12|3|15 - Contemporary Theatre & Applying Acting Styles - 'Playhouse Creatures'

We chose scenes that we felt were the most entertaining yet still contain a clear reflection on what it was like to be an actress within the restoration period. 

We read through the first few scenes together to make sure that we understood all the subtext and more old fashion notions through the play. There were also parts that we needed to see as a clear feminist statement. April De Angellis borrowed real life characters from the Restoration period and used them in her writing. 

Within 'Playhouse Creatures' there is Doll Common, Nell Gywn, Rebecca Marshal, Elizabeth Farley and Mrs Betterton. I'm going to look into these characters now to see any correlation to women in the past: 

Nell Gywn: (previous blog entry) 

Doll Commons: this is actually the name that Samuel Pepys, diarist and theatre enthusiast gave 'Katherine Corey' after seeing her in Ben Johnson's 'The Alchemist'. Katherine had one of the longest longest career of an actress in her generation. Pepys recorded that she was "a big woman with a gift for comedy" noted that she played a variety of roles, but mainly old women, mothers, governesses and waiting women. Whilst playing the part of Sempronia in 'Catiline', Nell Gywn was in a quable with Lady Harvey, and bribed Corey to mimick Harvey in her role. This caused Harvey to set people up to hiss and throw oranges at Corey. Harvey's rival Lady Castlemaine order the king to release Corey when Harvey had ordered for her arrest. Later on, Corey was part of a troupe that tried to form a new company under Henry Killigrew's management, but when this failed Charles Killigrew would not allow Corey to come back into the company until she appealed to the Lord Camberlain with the humble petition of being "the first and the last of all actresses that were constituted by King Charles the Second at his restauration." she was then re-admitted to the company and continued to play further characters. 

Rebecca Marshall: was the younger sister of Anne Marshall, another prominant female actress during the restoration period. She was a member of the King's Company until her last year of acting when she moved to the rival Duke's Company. Marshall was renowned for playing the villain or the dark side of the character in all female productions and where Marshall and Boutelle were an infamous pairing they were placed against the Duke's pairing of Mary Betterton and Mary Lee. Rebecca's beauty is noted to have caused her issues, she twice petitioned King Charles the Second protection from disruptive men in her audience. As well as being said to have fueded with Nell Gwyn. 

Elizabeth Farley: was noted down as Elizabeth Weaver, as one of the first actresses in the King's Company. Her maiden name was Farley, but used the name of Weaver even though she never apparently married James Weaver of Gray's Inn. Samuel Pepys hinted in 1668, she was a mistress of Charles the Second. She apparently had had a child with James Weaver and then later got into trouble for using her name, and then constant quabbles with other men although still remained to perform in company's. 

Mrs Betterton: Formerly Mary Saunderson, before marrying Thomas Betterton, was an actress and singer throughout the 1660's. It was due to her connection with her husband that allowed her to play several leading roles in performances of Shakespeare's play. Mary had a repuatation for virtue and was said to lead a "an unblemished and sober life." After Davenant died and Thomas Betterton took over the company, she continued to play minor roles, her final appearance was then in John Dryden's, Love Triamphant, where she played the leading female role for the last time. 

My first initial impressions of the characters, as we only had Farley, Doll & Nell were as such: 

Doll: a funny old lady, who is free spirited and takes care of the girls within the theatre as she knows her time being the attractive female is long passed. 

Nell: a more uneducated women, dreaming of being part of high society with potential due to beauty but having to work harder. Fairly naive and immature, but kind hearted 

Farley: a preachers daughter stuck after his death needing to find the money, has the education and enough looks to get her a job as an actress, but looks out for herself rather than anyone else. 

