![]() ![]() In England, Elizabethan and Jacobean plays frequently included music, with performances on organs, lutes, viols and pipes for up to an hour before and during the performance. The European Renaissance saw older forms evolve into commedia dell'arte, an Italian tradition where raucous clowns improvised their way through familiar stories, and later, opera buffa. Renaissance to the 1800s A view of Rhodes by John Webb, to be painted on a backshutter for the first performance of The Siege of Rhodes (1856) The poetry was provided with modified or completely new melodies. These plays developed into an autonomous form of musical theatre, with poetic forms sometimes alternating with the prose dialogues and liturgical chants. Once finished, the group would move on with their wagon, and the next group would arrive to tell its part of the story. Several pageant wagons (stages on wheels) would move about the city, and a group of actors would tell their part of the story. Later " mystery plays" were created that told a biblical story in a sequence of entertaining parts. In the 12th and 13th centuries, religious dramas, such as The Play of Herod and The Play of Daniel taught the liturgy, set to church chants. īy the Middle Ages, theatre in Europe consisted mostly of travelling minstrels and small performing troupes of performers singing and offering slapstick comedy. The music from all of these forms is lost, however, and they had little influence on later development of musical theatre. For example, to make dance steps more audible in large open-air theatres, Roman actors attached metal chips called sabilla to their stage footwear, creating the first tap shoes. The Romans also introduced technical innovations. The 3rd-century BCE Roman comedies of Plautus included song and dance routines performed with orchestrations. The dramatists Aeschylus and Sophocles composed their own music to accompany their plays and choreographed the dances of the chorus. The antecedents of musical theatre in Europe can be traced back to the theatre of ancient Greece, where music and dance were included in stage comedies and tragedies during the 5th century BCE. Early antecedents: Antiquity to Middle Ages The Ancient Theatre of Delphi. The Princess Theatre musicals in New York City during the First World War, and other smart shows like Of Thee I Sing (1931) were artistic steps forward beyond revues and other frothy entertainments of the early 20th century and led to the modern "book" musical, where songs and dances are fully integrated into a well-made story with serious dramatic goals that is able to evoke genuine emotions other than laughter. These were followed by the Edwardian musical comedies, beginning in the 1890s in England, and the musical theatre works of American creators like George M. In the 19th century, following the development of European operetta, many of the structural elements of modern musical theatre were established by the works of Gilbert and Sullivan in Britain and those of Harrigan and Hart in America. Although music has been a part of dramatic presentations since ancient times, modern Western musical theatre developed from several lines of antecedents that evolved over several centuries through the 18th century when the Ballad Opera and pantomime emerged in England and its colonies as the most popular forms of musical entertainment. 1728), a key antecedent of musical theatreĭevelopment of musical theatre refers to the historical development of theatrical performance combined with music that culminated in the integrated form of modern musical theatre that combines songs, spoken dialogue, acting and dance. ![]() One for in some cases three hours- the Passion itelf.Overview of early centuries of Western musical theatre A William Hogarth painting based on The Beggar's Opera (c. (Piety)-with his bleeding arms suspended. Outside the relgious field, it would run into Flak from theĬensors- I never could quite see this morbid variety of Opera at all but in a sense a forerunner. Musical verse and gets more and more sorrowful and depressing thereĪre a whole variety of verses all of the same tune- this is not Mother falls into this category.l the thing is based on one basic Oratorio took this form of musical acting as often the plot was notįeasible to do on stage( the Passion of Christ- pre- specialĮffects- for example or would even be considered sacrilegious_ theįamous and somewhat disturbing ( Stabat Mater)- roughly Standing one survival of Oratorio may beįound in the Passion Plays- and a stageless variety with someĬhoruses of parishoners, and good trained choral work may still beįound in such things as the St.Matthew Passion, performed inĬhurches during lent and on Good Friday- for obvious reasons. music was used in choral fashion to tell a story but there Opera evolved out of oratorio-which might be called sacred ![]()
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