvas fronted frame, traditionally placed in rowson both sides of the stage, painted to complement the backcloth, e.g. in aforest scene, the ‘flats’ would represent trees. Also used to construct a‘Box-set’. GROUND-ROW - A low piece of scenery at ground level, paintedto depict a grassy bank or low wall. It helps in a conventional setting to givea feeling of depth to the scene. IMPROVISATION - Where a production is created without ascript. The actors rely on their skills of invention for the dialogue andaction. It provided the foundation for the Commedia dell’Arte troupes of the16th century.MASQUE - Elaborately staged allegorical dramas, involvingmusic, dance and song, with spectacular sets and costumes. They were popular inthe courts of Europe during the 16th and 17th centuries, where courtiers andmonarchs themselves performed behind the anonymity of masks. The masquecontributed to the development of Opera. PIT - Less expensive seating-area of the auditorium, usuallybehind the stalls (the more expensive seats), on the ground floor. Originallycalled the ‘pit’ after part of the Drury Lane theatre built on the site of acockpit. PLOT - The story or narrative of a play. PROSCENIUM ARCH - An often-elaborate permanent arch, whichdivides the stage area from the auditorium, through which the audience viewsthe play. Most theatres built during the 19th century, placed great emphasis onthe proscenium arch being the equivalent of a ‘frame’ for their dramatic‘pictures’.PROPS - The everyday articles or properties used by theactors to express character or move the plot along, e.g. spectacles, handbagsor letters.SCENARIO - A summing up of the main elements in a dramatic narrative.A rough version of the plot. The basis for the Commedia dell’arte’simprovisations. STOCK PIECES - Pieces of scenery re-used for more than oneproduction, not individually designed, e.g. A Woodland scene. Also applies toreliable plays repeated because of their guaranteed success. TIRING-HOUSE - The Elizabethan equivalent of the dressingroom. TRAPS (or Trap-doors) - Holes cut in the stage with hingedlids through which actors can descend or ascend as part of the action. Muchused in Pantomime, e.g. ‘Arrival of the Genie in Aladdin’. UNITIES - The ‘unities’ refers to the classical conceptpropounded by Aristotle that dramatic action should occur in one place and atone time, i.e. the action should not be spread over many years and manylocations. It was a strong influence on European playwrights from 16th-18thcenturies. WINGS - The ‘flats’ that define the edge of the acting area,screen off from the audiences view the sides of the stage where the actorsassemble to make their entrances. This off-stage area is also referred to asthe ‘wings’.
  • • 作品列表
    • • CD01
      • 作品编号：23378  The History of Theatre

      • Prologue

      • The Greek Drama

      • Greek Tragedy

      • Greek Theatres

      • Oedipus: 'Torment, Torment...'

      • Greek Acting

      • Greek Comedy

      • Kinesias: It's O, so long since you and I have known The rites of love! - won't you come back, my ow

      • Roman Theatre

      • The Medieval Theatre: Its Origins

      • '1st. Voice: While the third lesson is being chanted let 4 brethren vest themselves...'

      • Growth And Development Of Mystery Plays

      • 'The effect associated with Heaven and Hell were veritably prodigious' Description Of Stage Machiner

      • 'God: Ego sum Alpha et Omega, vita, via, Veritas, primus en nouissimus.'

      • Development Of Miracle And Morality Plays

      • The Italian Commedia Dell'Arte

      • The Elizabethan Theatre

      • The Structure Of A Playhouse - Description Of Burbage's Acting By Richard Flecknoe

      • '...Think when we talk of horses that you see them Printing their proud hoofs i' the receiving earth

      • An Attack On The Theatre By John Stockwood 1587

      • Christopher Marlowe And His Contemporaries

      • Tamburlaine: 'Forsake thy King, and do but join with me, And we will triumph over all the world'

      • CD02
      • 作品编号：23378  The History of Theatre

      • Faustus: 'The stars move still, time runs, the clock will strike, The devil will come, and Faustus m

      • William Shakespeare (1546-1616) And His Plays

      • Excerpts From Shakespeare's Plays: As You Like It - Romeo & Juliet - Henry V - Henry IV pt. 1 - A Mi

      • The Jacobean Theatre (1603-1642)

      • Duchess: 'Now what you please, What death? Bosola: Strangling: here are your executioners.'