Chipp asked us too start setting the first few scenes and consider the scene changes and lighting. We first focused on the acting side, and we were told to consider how we could make it Brectian, the historical time period is one way, as this distances the current audience as they would find the issues and topics as something they can't really relate too, this is also a case with the characters and with a variety of age, religion and personalities it's hard for the audience to identify with one. The play also follows an epsisodic nature, jumping from scene to scene with no time lapse or development between scenes. As the play is dealing with idea's of feminism it doesn't not need the audience to connect emotionally to the characters on stage, rather provoke reflection on the critical view on stage. Brecht didn't want the audience to be emotional as it causes them to become complacent, rather adopt a critical perspective to recognise social injustice. 

We were then asked to consider the transitions between scenes and how to do them more interesting, this is where we noticed Doll almost calls the scene changes. This again created it as it was almost as if the characters were doing a play within a play. We felt that the characters should never really leave stage and that the audience could see the characters move their props and alter them into the use for the next scene or change or adapt their costume. As my character was Doll, I didn't change throughout, so I would be in charge of the set, baring in my my characters comical aspects these would create humour to see an old lady push and carry a set, as she is also a strong willed character who will try her all to do a good job. 

In the first scene Nell fears that her and Doll are dead. This is due to the eery and dingey setting. They are portraying spirits of the stage reflecting slightly on being on stage. 

In scene two, we see Mrs Farley breaking down when she cannot preach as well as her father, Nell asks her to teach her poetry so she can go for an acting job, but Farley tricks Nell into staying whilst Farley goes for the audition herself. This shows the competitive nature of the females within that industry. 

The next scene you see Nell showing Doll about her job as an orange seller within the theatre. This is accurate to Nell's character and it shows her ability to start her way in the theatre, oranges sellers often had to be good looking and were invited on stage to become part of the action. We then see an extract of Farley rehearsing for a show, this is where we can see the more sexualised nature. There is comedy within this as we see a woman who was previously a preachers daughter and becoming 'the fatal maiden'. When the amazon's arrive they are showing a parody of restoration theatre of the strong but sexy women that the audience, particularly the men, would crave. 

Here is a video of our blocking of it: 

https://www.youtube.com/watch?v=Tw-QHFt171c

Cast: 
Doll - Myself
Nell - Abbie
Mrs Farley - Laura
Mrs Betterton - Mia
Mrs Marshall - Livvy

We agreed the first couple of scenes that included Nell, Doll and Mrs Farley were a great way to show the competitive nature that was still there in those days. It shows the type of women that would often turn to acting and what would be desired of them, such as the appealing looks but the ability to read 'poetry'. We decided to use direct address, as we felt that speaking directing speech to the audience directly broke the fourth wall reminding the contemporary audience that they are watching a play. 

We then moved onto scene 9 - this looks more at Nell's first appearance on stage and how when she just showed a bit of skin and danced the audience fell to love her. This can tell us that men didn't go to see women at the theatre be talented, rather see women who have appeal and an ability to entertain. This scene's strong 

What we then see is the negative turn after Mrs Marshall is no longer the mistress  and manure is thrown in her hair from her old lover. Although the women are shocked - this is not as shocking as a current audience would be. The women seem to see it as something that happens, just not expected to happen to them. Being someone's 'Mistress' is something more common to the restoration period. 

Moving into scene 10 we see the women face more issues. There is a conversation between Doll and Mrs Betterton that discusses old age and the effect that has on their roles within the theatre, it is also then brought up later in argument. We see Mrs Farley attempting to borrow theatre property for her parties she has been invited too. This shows how it moved you up socially (due to looks) but the salary for being an actress was not enough to support this lifestyle without becoming a mistress where a rich male counterpart could support financially. Mrs Marshall returns attempting to make a voodoo doll of her ex-lover, this brings up the idea of witchcraft, a more common topic within that time period. By the end of the scene, we see that Mrs Farley's lover has moved onto the younger actress Nell, showing the constant cyclical replacement that women would face due to looks and age. It is through this that we see the sexual undermining that constantly set back the women who work hard. It shows that until women work together it is hard for women to not undermine each other with their sexuality to gain advantages in a world that revolves so much around the appearance of a woman. 

