The History Of European Theatre

Episode 80:

The influence of Italian literary theatre can be seen in later works, but if there is one form that infiltrated the general consciousness of theatrical comedy on the continent it is the Commedia Dell’arte.

A definition of what we mean by Commedia Dell’arte as it emerged in the Italian renaissance, and the difficulties with this.

Professionalism, comedy, masks and the degree of improvisation, or not.

Theories about the origins of the Commedia Dell’arte.

            From Roman mime and pantomime

            From non-religious medieval drama

            From religious medieval drama

The impact of the system of troupe patronage in the development of the Commedia Dell’arte and how actors escaped from it.

The continued low position of actors in society and their involvement with mountebanks and charlatans.

The description of theatricals in Venice in 1608 by English traveller Thomas Coryat.

Mountebanks and charlatans in Ben Johnson’s ‘Volpone’.

The differences between Italian and English theatre as seen by Coryat.

Why actors were associated with mountebanks and charlatans and the ongoing issues of professional begging.

How the quack doctor character becomes part of Commedia Dell’arte.

The earliest records of Commedia Dell’arte and Commedia Dell’arte troupes.

‘A Song for Buffoons and Parasites’ as the earliest example of Commedia Dell’arte.

The development of acting troupes from 1500 and then after 1550 when many new theatre buildings were constructed.

The continuing prohibitions against players

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Episode 79:

As things moved on in the early renaissance art - painting and sculpture - led the way and theatre soon followed.  Artists tried to inject more realism into their work, showing their subjects as they really were, or as close as they could get.  The colours of clothes, skin tones, fruit, countryside scenery and, well, whatever the artist’s subject was, became more subtle and realistic as artists looked at the different impacts of viewpoint, light and light sources in paintings and strived to show the world as it really was.  The discovery of an understanding of one thing in particular made those working in the theatre sit up and take note – perspective in art had arrived.

Brunelleschi and the discovery of perspective painting.

1414 and the rediscovery of Vitruvius and ‘De Architectura’.

Leon Battista Alberti and the beginnings of theatrical perspective design .

Pellegrino de San Daniele and his perspective scenery at Ferrara.

Architect Sebastiano Serlio, his perspective designs and use of the raked stage and painted flats.

The development of wing space as an integral part of theatre design.

The problems with perspective scenery.

Aristotle de San Gallo and his reintroduction of the ‘periaktoi’.

The importance of the introduction of flats throughout theatres.

Lighting methods in Italian renaissance theatre.

The Teatro Olympico in Vicenza, designed by Andrea Palladio and completed by Vincenzo Scamozzi.  This theatre was the panicle of perspective theatre design with seven arches at the back of the stage using perspective effect but had a short life.

Advances in stage machinery by Nicola Sabbatini, known for his flying effects and his fondness for the ‘periaktoi’.  To improve this feature he designed mechanical ways of rotating the periaktoi. 

Sabbatini’s wave form effect.

Giacomo Torelli and his mechanical decice for moving flats on and off stage, the ‘chariot pole system’.

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Episode 78:

Records about the second corral in Madrid tell us a lot about the theatre.  In this episode we go through the details of what the different parts of the theatre on the Calle del Principe were like.

A short reminder of the history of the Corral in Spain as featured in episode 74.

The location building of the Corral del Principe as a rival to the original Madrid playhouse, the Corral de la Cruz.

The Facade wall on Calle del Principe

The doors in the facade and how they changed

The entrance and balcony for the ladies

The entrance hall

The view from the patio

The lateral stands and benches

The windows and balconies on the adjacent houses

The VIP rooms above the entrance

The Stage

The tiring room and backstage access

Beneath the stage

The roof awning

The capacity at the corral del Principe and how it has been calculated.

Rivalry between the Corral del Principe and the Corral de la Cruz

The dispute over the balcony fees and the pulling down of the Principe

The Principe and the Cruz today

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Episode 77:

The life of Pedro Calderon de la Barca who took Lope de Vega’s crown as the greatest living Spanish playwright after Lope’s death in 1635

His childhood, youthful brushes with the law, military service and early playwriting.

His best regarded play ‘Life Is a Dream’ from 1632.

