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Ständeklausel
The Ständeklausel (''Estates of the realm, estates-clause'') was a principle in poetic theatre, by which attempts were made to transfer the principles of French literature of the 17th century, Classicist French drama into German theatre. It is often connected with Johann Christoph Gottsched. It stated that only kings, princes and other people of high rank were to be shown in tragedies and that those of the middle classes could only be shown onstage in comedies. It also demarcated audiences in theatre concessions granted by ancien regime princes - only theatres in courts were allowed to put on tragedies (including ballets and serious operas), while the rapidly proliferating Volkstheaters were only allowed to put on comedies, including Opéra comique, comic operas and pantomimes. It was broken by the onset of Bourgeois tragedy such as ''Love and Intrigue''. {{DEFAULTSORT:Standeklausel Theatre in Germany 17th-century theatre 18th-century theatre 19th-century theatre ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Love And Intrigue
''Intrigue and Love'', sometimes ''Love and Intrigue'', ''Love and Politics'' or ''Luise Miller'' (german: Kabale und Liebe, ; literally "''Cabal and Love''") is a five-act Play (theatre), play written by the German dramatist Friedrich Schiller. His third play, it was first performed on 13 April 1784 at Schauspiel Frankfurt. The play shows how cabals and their intrigue destroy the love between Ferdinand von Walter, a nobleman's son, and Luise Miller, daughter of a middle-class musician. Characters * President von Walter, at a German prince's court * Ferdinand, the president's son, an army major * Hofmarschall von Kalb * Lady (Emilie) Milford, favourite of the prince * Wurm, the president's private secretary * Miller, town musician or "Kunstpfeifer" * Miller's wife * Luise, Miller's daughter * Sophie, maid to Lady Milford * A valet to the prince * Various minor characters Plot Ferdinand is an army major and son of President von Walter, a high-ranking noble in a German duke's cour ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Johann Christoph Gottsched
Johann Christoph Gottsched (2 February 1700 – 12 December 1766) was a German philosopher, author and critic of the Enlightenment. Biography Early life He was born at Juditten (Mendeleyevo) near Königsberg (Kaliningrad), Brandenburg-Prussia, the son of a Lutheran clergyman, and was baptised in St. Mary's Church. He studied philosophy and history at the University of Königsberg, but immediately on taking the degree of ''Magister'' in 1723, he fled to Leipzig in order to avoid being drafted into the Prussian army. In Leipzig, he enjoyed the protection of J. B. Mencke, who, under the name of "Philander von der Linde", was a well-known poet and president of the ''Deutschübende poetische Gesellschaft'' in Leipzig. Of this society, Gottsched was elected "Senior" in 1726, and in the next year reorganised it under the title of the ''Deutsche Gesellschaft''. Career As editor of the weeklies ''Die vernünftigen Tadlerinnen'' (1725–26) and ''Der Biedermann'' (1727), Gottsche ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Estates Of The Realm
The estates of the realm, or three estates, were the broad orders of social hierarchy used in Christendom (Christian Europe) from the Middle Ages to early modern Europe. Different systems for dividing society members into estates developed and evolved over time. The best known system is the French ''Ancien Régime'' (Old Regime), a three-estate system which was made up of clergy (the First Estate), nobles (Second Estate), peasants and bourgeoisie (Third Estate). In some regions, notably Sweden and Russia, burghers (the urban merchant class) and rural commoners were split into separate estates, creating a four-estate system with rural commoners ranking the lowest as the Fourth Estate. In Norway the taxpaying classes were considered as one, and with a very little aristocracy, this class/estate were as powerful as the monarchy itself. In Denmark, however, only owners of large tracts of land had any influence. Furthermore, the non-landowning poor could be left outside the estates, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
French Literature Of The 17th Century
17th-century French literature was written throughout the ''Grand Siècle'' of France, spanning the reigns of Henry IV of France, the Regency of Marie de Medici, Louis XIII of France, the Regency of Anne of Austria (and the civil war called the Fronde) and the reign of Louis XIV of France. The literature of this period is often equated with the Classicism of Louis XIV's long reign, during which France led Europe in political and cultural development; its authors expounded the classical ideals of order, clarity, proportion and good taste. In reality, 17th-century French literature encompasses far more than just the classicist masterpieces of Jean Racine and Madame de La Fayette. Society and literature in 17th-century France In Renaissance France, literature (in the broadest sense of the term) was largely the product of encyclopaedic humanism, and included works produced by an educated class of writers from religious and legal backgrounds. A new conception of nobility, modelled on t ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Opera
