Theatre

In the medieval Centuries, theatrical performances in the world developed greatly. A major question that one may ask is what are the distinct features of the 15th-17th Centuries theatrical performances This paper uses examples from roman and Spanish cultures to illustrate the distinct features of theatrical performances during the medieval period. Spanish artists integrated Spanish with Italian styles thereby developing a characteristic style of performances during what is today refereed to as the Spanish golden age. Spain had some of the most creative playwrights the world has ever had. These include, Lope de Vega (1562-1635), who wrote as many plays as possible some of which exist up to date. Some of the plays that Lope de Vega wrote was among the most celebrated Fuente Ovejuna, Peribez, El perrodel hortelano, and El caballero de Olmedo. Spanish theatrical performance thrived with religion being its primary foundation. In the 16th century, religious festivals were being held three times per year in Spain. These festivals were known as the corpus Christie. They put more emphasis on church authority. During these festivals, religious plays known as autos sacramentales, written for Corpus Christie were performed. These plays incorporated moral aspects as well as cycle plays. They portrayed features that were both human and supernatural. Dramas of the time combined both religious and secular elements. They usually had a moral lesson they intended to portray. The content of the plays changed drastically as they became purely Spanish. Until the mid 1500s, trade guilds held the sole responsibility of producing autos.

Performances were either new or repetitions. They were initially performed by either a single company and later by two or more companies. Different acting companies consisted of 16-20 actors who included women.  They usually purchased plays from playwrights. These companies obtained their licenses from the government. It was only after the corpus Christie that troupes could tour other villages and present in public. Dramas were mostly held in carros or wagons which contained everything that was needed during a performance. Carros were set in such a way that they contained curtains, doors and an upper stage that represented heaven. They were moved from place to place depending on the venue of performance. By around 1550, professional theatrical performances began in Spain led by Lope de Rueda. His works were mainly religious. Playwrights of the time devised actions that kept the audience attentive.

Eventually, religious plays incorporated more secular themes.  Secular dramas began to emerge by 16th century. Talented Spanish playwrights incorporated their culture, heritage and personal attributes into theatrical performances thus developing the content of Spanish theater. The aspects of Spanish acts were simply a combination of history, religion and desires of Spanish. Various themes were borrowed provided they taught catholic beliefs at the end. Most of theatrical performances dealt with love and honor as their major themes. Humor and tragedy were also used as themes in performances. Performances during that time also had very many characters that played different roles.

Performances were conducted in Corrales that looked like the Elizabethan public theaters. Corrales were constructed on already exciting courtyards. They contained a square that was reserved for men and a second story for women who were not accompanied. The highest story was reserved for nobles and heads of state. Though these Corrales were initially temporary, they became permanent. 

Though the work of many artists in the 16th century was ineffective, it prepared the way for future comedia. Lope de Vega was a prominent figure during the golden age commedia.  He established the comedia as the national drama and wrote rules regarding performances. Plays occurred within a specified period of time. They incorporated supernatural elements and did not hold on to neoclassical fundamentals. They were mainly written in three acts with many scenes.

A monologue was usually presented prior to each play. Performances were mainly court dramas which involved intricate scenery and stage machinery. During performance, distinct costumes were worn by different characters. An actor could play a single role during the play or play multiple roles.

Typecasting was also popular. The Spanish theater suffered a very big blow when the Catholic Church disapproved it. All theatrical activities in Spain were adversely affected since religious aspects played the largest part in law production and culture. In 1587, a law was passed stating that women too could perform, but it was abolished in 1596. Actresses were only allowed on stage if they had the company of a male actor.

During the renaissance period, roman theatrical performances were conducted at the courts of princes. It became custom to have plentiful musical entertainment known as intermezzi in between the main acts. The first intermezzi were preserved for posterity and celebration of a wedding in Florence at the Medici court in 1589. The scenes of these intermezzi became common to opera audiences in the following centuries. As stated by Stanton, roman traditions greatly influenced the theatrical performances in Rome. Greek masks and costumes were worn by roman actors during play. Though Greek performers greatly incorporated religious aspects into their plays it had little influence on roman theatrical performances. Theatrical performances in ancient Rome were designed for aesthetic appeal.