A synopsis of the plot of ‘Life Is A Dream’

An analysis of the main themes of the play and it’s relationship to cloak and dagger plays.

Duty and honour

The philosophical aspects of the play

The question of reality and perception

The flaws and dissatisfactions in the play 

Calderon’s later career as a court poet and creator of auto sacramental and full length religious plays

The priesthood and death

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Episode 76:

A discussion of a sample of the plays by Lope de Vega

The Gardener's Dog: A Comedy The meaning of the title, a plot summary, the major themes.

Punishment Without Vengeance: A Tragedy. A plot summary, it's debt to Seneca, the ironic triangle of anti-heroes, the question of incest, and the violence of the honour culture. The historical context of the play.

Realism in the plays.

The plays of intrigue

The role of the leading female character, the 'Dama'

Sheep Well. The plot Summary. The communist reading of the play. Countryside Vs the city. The satisfaction of honour.

The lasting influence of Lope de Vega

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A special bonus episode to celebrate the second anniversary of the podcast. We step out of the timeline of the renaissance theatre as I tell the story of the venue that was the home to my first theatrical experiences - The Castle Theatre, Farnham

For much of the information in this episode I am indebted to Matthew Lloyd for the use of material. For information about many UK theatres and music halls go to: http://www.arthurlloyd.co.uk

For further information about Waverley Abbey go to: https://www.english-heritage.org.uk/visit/places/waverley-abbey/

For further information about Farnham Castle go to: https://www.farnhamcastle.com

For further information about Farnham and it's history go to: https://farnhamsociety.org.uk

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Episode 75:

The Life of Lope de Vega, greatest dramatist of the Spanish Renaissance Theatre. He had a very full life which was not just confined to writing plays, but his output was prolific on a scale that has not been matched before or since. This is his story.

Then a short overview of what was special about his plays, his attitude to Aristotle and his prescriptions on the use of poetry.

A word on the inevitable comparison with Shakespeare.

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A special bonus episode to celebrate the Birthday of William Shakespeare which looks at the way he used and created the English Language.

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Episode 74: 

The development of Spanish theatre buildings, including the original, the Corral de la Olivera in Valencia.

Alberto Ganassa and the influence of his Comedia Dell Arte troupe.

The first theatre in Madrid the Corral de Pachea  

 The main points of the layout and characteristics of the Spanish playhouse.

The way plays changed to suit the playhouse, including the breaking of Aristotle’s rules.

The financial structures that were used to generate charitable income from the theatre and the impact that had.

The role of the theatre manager and changes as more permanent theatres were built in Spanish cities.

The use of music and dance to augment the theatrical entertainments.

How the acting troupes worked in the framework of the playhouse and its manager.

Women performing on stage and the reaction by the Church and State.

The impact of costumes on stage and the attempts to curtail excessive costume changes and expenses.

The actor’s life in Spain, which may have been a little more secure than elsewhere in Europe.

The establishment of the Actors Guild in 1631.

The continuation of court theatre.

Changes to the position of the dramatist during the period.

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Episode 73

Continuing the story of the development of theatre through the early Spanish renaissance via the life and works of the playwrights. With apologies for the slightly raspy 'post-covid' throat at the time of recording. I hope it does not spoil your enjoyment of the episode.

Gil Vicente, the only Portuguese playwright of the period, but one who worked across the Spanish peninsular and produced influential works.

Lope de Rueda took theatre to the masses and produced the first truly commercial theatre of the period.

Alonso de la Vega, an acting pulp of Rueda who advanced the mixing of secular and religious themes.

The role of the 'Auto Sacramental' in the development of tragedy from religious plays and the continuing influence of religious drama.

How tragedy in Spain developed through copying of classical models and Italian versions of Roman tragedy.

How tragedy developed with the introduction of local legends and myths into Spanish thetare

Cristobal de Virues and the development of the three act tragedy.

Juan de la Cueva advancing political and social messages through his tragendies and his contribution to the expansion of language on the Spanish stage.

Miguel de Cervantes and his place as the last of the playwrights before the advent of the Comedy in the Spanish Golden Age. His 'Don Quixote' invented the modern novel and changed the literary world. His impact on theatre was not quite so significant.

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