Opera is a form of theatre in which music is a fundamental component and dramatic roles are taken by singers. Such a "work" (the literal translation of the Italian word "opera") is typically a collaboration between a composer and a librettist and incorporates a number of the performing arts, such as acting, scenery, costume, and sometimes dance or ballet. The performance is typically given in an opera house, accompanied by an orchestra or smaller musical ensemble, which since the early 19th century has been led by a conductor. Although musical theatre is closely related to opera, the two are considered to be distinct from one another. Opera is a key part of the Western classical music tradition. Originally understood as an entirely sung piece, in contrast to a play with songs, opera has come to include numerous genres, including some that include spoken dialogue such as '' Singspiel'' and '' Opéra comique''. In traditional number opera, singers employ two styles of ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Opéra Comique
''Opéra comique'' (; plural: ''opéras comiques'') is a genre of French opera that contains spoken dialogue and arias. It emerged from the popular '' opéras comiques en vaudevilles'' of the Fair Theatres of St Germain and St Laurent (and to a lesser extent the Comédie-Italienne),M. Elizabeth C. Bartlet and Richard Langham Smith"Opéra comique" '' Grove Music Online''. Oxford Music Online. 19 November 2009 which combined existing popular tunes with spoken sections. Associated with the Paris theatre of the same name, ''opéra comique'' is not necessarily comical or shallow in nature; '' Carmen'', perhaps the most famous ''opéra comique'', is a tragedy. Use of the term The term ''opéra comique'' is complex in meaning and cannot simply be translated as "comic opera". The genre originated in the early 18th century with humorous and satirical plays performed at the theatres of the Paris fairs which contained songs ('' vaudevilles''), with new words set to already existing music. ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bourgeois Tragedy
Bourgeois tragedy (German: ''Bürgerliches Trauerspiel'') is a form of tragedy that developed in 18th-century Europe. It is a fruit of the enlightenment and the emergence of the bourgeois class and its ideals. It is characterized by the fact that its protagonists are ordinary citizens. In England and France There are a few examples of tragic plays with middle-class protagonists from 17th century England (see domestic tragedy), but only in the 18th century did the general attitude change. The first true bourgeois tragedy was an English play: George Lillo's ''The London Merchant; or, the History of George Barnwell'', which was first performed in 1731. In France, the first ''tragédie bourgeoise'' was ''Sylvie'' by Paul Landois, which came out in 1741. Years later came two plays by Denis Diderot: ''Le fils naturel'' was first staged in 1757 and ''Le père de famille'' in the following year; while these plays were not strictly tragedies, they treat bourgeois lives in a serious mann ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Theatre In Germany
Theatre or theater is a collaborative form of performing art that uses live performers, usually actors or actresses, to present the experience of a real or imagined event before a live audience in a specific place, often a stage. The performers may communicate this experience to the audience through combinations of gesture, speech, song, music, and dance. Elements of art, such as painted scenery and stagecraft such as lighting are used to enhance the physicality, presence and immediacy of the experience. The specific place of the performance is also named by the word "theatre" as derived from the Ancient Greek θέατρον (théatron, "a place for viewing"), itself from θεάομαι (theáomai, "to see", "to watch", "to observe"). Modern Western theatre comes, in large measure, from the theatre of ancient Greece, from which it borrows technical terminology, classification into genres, and many of its themes, stock characters, and plot elements. Theatre artist Patrice Pavi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
17th-century Theatre
The 17th century lasted from January 1, 1601 (Roman numerals, MDCI), to December 31, 1700 (Roman numerals, MDCC). It falls into the early modern period of Europe and in that continent (whose impact on the world was increasing) was characterized by the Baroque cultural movement, the latter part of the Spanish Golden Age, the Dutch Golden Age, the French ''Grand Siècle'' dominated by Louis XIV, the Scientific Revolution, the world's first public company and megacorporation known as the Dutch East India Company, and according to some historians, the General Crisis. From the mid-17th century, European politics were increasingly dominated by the Kingdom of France of Louis XIV, where royal power was solidified domestically in the civil war of the Fronde. The semi-feudal territorial French nobility was weakened and subjugated to the power of an absolute monarchy through the reinvention of the Palace of Versailles from a hunting lodge to a gilded prison, in which a greatly expanded royal ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
18th-century Theatre
The 18th century lasted from January 1, 1701 ( MDCCI) to December 31, 1800 ( MDCCC). During the 18th century, elements of Enlightenment thinking culminated in the American, French, and Haitian Revolutions. During the century, slave trading and human trafficking expanded across the shores of the Atlantic, while declining in Russia, China, and Korea. Revolutions began to challenge the legitimacy of monarchical and aristocratic power structures, including the structures and beliefs that supported slavery. The Industrial Revolution began during mid-century, leading to radical changes in human society and the environment. Western historians have occasionally defined the 18th century otherwise for the purposes of their work. For example, the "short" 18th century may be defined as 1715–1789, denoting the period of time between the death of Louis XIV of France and the start of the French Revolution, with an emphasis on directly interconnected events. To historians who expand the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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