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1550-1660 > Theatre > Flashcards

Theatre Flashcards

1
Q

When was Stephen Gosson’s anti-theatrical treatise ‘Schoole of Abuse’ published?

A

1579

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2
Q

To whom is the opening epistle addressed in Stephen Gosson’s ‘The Schoole of Abuse’?

A

Philip Sidney

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3
Q

What do poets do to society, in Gosson’s view?

A

They ‘disperse their poison through all the world’

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4
Q

What does Gosson say of poets and cooks?

A

‘I may well liken… Poets to Cooks: the pleasures of the one wins the body from labor, and conquers the sense; the allurement of the other draws the mind from virtue, and confounds wit.’

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5
Q

What does Gosson say of poetic fantasies in poetry and theatre?

A

‘Poetic fantasies draw [Princes] to the school of their own abuses’

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6
Q

What does Gosson say theatres do to people?

A

They ‘effeminate the mind, as pricks unto vice, than procure amendment of manners, as spurs to virtue.’

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7
Q

How does Gosson end his ‘Schoole of Abuses’?

A

‘Let us but shut up our ears to Poets, Pipers and Players, pull our feet back from resort to Theatres’

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8
Q

What shows an intersection between genre and class dynamics in Beaumont’s ‘The Knight of the Burning Pestle’?

A

A player says ‘it will show ill-favoredly to have a grocer’s prentice to court a king’s daughter.’

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9
Q

When was ‘The Knight of the Burning Pestle’ first a) performed, and b) published?

A

a) 1607, b) 1613

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10
Q

When was Thomas Dekker’s ‘Old Fortunatus’ first a) performed, and b) published?

A

a) 1599, b) 1600

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11
Q

How does the prologue to ‘Old Fortunatus’ address theatrical limitations?

A

‘for this small circumference must stand / For the imagined surface of much land’

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12
Q

Who does Fortunatus talk to in his first scene?

A

His acted ‘Echo’

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13
Q

What does Shadow say about clothes and appearances in ‘Old Fortunatus’?

A

‘for apparel is but the shadow of a man. Shadow is the substance of his apparel.’

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14
Q

What does Gosson say about the threat of semblances?

A

‘The shadow of a knave hurts an honest man… the shew of Theatres a simple gazer.’

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15
Q

How does Gosson end his ‘Schoole of Abuses’?

A

‘Let us but shut up our ears to Poets, Pipers and Players, pull our feet back from resort to Theatres’

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16
Q

When was ‘The Knight of the Burning Pestle’ a) first performed, and b) published?

A

a) 1607, b) 1613

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17
Q

What does a player say in ‘The Knight of the Burning Pestle’ about genre and class dynamics?

A

‘It’ll show ill-favoredly to show a grocer’s prentice to court a king’s daughter.’

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18
Q

When was ‘Old Fortunatus’ first a) performed, and published?

A

a) 1596, b) 1600

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19
Q

What does the prologue of ‘Old Fortunatus’ say about the weakness of theatre?

A

‘for this small circumference must stand / For the imagined surface of much land’

20
Q

Who does Fortunatus speak to in the first scene?

A

His acted ‘Echo’

21
Q

What does Shadow say about semblance in ‘Old Fortunatus’?

A

‘for apparel is but the shadow of a man. But Shadow is the substance of his apparel’

22
Q

What does Andelocia say about the (il)logic of theatre in ‘Old Fortunatus’?

A

‘we’ll feed ourselves with paradoxes’

23
Q

What does Jonas Barish say about change from an antitheatrical perspective?

A

‘the actor, his trade founded on change, becomes a lively image of the fallen man’

24
Q

What does ‘Old Fortunatus’’s prologue say about the active viewer?

A

‘Your gracious eye / Gives life to Fortunatus’s history’

25
Q

What is ‘Old Fortunatus’ believed to be based on?

A

‘Fortunatus’ by Thomas Combe

26
Q

When was Bartholomew Fair first performed?

A

1616

27
Q

What does the Stagekeeper complain about in the induction?

A

The playwright ‘has ne’er a sword and buckler-man in his fair’

28
Q

What does the preface to ‘Knight of the Burning Pestle’ hope for?

A

A ‘sequel’ to ‘revenge [Beaumont’s] quarrel, and challenge the world either of fond and merely literal interpretation or illiterate misprecision’

29
Q

What does the scrivener say in the contract about judgement?

A

‘It shall be lawful for any man to judge his six pennyworth’

30
Q

What does the scrivener’s contract say about romance and realism?

A

‘no person here is… to look back to the sword and buckler age of Smithfield, but content himself with the present’

31
Q

What does the scrivener’s contract say, implying the death of the author?

A

‘the author having departed with his right’

32
Q

What does the scrivener’s contract warn against, in terms of audience judgement?

A

‘censure by contagion’

33
Q

What is an element of danger in theatrical spectacle, according to Barish?

A

‘spectator complicity’

34
Q

What is Faustus called which associates playwrights with magicians?

A

‘conjurer laureate’

35
Q

What does Thomas Nashe say about plays’ merits in ‘Pierce Penniless’?

A

‘what can be a sharper reproof to these effeminate days of ours?’

36
Q

What does Gosson say about the financial element of poets, pipers, and players?

A

They ‘privily encroach upon every man’s purse’

37
Q

What is ‘The Knight of the Burning Pestle’ meant to be called originally?

A

‘The London Merchant’

38
Q

What was a consequence of permanent playhouses, according to Bruster?

A

‘a relatively haphazard, mobile enterprise [drama] now began to claim a permanent status’

39
Q

When and what was the first playhouse built in London?

A

1567, the Red Lion

40
Q

When was ‘Doctor Faustus’ first performed?

A

1592

41
Q

What does Vertue address to Queen Elizabeth at the end of ‘Old Fortunatus’?

A

‘I am a Shadow, at your feet I fall’

42
Q

What quote at the end of ‘Old Fortunatus’ links the queen’s grace with theatrical authenticity?

A

‘dread Nymph it lies / In you to make us substances’

43
Q

What does Stephen Gosson say about Queen Elizabeth’s manner of rule in ‘The Schoole of Abuse’

A

‘breaking her foes with the bent of her brow, ruling her subjects with shaking her hand’

44
Q

What does Gosson complain about, with regard to the theatre’s relationship with Royal authority?

A

‘How often hath her Majesty… sett down the limits of apparel to every degree’

45
Q

When was Dekker’s ‘Magnificent Entertainment’ for James I performed?

A

1604

45
Q

What does the description of ‘Magnificent Entertainment’ say about social class?

A

‘The multitude is now to be our audience, whose heads would miserably run-a-wool-gathering, if we do but offer to break them with hard words.’

1550-1660 (5 decks)

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