Demonstrate understanding of features of a drama/theatre form (version #1)
Standard 90998
Theatre genre: Melodrama
Candidates will be required to:
Theatre genre: Melodrama
Candidates will be required to:
- name the drama / theatre form studied
- support your answers with annotated sketches and examples
- describe and explain:
- use of body by a performer
- use of a convention within a performance
- how a costume is used to show a particular role or character.
Link to NZQA website / sample assessment resources & exemplars: Click here
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Notes on melodrama costume elements...
stereotype_victorian_melodrama_roles_and_costume.docx | |
File Size: | 110 kb |
File Type: | docx |
Victorian theatres
victorian_theatre_slides.pdf | |
File Size: | 455 kb |
File Type: |
Melodrama notes...
Victorian Melodrama
Historical Context
- The Industrial Revolution
- 1800's
- Shift from Rural to Urban living.
- Scientific discoveries led to machines.
- Some people became extremely rich, but most ended up very poor.
Living Conditions and Consequences :
- Terrible overcrowding
- Disease
- Alcoholism
- Helpless in the face of the rich
What does Melodrama mean?
- A drama characterized by exaggerated emotions, stereotypical characters, and interpersonal conflicts. − Melo - “Music” − Drama - “Drama”
- Only two Theatres in London allowed to present dramas. − Covent Garden, Drury Lane
- Licensed by the king.
- Other Theatres were required to have musical intervals. − Popular romantic dramas known as Melo-dramas.
- Included songs during the performances and between scenes and at interval.
- Romaticism − Emotional theatre.
History of Melodrama
- Became a Theatrical form in about 1800.
- René Charles Guilbert de Pixerécourt − La Femme a deux maris
- First English play to be called a Melodrama − A Tale of Mystery (1802) by Thomas Holcroft
- Reaction to immorality of Restoration plays.
Features of Melodrama
- Exaggerated and stylised movement and extended vocal technique expressing extreme emotions and sentimentality
- Based on the large size of the theatres of the time and the exaggerated characteristics/ behaviours of the characters
- Stereotyped characters
- Usually one dimensional, they do not change psychologically or morally Good vs Evil: moral struggle The human struggle between pure good (usually poor and downtrodden) vs pure evil (usually the rich, greedy or powerful). There is strict observance of poetic justice – good always rewarded and evil always punished. Audience interaction (breaking the 4th wall) Maximum sense of empowerment. The people in the audience may be helpless at home but they can beat the bad guys at the show. Spectacular events e.g. Chases, explosions, battles, fights, fierce arguments, sea voyages, supernatural events. These helped people to forget their own troubles for a while.
Fast paced dramatic plots
- Exciting story, suspense, plot twists (discoveries, hairbreadth escapes, secret passages, hiding places, disguises)
- Audience response
- Very basic emotional appeals involve “ arousal of pity and indignation at the wrongful oppression of good people and intense dislike for wicked oppressors”
- Exotic locations Exotic/far away or ugly/desperate or lush/beautiful – never ordinary
Melodrama's Stock Characters
1. Hero: Handsome, strong, brave, honest and reliable. Status: Middle Class or Higher
2. Heroine: Beautiful, courageous, innocent and vulnerable. Status: Middle Class or Higher
3. Villain: Cunning, without morals, dishonest, cruel and evil. Status: Middle Class or Higher
4. Villain's Accomplice: Comic relief, bumbling sidekick. Status: Lower Class
5. Faithful servant: Also provides comic relief, does dirty work. Usually discovers evidence against the villain. Status: Lower Class
6. Maid servant: Female character who is lively and flirts with the faithful servant. Status: Lower Class
Staging, Technology
- Proscenium Arch
- Machinery available for complicated sets − Fly towers & Counterweight − Treadmills − Electric lighting
- “Sensation” melodramas − Disaster's happened on stage − The Poor of New York – Dion Boucicault
- Real fire engines put out a real fire.
Drury Lane theatre
In 1847 the Theatre was cleaned and redecorated to the designs of Frederick Gye, the Illustrated London News reported on the changes, and added a sketch of the auditorium (shown below), in their October 16th 1847 edition saying:- 'The theatre has been cleansed throughout - a labour as requisite here as in the Augean stable of old. We have engraved the newly-decorated Auditory of the House, as seen from the stage, with the orchestra and floored pit, during a promenade concert. The ground-colour throughout is a faint blossom. The fronts of the boxes, and of the lower gallery (to which the whole of the upper circle is now appropriated) are laced with a bold trellis of gilt moulding, upon which are suspended festoons of flowers, also gilt. On the dress circle, the festoons are looped through wreaths; and, on the other tiers, are smaller and simpler festoons, without the wreaths. The coved, or outer circle of the ceiling, is broken in the centre by the upper gallery, which has an unsightly effect from the stage; but, on each side, are elliptically arched openings, with bold foliage, richly gilt, on the piers and above the arches; over these is a deep cooing of lattice, gilt; and next is the bordure - a bold wreath - inclosing the inner circle of the ceiling. This is painted to imitate a cloudless sky ; around the circle are jets of gas, and, from an aperture in the centre, hangs a vast chandelier of cut glass; the aperture is wreathed, and around it are six winged boys, bearing festoons of flowers, in effect supporting the lustre. The main design of the latter is six flags, of drops, with the lines of the union-Jack marked on each by light. There is also a profusion of drops, in large tassels, festoons, and garlanded forms, too various to describe. The effect of the whole, when lighted, is remarkably brilliant. Around the dress and first circles, are also hung small lustres, with the gas lights in ground-glass shades...