Another scene we include, is one where Miss Betterton explains to the group how her husband, Mr Betterton, who we know from research is a major part in the ownership of the theatre within that time, has told her she is no longer allowed to perform. We take a moment where Mrs Betterton says 'the younger ones must be given a chance' to use Brecht's technique of gestus. This allows us to create a physical embodiment of the attitudes of the characters within the time. This helps to reflect one of the feminist issues within the play to the contemporary audience. 

I wanted to look more at my character and how I would apply a Restoration acting style. 
As I am playing the character Doll Common in 'Playhouse Creatures' I wanted to discover the most successful way to play her when considering Brecht and Restoration acting. 

Bearing in mind we already know Doll: 

-is the nickname for Katherine Corey

-holding the one of the longest acting careers for a female

-played many servants, mothers and nanny's

-friends with Nell, bribed and the consequences ended with her being pelted with oranges

-she tried to form a new company, but it fell through and managed to get a petition that returned her back to her original acting company. 

Actresses at this time would not have been from a high class background, they would often appear to be as they would often be able to use theatre property such as makeup and dresses to transform into the characters on stage. This allowed them to mingle and socialise with characters from this period. 

In the play, however, Doll appears 'timeless', as an old woman. Through a lot of her lines I see Doll as a women who isn't really with it. Clinging on to any chance to remain within the theatre, which is why we often see her help out the younger actresses and sort out props throughout the play. 

The key to performing restoration theatre is mastering the whitty prose, I will have to be on top of my lines, never allowing myself to loose energy within the lines in order to keep the audience with me, this should not be seen as talking fast, just with control and an upbeat pace so the audience can understand what I'm saying. It was common in the restoration period for actors to manipulate this language for the purpose of entertaining the audience. 

There are certain archetypes found within restoration theatre, the fop and the wit etc, characters would often use the audience as a means to create humour, which links to Brecht's "spas" technique where he required theatre to be fun. Doll is plays an archetype of an old woman, by playing this stereotypically the audience will find it hard to see much depth to the character making her harder to emotionally comply with. With Doll's part, there is a monologue with a section directly addressed to the audience, this makes it easier to pick fun at members of the audience. Carrying it out considering Brecht, pointing at the audience and calling them 'lords and louts' although a typical feature of restoration theatre used to engage the audience,will actually distance the audience as they are not familiar with being called 'lords' allowing them to focus on the messages of the play and what Doll is saying about the theatres rather than making an emotional connection to the story. 

Doll is a bitter character, most likely due to rather than going up in the world of acting, peaking at a young age and then beginning to receive worse and worse jobs until we have reach the point where we see her. It is this bitter nature that contrasts with the rest of the women within the play, Doll has no need to compete for a better part, or to be a mistress to a handsome man. It is this that allows her to say what she pleases and she has no one left judging her. 

The location of the play is set in London, and most actors and actresses will have been locals due to the social class of performers and the costs of travel, this means that when not on stage we would most likely hear a more common cockney acccent. I feel that as Doll was a very well loved actress, that she may have played around with her voice when hanging around the well off men that invited her out after shows, her voice may now just appear more rough. It would also have a fairly tired tinge to her voice due to her older age. This will also be apparent in her physical nature, I'm not expecting her to be slow or too feeble, but would not be wearing a corset like the other ladies, making her posture more relaxed. To follow with the consideration of Brecht, once of stage, I will appear to be my own self, reminding the audience that this is a play carrying through the feminist political messages that April De Angellis expresses. 

5|2|15 - Historical Context & Contemporary Theatre - 'Restoration Theatre'

To prepare for the Contemporary Theatre unit, where we will be looking at the script 'Playhouse Creatures' by April De Angelis, a feminist writer, which focus's on actresses within the restoration period and the discrimination and degraded opinions their society had on them. I have done research on this time period to find out more to do with theatre and the people within that society. 

This research is also part of my Historical Context unit, as I look at the play 'The Country Wife' written during the restoration period in which 'Playhouse Creatures' is set. My research will allow me to discover how the play 'The Country Wife' would have been performed due to the receiving audience. 

