Performers in Eighteenth Century British Theatre
Eighteenth century British theatre was perhaps the starting point that would evolve into modern theatre. Women started to be allowed on stage and acting techniques were beginning to change. Leading performers were like celebrities with a number of fans. Theatre was an intricate part of the social ladder. In the overall scheme of things the actors and actresses played an important part in making the theatre what it was. Without the performers there wouldn’t really be theatre, so in order to understand the eighteenth century British theatre the performers of that era need to be understood.
The social standing of actors and actresses in the late eighteenth century was mostly understood to be of the lower class but they were not always treated so. "Many performers, furthermore, were received everywhere with cordiality and respect. Several of them made marriages with persons of distinction;" (Hogan, cxx). A problem that would often occur to dampen a performer's social standing would be the result of a character they played. People of the audience would often hold the performer accountable for the faults of their character. "For an actress to portray an adulteress was not only immodest, but it would almost certainly induce her to become one in reality; of an actor profligacy and immorality were his chief characteristics;" (Hogan, cxx).
In a season that could involve 200 nights of performances over 100 plays may be produced (Hogan, ciii). With this in mind many actors and actresses would need to be available to play a great number of parts. For example, "in 1794-95 Quick's first appearance was on 24 September, his last on 25 May. This is a period of 177 nights, out of which he acted on 149, in 47 different parts" (Hogan, cii).
With such an abundance of parts to be learned and understood performers had to develop a system to remember everything. There is no exact detailed system to how performers did this than just completely taking time to focus on the part. Hogan provides an example from Michael Kelly‘s Reminiscences that is perfect in showing the focus and discipline performers had to have. “Previous to the opening of the newly constructed Drury lane in the spring of 1794 its acting manager. John Philip Kemble, must clearly have had his mind occupied with countless details: the superintendence of a large crew of house servants and workmen, of finances, of advertising, of preparing a spectacular revival of Macbeth.
h The form of Elizabethan theatre derived from the innyards and animal baiting rings in which actors had been accustomed to perform in in the past. They were circular wooden buildings with a paved courtyard in the middle. Such a theatre would hold around 3,000 spectators. The yards were about 80 feet in diameter and the rectangular stage 40ft by 30ft in height
However soon afterwards Elizabeth then gave permission for four Noblemen to set up their own acting companies and to employ actors where they would perform plays in the yards of Large Inns. People then began to want to see plays for entertainment and not on a morality basis.
Agnew, Robert. 2001. "An Overview of General Strain Theory" ” In Paternoster and Bachman (Eds.) Explaining Criminals and Crime. Los Angeles, CA: Roxbury.
The nobles of England were also known to be supporters of the theatre, many invited companies of actors to their homes to perform plays for them. The nobles often patronised companies to prevent them from being prosecuted for being vagabonds. One example of this is that Lord Hunsdon, the Lord Chamberlain, gave money to a group of actors and even let them call themselves "The Lord Chamberlain's Men". This meant that people would follow the example of their Lords and go to the theatre. Another reason that nobles supported the theatre was that it prevented the lower classes from causing trouble because it took their minds off the problems of their lives, such as poverty and unemployment.
...he actors get ready for the play they are putting on, what people think of the play, and finally how the playwright is getting ready for his next play.
Those who had remained in England during the Commonwealth had faced years of strict moral repression. Those who fled to France had acquired some of the decadence bred across the channel. In combination, these two forces created a nation of wealthy, witty, amoral hedonists. Their theatre reflected their lifestyles. Thus was born the Restoration Tragedy and the Comedy of Manners.
The love for theatre that King Charles brought back with him from his exile brought reflexivity to who was in the audience. Charles funded many stage productions and the presence of royalty brought a certain amount of prestige to the playwrights and actors and actresses performing at the time. To attend the theatre was a venue for social mingling and self-exploration and expression for women ...
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