The family boxes have been removed from the back of the dress circle, and an inner lobby formed in their place; but, as the backs of the boxes are low, their occupants are exposed to draughts of air from the continued opining of the lobby doors; this will soon become a subject of complaint, and will doubtless be remedied. The first circle is exclusively in private boxes; the draperies of which, as well as of the other circles are of scarlet cloth, trimmed with gold colour. The valens, if so it may be called, is straight and scanty, and has a mean effect. The boxes and lobbies are lined with a crimson ground and yellow patterned paper; and the reeded pillar supports of the boxes are entwined with gilt flowers and fruit. In the Proscenium, there is little change: the crimson velvet and gold draperies have been displaced by the scarlet; the superb columns have been regilt in the caps and bases; and the pierced shafts are entwined by bold wreaths of flowers, richly gilt. The drapery of the Proscenium arch is plain crimson, without fold or flute, faced with gold trellis. It reminds one of the quaint fashion of an Anna Bolena cap-front.
The draperies, inclosing the stage, are white and gold, of the usual design for the concert performance; and the orchestra is much as heretofore; this portion of the house being lighted by gilt lamps suspended from the flies. We should not omit to mention that in the rear of the stage is a spacious reading-room, a new feature of accommodation.
The decoration of the Auditory has been designed and superintended by Mr. Frederick Gye. The general effect is novel and sparkling; and, with the immense flood of gaslight, it is well adapted for the present performances; though the brightness of the embellishments does not show to advantage the black mass in the promenade. Possibly, before the dramatic season commences, it may be advisable to modify the brilliancy, or garish effect; else, to be seated five hours in such lustrous excess may be less pleasurable to the audience than was intended.
The whole of the ornaments - mouldings, fruit and flowers - are of papier-mache, and were made, gilt, and fixed by Mr. Bielefeld, in five weeks; the manufacture involving an extraordinary application of the steam-engine to decorative art.'
The draperies, inclosing the stage, are white and gold, of the usual design for the concert performance; and the orchestra is much as heretofore; this portion of the house being lighted by gilt lamps suspended from the flies. We should not omit to mention that in the rear of the stage is a spacious reading-room, a new feature of accommodation.
The decoration of the Auditory has been designed and superintended by Mr. Frederick Gye. The general effect is novel and sparkling; and, with the immense flood of gaslight, it is well adapted for the present performances; though the brightness of the embellishments does not show to advantage the black mass in the promenade. Possibly, before the dramatic season commences, it may be advisable to modify the brilliancy, or garish effect; else, to be seated five hours in such lustrous excess may be less pleasurable to the audience than was intended.
The whole of the ornaments - mouldings, fruit and flowers - are of papier-mache, and were made, gilt, and fixed by Mr. Bielefeld, in five weeks; the manufacture involving an extraordinary application of the steam-engine to decorative art.'
Modern theatre: 1812 The present-day Theatre Royal in Drury Lane, sketched when it was new, in 1813 The present Theatre Royal in Drury Lane, designed by Benjamin Dean Wyatt on behalf of the committee led by Whitbread, opened on 10 October 1812 with a production of Hamlet featuring Robert Elliston in the title role. The new theatre made some concessions toward intimacy, seating 3,060 people, about 550 fewer than the earlier building (though this size is still considered an extremely large theatre). On 6 September 1817, gas lighting was extended from the audience area to the stage, making it the first British theatre to be gaslit throughout. In 1820 the portico that still stands at the theatre's front entrance on Catherine Street was added, and in 1822 the interior underwent a significant remodelling. The colonnade running down the Russell Street side of the building was added in 1831.
Productions relying more on scenery and effects than on dialogue and acting remained commonplace in the new facility. The 1823 production of Cataract of the Ganges had a finale featuring a horseback escape up a flowing cataract "with fire raging all around." Effects for an 1829 production were produced by hydraulic apparatus that reportedly could discharge 39 tons of water.
Productions relying more on scenery and effects than on dialogue and acting remained commonplace in the new facility. The 1823 production of Cataract of the Ganges had a finale featuring a horseback escape up a flowing cataract "with fire raging all around." Effects for an 1829 production were produced by hydraulic apparatus that reportedly could discharge 39 tons of water.
Lighting
Gas Light -1816- Chestnut Street Theatre, Philadelphia became the first in the world to light the stage with gas lights-1840s- widely adopted -control over intensity-each theatre- ran its own gas plant ($$ and dangerous)
-open flame-more diffused light
Limelight -brighter than gas or candle-1850s-gas +hydrogen+oxygen directed at a column of lime until it was incandescent-inside reflective hood= early spotlight
Electricity -1881- Savoy Theatre- 1st in London w/ all electric light-Less fire danger-@ first- only low wattage available-1905- higher wattage; spread quickly-gradual switch from gas to electric
Melodrama and use of technologies
Click here for link to excellent resource talking about the use of technologies in Melodrama
Melodrama Technologies info
Melodrama Technologies info