For this research I used sources: http://www.gradesaver.com/the-country-wife/study-guide 
http://www.universalteacher.org.uk/drama/countrywife.htm

Restoration Theatre:

Between 1642 and 1660 the Puritans aimed to drive out what they thought was sinful theatre, meaning there was little theatrical activity in England during this time. Once that law expired, many theatres were dismantled during eighteen years of stasis after Oliver Cromwell passed a law declaring all actors were to be deemed as rogues.  
British theatre went through a time of renewal when Charles the II returned from his exile in France, creating the restoration period as he began restoring the monarchy. Charles had enjoyed his time in France and became a huge patron of theatre. He set up two new theatre companies whose performances were influential on the growth of British theatre:

“The Dukes Men” – led by Sir William DavenantThe company was under Prince James Duke of York’s patronage. Davenant drafted a document that gave him and Killigrew duel monopoly over the theatre companies; he was able to do this after receiving a warrant to build his own theatre during 1639. He was also the writer for two operas performed during the Puritan regime which cemented him as a reliable manager. Davenant believed that spectacle was the best way forward for theatre due to his background in masque. He went into creating theatre spaces with changeable scenes and updating performances to make them feel new to the audience. As he was only given 23 plays in comparison to the King Company’s 108, Davenant turned his company into writing new adaptations of pre-restoration work that he did have, working with writers such as George Etheredge, Rodger Boyle and John Dryden. Henry Harris and Thomas Betterton were the next set of managers for the Duke’s company and built the theatre house, which was under the watch of Davanant’s wife. Both Harris and Betterton were star actors within the company. Inspired by European theatres the theatre house were state of the art containing boasting machinery. The Duke’s Playhouse opened on 28^th June 1661 in Dorset Gardens with the performance of ‘The Seige of Rhodes’, the new theatre showed the possibilities for the company to create rich and dramatic theatre. 
“The King’s Company” – led by Thomas KilligrewThe company fell under the sponsorship of King Charles himself. Killigrew put the companies management in his son Charles’ hands after 1671 after Killigrew sold most of his interests in the company. It was in 1682 that the King’s Company and the Duke’s Company merged to become the so called ‘United Company’ under the leadership of the Duke’s Company’s people. King’s Company had many more of the more experienced actors such as Michael Mohun, Charles Hart, John Lacy and even Thomas Betterton (who would transfer to the Dukes later the same year before Lord Chamberlain forbidded such transfers). Killigrew quickly expanded his group by bringing in fifteen new male members and then further adding the first actresses on the English Stage, starting 1661. Killigrew’s motivations for entering into the theatrical business was not so much artistic but monetary. He delegated most of his managerial tasks to the senior actors and sharers. He did not exert and was said probably wouldn’t have been able to have had strong control over an artistic direction of the company.
Venue and Set
Theatre became a leisure activity for the upper class, due to the flamboyant style of King Charles; theatres became lavish as they developed scenic innovations. One influential designers of the 18^th Century, Philip Jacques de Loutherberg, was the first designer play around with the depth and dimension of the stage by breaking up the floor space with pieces of scenery. Other designers experimented with lighting, the placement of giant chandeliers which hung over the floor of the stage as well as using candle light.
The Duke’s Company playhouse was noted to have a small stage and proscenium arch, the scenery consisted of wings fronting pairs of large painted flats that were able to move along grooves set in the floor and flies of the stage. This was the first public playhouse to use such setting and impacted the choice of play heavily as it turned them into magnificent spectacles using decorations that had not been used before.
The first permanent venue for the King’s Company was responding to competition from the Duke’s Company more advanced theatre in Lisle’s Tennis Court and was Gibbon’s Tennis Court in 1663. Killigrew built and opened the King’s Playhouse, known today as ‘Theatre Royal, Drury Lane.’ The original theatre burnt down in 1672 and was rebuilt and reopened in 1674. Following little artistic direction from Killigrew, the set followed a more traditional and basic route within no motivation to become modernised.
Actors
Performances were usually light hearted and created humour by interacting with the audience, often mimicking or making fun of the audience. Actors would get paid depending on how popular they were, and they also played the same types of role, tragic actors always played the tragic roles. The female was known as the ingénue (innocent or unsophisticated woman) and the male known as the juvenile (young person). This meant that there were primarily three types of characters seen within each play.
The Fop:This would be the character that the richest members, who sat closest to the stage, of the audience would relate to; due to his posh and flamboyant nature. He would be shown to care highly about his appearance and would often be the source of satirical humour within the performance.
The Rake:The frivolous womaniser, who would undergo the carefree things in life, rich through inheritance would spend their money on gambling and drinking wine.  This would be the man that the ladies would swoon over as he’d be the male dominant within the play.
The Wit:This would be the character that creates humour through natural aptitude of using words in a quick and inventive way.  He would often use well known members of the audience to create a personal aspect of the theatre that mocked but inflicted comedy.
