|
History of the English Theatre
The Elisabeth theatre
In order to speak about the English theatre, it is necessary to leave from the c.d. elisabettiano theatre (1533-1603).
And the elisabettiano theatre has its exactly material correspondent in the The Globe, entitled to Elisabetta I.
Today to London a copy of the the Globe, identical can be seen to that one in which they came represents the dramas to you of Shakespeare, Marlowe, Jonson and of all the great elisabettiani.
The construction, of circular shape, finds on the side south of the Tamigi, built up a ten of years ago, not distant from the place where the theatre rose originates them. Then far away from the center and City for fear of disorders, catti to you examples, grida and noises several.
In that time the theatre was not svago exclusive of the bourgeoisie as it it was in the ' 800, but it was instead for excellence popular show, like many will have been able to intuire in the film "Shakespeare in Love" of some year makes.
The not repaired Platea was to open sky and therefore in rain case; this was destined to the more economic places that were in feet and to the center.
The stage takes an entire arc of the circle and the part centers them sporge of beyond a meter towards the platea; consequently the actors who pronounce their struck ones to the center, find themselves encircle to you more intensely on three sides from the public, allowing to these last of living rappresentazioni, nearly immedesimandosi in the same ones.
The theatre to the times of Elisabetta was a powerful vehicle of entertainment, acquaintance and emotional involvement. Tens of authors of which some sums, transformed in struck of dialogue the defects and the virtues, the actions and the thoughts secrets, the philosophical vertigo and the whims more sordidi ( from "the secrets of London" of Corrado Auggias).
The History and politics, the imagination and the erotico divertimento, commedia and the tragedy, not us fù field or kind that that theatre did not explore.
A stage perusal, only occupied from rudimenti, feticci, crude symbols of the truth divenne the place in which all the passions, ablete or sublime, and all the atmospheres found appropriated acclimatization.
To the time of Sheakespeare London it accommodated 7 theatres very; the theatre then had the function that has the television today. In the same one it knows it crowded popolani and aristocrats, women and men of every age. The theatre remained vital until when it was conceived in order to entertain more varies humanity; the decline began when witnesses for popolani and witnesses for the intellectual aristocracy wrote themselves; from the moment in which the theatre it acquired the bourgeois connotation that still today possesses, becoming snob and for little.
Awkward, barbaric, approximate, the elisabettiano teatrale building does not have nothing of that it will be the harmonious grace of the theatres said "to the Italian". The Globe rose in one squallido place, encircled from a muddy ditch, one species of hexagonal tower.
The shows began to the 2 of the afternoon; the places had various prices but all had to pay, even if little: only 1 penny for the places gets worse, in feet in the platea of battered earth and even under the rain. In the wait of the show the public colouring plays to papers, drinks, eats pieces of salata meat, comes to blows, urla... all in means to it smells of all the types; thoughts to the fact that was still difficult to distinguish the places where inhabited the persons from whom they accommodated the animals and that often these coincided. The better places were occupied from the rich ones that paid a scellino and that they less behaved more or like the others, reciting everyone the own part that the society of the time has affibbiato to it.
For this the actors had to pull outside all the own art in order to be involved a public of this type. The poet knows the poverty of the means of which he arranges and excuse with the spectators for the efforts that he will demand to their fantasy. A servant appears in proscenio with a trust on which the place is written in which the scene is carried out. Tables and rags become that locality or that place. It was the first virtual truth where the imagination had to count than every other thing more. You imagined also as and with which means Romeo and Giulietta could be represented, Enrico V, the Amleto and many great works of the period.
The elisabettiano author must be able itself to move in the time and the space with liberta "cinematographic". In a single action they can be counted until 12 changes of scene and place; between a scene and the other can is knows to you also of tens of years or hundreds to us of km. In order to help the spectators to follow carrying out itself of the action, the authors insert opportune struck that they serve from guideline. The passage of the time is indicated from a interludio comic or a short scene during which some personages meet themselves, exchanging some amenity; to times song is one. If the actors with of the ignited torchs enter, although they are the 3 of the afternoon, means that the scene is acclimatized of night.
Importantissimo it is the monologo with which the actor makes to progress the action capturing the attention of the public. Between scene and platea one is created intense intimità, palpitante, source of one poderosa emotional tension. The sonorous part of the shows was executed from musicians who took part to the action.
In the elisabettiano theatre the reactions are always extreme, the stormy ideas, the sweeping joy, the sconfinato pain, the irreparabili blows of the misfortune, the pitiless temper, the brutal lussuria. The libidine love intriso can also catch up the highest lirismo; the madness does not exclude the reason; the greed and the sense of the possession are the rule, but often the noble generosity prevails.
The elisabettiani accumulate a frightful catalogue of efferatezze and excesses that become the background of innumerevoli dramas, novels of adventure and many grand operas.
The men who animate those years and those scenes are equip you of great energy, courage and resources intelleuali.; the discipline (and the ingiustizie) in those years incutevano fear; the punishments of every type had to be terrorizzanti. The dead women were conceived like a near event, in every possible moment; the wounds, the torture, the boia they were what every day. The Tower of London in those years hits illustrious victims: the duca of Buckingam, Queen Anna Bolena, Queen Caterina Howard, Stuarda, Maria... Lasciarono all the head on a stock or came hang to you and endured after it pulls to you down still palpitanti for being scuoiati alive, squartati, the limbs burned in front of one crowd in tripudio, the witness infilzate on picche and placed for days as I ornament of the doors of London, obscene meal of the crows.
The superstizione it was to stars, the witches were multiplied therefore like practical the magical ones, the ghosts were ovunque; the religious fights mietevano victims and the theatre all told in its tragedies, its dramas and its commedie.
The life of the greater part of the men is alternation of passions and madness, crucci and dangers, terror and died. This is the elisabettiano theatre.
life of a elisabettiano actor is not simple; lowland is the social consideration that encircles it; one must be found official protection of a gentiluomo or the court. The same London authorities would abolish the rappresentazioni gladly if it were not for the Queen whom it adored to them.
In the 1642 Parliament, of puritana majority, it imposes the closing to indeterminato time of the theatre; in order nearly 20 years, until the Monarchic Restoration of 1660, the theatre practically is announced publicly. When it resumes is in various shapes and above all for a various public.
Many teatrali authors were also actors and came from humble origins. Very Jonson is figliastro of a mason and he same er mason; Marlowe is son of a shoemaker, Webster of a taylor, Shakespeare of a wool merchant, Massinger of a servitore. They are men of ignited passions and from the disordinata life. They must, they pass the time in the taverne, are rissosi, they attend the brothels.
They were however about the great personages who have represented entire their truth and that often and for long years they have been it forgets you from the posteri that they perhaps did not accept that personages of such bore as those represents to you in the works, could impersonare beyond to their largeness also their passions and their weaknesses.
Perhaps E' for that also Shakspeare was forgotten from those who came after he and that they represented a various theatre made of heroes and "great" constructed personages and represent to you for being idolatrati.
(council still lively to read "the secrets of London di C.Auggias!)
|