      • Development Of The Private Theatre - Description Of A Private Audience By John Marstoni (1601)

      • Ben Jonson (1572-1637)

      • Ursula: Hang 'em, rotten, roguy cheaters, I hope to see 'em plagued one day (poxed they are already,

      • Spanish Theatre In The Renaissance

      • Sigismund: 'The rich man dreams his riches, dreams his cares;

      • The French Theatre In The Seventeenth Century

      • Phedre: 'There love will always live. Even as I speak, ah cruel, deadly thought! They flout the fury

      • The Structure Of French Theatres

      • Moliere (1622-1673) (Jean-Baptiste Poquelin)

      • Mr Jordan: ...And now I must tell you a secret. I'm in love with a lady of quality and I want you to

      • Elmire: What? is there no avoiding your pursuit. Will you not give me time to breathe?

      • The English Restoration Theatre (1660-1700)

      • Thomas Jordan's Prologue to The Moor Of Venice (1660)

      • The Development Of Restoration Comedy

      • Harriet: 'I was informed you used to laugh at love, and not make it.'

      • Lord Foppington: ...my life, madam, is a perpetual stream of pleasure, that glides thro' such a vari

      • Mrs. Pinchwife: 'Dear Sweet Mr. Horner' ...So...'

      • From A Short View Of The Immorality And Profaneness Of The English Stage.

      • Millamant: Positively, Mirabell, I'll lie a-bed in a morning as long as I please. Mirabell: Then I'l

      • From The Diary Of Samuel Pepys (1667)

      • European Theatre In The Eighteenth Century

      • CD03
      • 作品编号：23378  The History of Theatre

      • German Theatre In The 18th Century

      • Elizabeth: Say then, what surety can be offer'd me, Should I magnanimously loose your bonds?

      • The English Theatre In The Early Eighteenth Century

      • The Development Of English Pantomime

      • The Introduction Of The Theatre Licensing Act In England (1737)

      • David Garrick (1717-1779) And The English Theatre In The Late Eighteenth Century

      • Description Of Garrick As Abel Drugger In The Alchemist

      • The Programme Of An Eighteenth Century English Theatre

      • An Eighteenth Century Audience

      • Sir Anthony: Why, Mrs. Malaprop, in moderation, now, what would you have a woman know?

      • Beaumarchais (1732-1799) And The French Theatre In The Late Eighteenth Century

      • The Count: With your brains and character you could hope for advancement in the service. Figaro: Bra

      • The Development Of The Theatre In America (1800-1860s)

      • Romantic Melodrama In Nineteenth Century Europe

      • The Development Of Farce

      • Henry Irving (1838-1905), And English Theatre In The Late Nineteenth Century

      • Description Of Irving In The Bells By Edward Gordon-Craig

      • The Biginning Of The Theatre Of Ideas And Realism

      • Henrik Ibsen (1828-1906)

      • Helmer: To forsake your home, your husband, and your children! And only think what people will say a

      • George Bernard Shaw

      • Higgins: Say your alphabet Liza: I know my alphabet. Do you think I know nothing?

      • Anton Chekhov (1860-1904)

      • CD04
      • 作品编号：23378  The History of Theatre

      • The Seagull By Anton Chekhov

      • Nina: The horses are waiting for me at the gate. Don't see me off, I'll go by myself...

      • Stanislavsky And The Moscow Arts Theatre

      • From The Writings Of Stanislavsky

      • The Growth Of Ensemble Companies

      • Lady Bracknell: ...Now to minor matters. Are your parents living? Jack: I have lost both my parents.

      • Theatrical Experiments In The Early Twentieth Century

      • The Theatre Of Luigi Pirandello (1867-1936)

      • The Political Theatre Of Bertolt Brecht (1898-1956)

      • American Theatre In The Early Twentieth Century And Eugene O'Neill

      • A Long Day's Journey Into Night (Act IV)

      • European Theatre In The 1930s & 1940s; Federico Garcia Lorca (1898-1935)

      • The London Theatre, And Noel Coward (1899-1973)

      • Amanda: We won't talk about ourselves any more, we'll talk about outside things, anything you like,

      • Post-War British Theatre And John Osborne (1929-1989)

      • Alison: (softly) All I want is a little peace Jimmy: Peace ! God ! She wants peace!

      • Theatre Of The Absurd And Samuel Beckett (1906-1989)

      • Vladimir: 9sententiously) To every man his little cross (He sighs) and sits on the mound Till he die

      • Harold Pinter (1930- )

      • Aston: I...I think it's about time you found somewhere else. I don't think we're hitting it off. Da

      • British Theatre In The 1960s And Joe Orton (1933-1967)

      • Post-War American Theatre, Tennessee Williams (1911-1983), Arthur Miller (1915- ) And David Mamet (1

      • Willy: '...When I was a boy - eighteen, nineteen - I was already on the road.'

      • Blanche: 'When I think of how divine it is going to be to have such a thing as privacy once more - I

      • Experimental Theatre In The 1960s And 1970s

      • Developments In The Theatre From 1970-1990

      • Epilogue