Thomas Betteron, one of the most famous restoration actors, was noted by men such as diarist Samuel Pepys as the best in the world, speaking of Betterton’s ability to ‘command attention even from the fops and flower girls.’ Betterton’s first stage appearance was in 1660 at the Cockpit Theatre in Drury Lane after John Rhodes obtained a licence to set up a company of players. His strong talents brought him prominence and therefore lead roles. As well as being a public favourite, Charles the Second was a huge admirer and even sent Betterton to Paris to examine stage improvements. Betterton’s inability to dance or sing kept him from being no more than chief consultant in the spectaculars but he continued performing in traditional plays. Other restoration actors include: Colley Cibber, Thomas Otway and Cave Underhill.
Actresses
Before the restoration period, all female roles were played by young men or boys as females weren’t allowed on stage. The return of the theatre meant that rules such as these were no longer in place. Females were now allowed on stage but the portrayal of them was often focused on their physical appearance rather than their talent or acting ability. Due to this women often had a very limited stage time because as soon as they lost their “appeal” they would be replaced with a new girl.  The parts that the female would play would often be naive females, they would attract and intrigue young men through suggestive scenes where skin would be revealed in order to get the crowd cheering as this would show their popularity and keep them in the business longer.
Even though it was in 1660 that it was the first time women were allowed to perform on stage, this was less significant at the time. This is because there is no precise record of a specific actress, suggesting that it was not recorded. One example of one of the first recorded female actresses is Mrs Eastland, her named only appeared on the cast list nine years after the company started, and her name doesn’t appear on any dramatis personae until 1669 and she only ever played minor parts.  For men the acting profession was a respected and successful career whereas woman who pursued a career in acting showed no serious pretentions to respectability. Although, companies would have to find a middle ground of class as the nature and demands of an actress would require them to learn lines quickly and have a civilised etiquette. This can suggest the overall significance of men compared to women within companies such as ‘The Kings Company’ and that in spite of the allowance of women in the theatre, the patriarchal nature within theatre was still very evident. The first noted female actors, members of the King’s Company included, Anne Marshall, Mary Knep, Elizabeth Boutell, Katheine Corey, Margaret Hughes, Elizabeth Cox, Elizabeth James and the most famous, Nell Gwyn. 
Margaret Hughes may have been the first professional actress in England, but there is debate between herself and Anne Marshall to be such title. Margaret was known as the mistress of the Civil War General and later the restoration admiral, Prince Rupert of the Rhine. She was famous for her charms as an actress, more focus on her looks than talent noted by Samuel Pepys as ‘a great beauty’ ‘fine figure and particularly good legs.’ Predicted to have been involved within many men and have an illegitimate son. It was her relationship with Prince Rupert that meant Hughes received rapid advancement through his patronage, becoming a member of the King’s Company, high in status and become immune to arrest and lived a very expensive lifestyle.
Nell Gwyn, another one of the first English actress, was also a mistress of King Charles the Second. She has been regarded as the living embodiment of the spirit of Restoration England, noted by Samuel Pepys as “pretty, witty Nell.” She followed a rags to royalty tale and was the most famous restoration actress due to her remarkable comic talent. After being left in a low situation Nell experimented with cross dressing between 1663 – 1667 under the name of ‘William Gwyn.’ She then used her observations to create a successfully hilarious character interpretation acting as a man on the stage in March 1667. Mary Meggs, “Orange Moll” as a former prostitute, was a friend of Madame Gwyn, had been granted the license to sell oranges, lemons, fruit etc within the theatre Orange Moll hired Nell and her sister and scantily clad “orange-girls.” This work exposed her to multiple aspects of theatre life and to London’s higher society, as this was within the King’s Playhouse and Charles frequently attended performances. Nell was only fourteen when she joined the rank of actresses at Bridges Street, a year after becoming an orange girl. Her good looks, strong clear voice and clear wit caught the eye of Killigrew, but yet she still had to prove she was clever enough to succeed within the profession. Gwyn herself agreed that drama did not suit her but it was in the new form of restoration comedy that Nell Gwyn became a star. 1671 was almost certainly her last season, her theatrical career spanned seven years and ended at the age of 21.
Changes
The appearance of women on the English stage was just one change that happened during the restoration period. But, there were many changes within this time: disappearance of ‘national types’ as different cultures began borrowing entertainment such as opera, tragedies, romances. It was from this restoration time that every European nation was influenced by the drama of every other nation. Plots, themes, characters and situations were always being modified as they travelled country to country and sometimes supplanting the home product. Even with this foreign drama, there was still the persistence of Elizabethan Plays, after the opening of theatres the practice of “improving” Shakespeare began, where his plays were altered, sometimes beyond recognition. They often acquired a political slant, where as the royals were flattered and supported by the stage, the Puritans were satirized. Restoration comedy was noted to be far inferior to the Elizabethan, whose dramatists were steeped in poetry, the later ones a reflection of the sophisticated and fashionable world. Restoration comedies were not often mere imitations, but original observation and independence of thought, it was this drama that kept theatre alive in the face of great public opposition. 