Actors of the time had developed a code that from a mere look, one could identify them. A black wig was worn by a young man while a grey one was worn by an old man. A red wig was worn to represent a slave. A white robe was worn to signify an old man while a purple robe was worn to represent a young man. A yellow robe was worn to symbolize a woman and a yellow tussle represented a god.

Although there was no limitation for the number of plays that could be performed per day, the maximum single plays took a maximum of two hours. Plays were usually presented during daytime mostly in the afternoon. Actors usually wore Greek dresses. Performers were free to decide on whether to wear masks or not. Comedies were the types of plays preferred by the Romans. Audiences were moved by acts that did not involve speaking. The subject of actions remained primarily religious as guided by the Catholic Church and well-off families. Demand for secular arts however increased with increase in wealth for merchants and princes. The main themes that were used in theatrical performances of the time include greed, comic stories, drunkardness, acrobatics, and dances. Acting profession in Rome was mainly held by men. Women joined the profession much later. The setting of theatrical stages in Rome had very distinct features. A common stage contained a street with a stage and three to four chamber in the background. It also had two doors, one on the left and the other on the right. The number of characters involved in a single performance was not limited though they required at least five speaking actors. A division between one act and the other was only made when the actor left the stage in preparation for another act. The audience was entertained with flutes during intermissions.

Roman theatrical performances composed of various stock characters. Some of the common characters used during performances were triumphant fighters, slaves, braggarts, strict fathers and many others. The costumes worn by stock characters became realistic with time. Tunic and a cloak were the basic costumes for these characters. A mask, which was a characteristic costume worn by many characters, allowed them to play multiple roles.

Walker, has asserted that the desire for action and entertainment increased greatly among the roman audience. Roman audience had little respect if any for the artists and the event.  They became less appreciative of plays and were constantly booing artists. Theaters in Rome were not places of worship as it was in Greece. They were full of chaotic and violent episodes. Due to the disgusting violent acts taking place on roman stages, the Christian church started attacking theatrical performances. They were abolished due to their absurdity and violence.
   
Short scenes acted by two or three people also known as mimes, survived of all stage entertainments in Rome. In these mimes, an actor impersonated a decent but dull official and associated it with an indecorous situation. Pantomimic shows were also a part of the ancient roman actions. Simple mimicry was conducted in three ways, that is, those without words and songs conducted in conjunction with dancing, mimicry in combination with instrumental music, and mimicry with songs and words. 
   
According to Stanton, Roman theatrical performances during the renaissance period were mainly performed in Latin. Performances were also based on Roman models. Dramas of the time were purely for academic purposes. They lacked vitality and contained a lot of turgid literature. They were usually performed by academicians in court festivals. The major concept of theatrical performances during the renaissance period was the manifestation of truth. Though these plays did not produce an exact copy of the world, they did away with illogical and questionable factors and incorporated proper moral order and dignity in dramas. Humor and misfortunes were not used as themes in a single play. Choruses were also eliminated from plays.  Plays were conducted in such a manner that in the final end evil was punished and all good deeds were rewarded.

Time, place and action were the three most important aspects considered for any action during renaissance period. Plays were supposed to have only one plot. They were also supposed to take place in one location within a period of twenty four hours. The notion behind this was that, the audience would not pay much attention to a play that had been spanning around for several days on different locations. Early roman theaters were constructed in places such as courtyards that were rectangular in shape. Painting was done on a surface that was originally flat to develop an impression of depth. Though the law of unities demanded for single setting, there developed a practice of intermezzi between dramas. This practice required change of scene. An architectural frame around the stage was developed to further enhance illusion of the stage.