고급연극과 저급연극 그 이분의 무효성: 왕정복고 이후 영국 정부의 규제와 그 허상 = The Inefficacy of High/Low Theatrical Form Dichotomy: British Government Regulations after the Restoration and Its Impact

다국어 초록 (Multilingual Abstract)

In reopening the theatres that had been closed by the Puritans, Charles II gave Killigrew and Davenant exclusive right to perform regular drama allowing actresses to perform for the first time. These companies began to compete exploiting female bodies in serious drama and offered pantomime as an afterpiece which was more popular than the main piece. In addition entertainments of singing and dancing were added between the acts of mainpiece violating neoclassical purism. The legality of the patents was confirmed by Parliament with the Licensing Act of 1737. This law further provided that, prior to production, each play had to be licensed by the Lord Chamberlain. Drury Lane and Covent Garden as the only legitimate theatres in England competed again with breeches parts and Shakespearean productions in main pieces and with pantomimes in afterpieces. However evasion of the law was common, with unlicensed theatres offering undefined entertainments and pantomimes. The monopolies on the performance of serious plays were eventually revoked by the Theatres Act 1843, encouraging the development of popular theatrical entertainments such as pantomimes, extravagazas and comic operas. Naturally most theatres enlarged the range of entertainment so as to appeal to the varied tastes of audiences. At the end of nineteenth century the bill became less complex as theatres began to specialize in a particular kind of entertainment. Though regular drama became a province of a more sophisticated group, a trend that was accelerated in the twentieth century by the development of motion pictures, high/low theatrical form dichotomy became unjustified as government regulations have long made it impossible to draw a clearly definable line between serious drama and minor forms.

참고문헌 (Reference)

1 레이몬드 윌리암즈, "키워드" 민음사 2010

2 오스카 브로켓, "연극의 역사 I" 연극과 인간 2009

3 Howard, Tony, "Women in Hamlet: Performance and Interpretation in Theatre, Film and Fiction" Cambridge UP 2007

4 Pope, Alexander, "The poems of Alexander Pope: A reduced version of the Twickenham Text" Yale UP 1966

5 Scouten, Arthur H., "The London Stage, 1660-1800: A Calendar of Plays, Entertainments, and Afterpieces, Together with Casts, Box-Receipts, and Contemporary Comment. Compiled from the Playbills, Newspapers, and Theatrical Diaries of the Period. Part 3: 1729-1747. 2 vols" Southern Illinois UP 1961

6 Howe, Elizabeth, "The First English Actresses: Women and Drama, 1660-1700" Cambridge University Press 1700

7 Senelick, Laurence, "The Changing Room: Sex, Drag and Theatre" Routledge 2000

8 Richetti, John J, "The Cambridge History of English Literature, 1660-1780" Cambridge UP 2005

9 Bates, Alfred, "THE OLD ENGLISH PANTOMIME.” The Drama: Its History, Literature and Influence on Civilization vol. 15" Historical Publishing Company 78-81, 1906

10 "TEMPLEMAN LIBRARY, UNIVERSITY OF KENT AT CANTERBURY, SPECIAL COLLECTIONS : PLAYBILLS"

11 Collick,John, "Shakespeare, cinema, and society" Manchester UP 1989

12 Stone, George Winchester, "Shakespeare in the Periodicals 1700-1740: A Study of the Growth of a Knowledge of the Dramatist in the Eighteenth Century" 3 (3): 313-328, 1952

13 Ritchie, Fiona, "Shakespeare and the Eighteenth-Century Actress" 2 (2): 1-9, 2006

14 Loehlin, James N, "Romeo and Juliet: Shakespeare in Production" Cambridge UP 2002

15 Dryden, John, "Prologue to the Tempest The poetical works of John Dryden Vol 3" William Pickering 46-47, 1832

16 "Licensing Act 1737"

17 "John Gay"

18 O’Brien, John, "Harlequin Britain: Eighteenth-Century Pantomime and the Cultural Location of Entertainment(s)" 50 (50): 489-510, 1998

19 "DAVID GARRICK"

20 Trussler, Simon, "Cambridge Illustrated History: British Theatre" Cambridge UP 2000

21 Broadbent, R.J, "A History of Pantomime" The Echo Library 2006

22 "A Gender Variance Who’s Who."2 Feb, "A Gender Variance Who’s Who"