Lesson- 

We started the lesson by going over a piece of movement that Mia, Laura and Abbie had created the week before that captured what it would be like to be a women during the restoration period. We had to think about the bone corsets that they would wear which restrict the movement of the upper half, to show this our posture would be upright, we would look stiff from the hips upward and the ability to turn or twist would be nearly impossible. The largeness of their dresses would restricted the amount of chair they were able to sit on, this meant we would replicate this by only using a matchbox size of the chair. We also looked at the use of a fan, women during the 1600's would often use their fans to communicate or send signals, these are a few: 

1) THE FAN PLACED NEAR THE HEART: "You have won my love."

2) A CLOSED FAN TOUCHING THE RIGHT EYE: "When may I be allowed to see you?"

3) THE NUMBER OF STICKS SHOWN ANSWERED THE QUESTION: "At what hour?"

4) THREATENING MOVEMENTS WITH A FAN CLOSED: "Do not be so imprudent"

5) HALF-OPENED FAN PRESSED TO THE LIPS: "You may kiss me."

6) HANDS CLASPED TOGETHER HOLDING AN OPEN FAN: "Forgive me."

7) COVERING THE LEFT EAR WITH AN OPEN FAN: "Do not betray our secret."

8) HIDING THE EYES BEHIND AN OPEN FAN: "I love you."

9) SHUTTING A FULLY OPENED FAN SLOWLY: "I promise to marry you."

10) DRAWING THE FAN ACCROSS THE EYES: "I am sorry."

11) TOUCHING THE FINGER TO THE TIP OF THE FAN: "I wish to speak with you."

12) LETTING THE FAN REST ON THE RIGHT CHEEK: "Yes."

13) LETTING THE FAN REST ON THE LEFT CHEEK: "No."

14) OPENING AND CLOSING THE FAN SEVERAL TIMES: "You are cruel"

15) DROPPING THE FAN: "We will be friends."

16) FANNING SLOWLY: "I am married."

17) FANNING QUICKLY: "I am engaged."

18) PUTTING THE FAN HANDLE TO THE LIPS: "Kiss me."

19) OPENING A FAN WIDE: "Wait for me."

20) PLACING THE FAN BEHIND THE HEAD: "Do not forget me"

21) PLACING THE FAN BEHIND THE HEAD WITH FINGER EXTENDED: "Goodbye."

22) FAN IN RIGHT HAND IN FRONT OF FACE: "Follow me."

23) FAN IN LEFT HAND IN FRONT OF FACE: "I am desirous of your acquaintance."

24) FAN HELD OVER LEFT EAR: "I wish to get rid of you."

25) DRAWING THE FAN ACCROSS THE FOREHEAD: "You have changed."

26) TWIRLING THE FAN IN THE LEFT HAND: "We are being watched."

27) TWIRLING THE FAN IN THE RIGHT HAND: "I love another."

28) CARRYING THE OPEN FAN IN THE RIGHT HAND: "You are too willing."

29) CARRYING THE OPEN FAN IN THE LEFT HAND: "Come and talk to me."

30) DRAWING THE FAN THROUGH THE HAND: "I hate you!"

31) DRAWING THE FAN ADROSS THE CHEEK: "I love you!"

32) PRESENTING THE FAN SHUT: "Do you love me?"

I found this exercise useful as a starter activity to get me thinking about what it would be like living in that time period. We read an extract from 'Our Country's Good' that showed us the sexualised and suggestive parts that females were limited to, this got us speaking about how the world of theatre was for women at this time. Chipp asked us if we thought it would've been competitive? I said yes, maybe even more so as it was a note of your own beauty, social stature and who you knew rather than your talent. And with so little parts to actually recieve women would only have a short time to actually be an audiences favourite before being replaced with a younger, prettier woman. With this, me, Abbie and Laura created a short piece that showed the focus on looks within theatre and the never competitve nature of being replaced that would occur for actresses within the Restoration period. We used dynamic movements with the incorporated the use of the fan in order to add the feminine touch.

https://www.youtube.com/watch?v=YS31MWTMGNU

We then carried on looking further into this but with the context of 'Playhouse Creatures' in mind. Noting that the play looks at five women, actresses within the theatre and the struggles, Chipp gave us an improvising task of receiving three type cast roles within the theatre and the discussions they would have backstage. 

He gave myself the role of the more mature and experience actress. Abbie was a young woman, who was the patrons mistress and Laura was a young aspiring actress. We were asked how we thought our own character would deal to receiving a new piece of script. As mine was more experienced, I think she'd know she needed to go for the more 'serious' female part offered, even though it is a more minor part and means that they are no longer the crowd favourite. They'd be slightly jealous because it is the knowledge of being replaced by the prettier ones. Abbie's character, would feel almost as if they'd be given the part she desired due the patron having influential power within the theatre's company. Laura's looks meant that she was in the winning to have the ideal role, that would have the most stage time and gain popularity. To maintain a theatre standard she would also need to have the correct class and intelligence as well as looks in order to prove herself worthy. This would be something that might make the other characters feel inadequate. 

In our improvisation, something that became apparent was the constant fear that one had something the other didn't, the experience of the eldest, the security of the mistress and the beauty of the youngest. I feel that because of the focus was on the beauty for the youngest myself and Abbie were patronizing Laura due to her lack of experience but also through bitter jealously. This came with us telling her how she didn't really need to look at the lines, just look pretty and she'll get the role where the men will want her. 

Chipp told us that these idea's are running themes and plots within Playhouse Creatures. Showing the progression and understanding that female actresses had when working in the theatre environment. 

'The Country Wife'
'The Country Wife' is a restoration comedy written in 1675 by William Wycherley, reflecting aristocratic and anti-puritan ideologies. It is renowned for it's explicit sexual context even though restoration theatre was known for it's provocative nature. It's based on plays by Moliere (Jean-Baptiste Poquelin), well known for his comedic acting and playwrights within western literature such as: The Misanthrope, The Miser and the Imaginary Invalid.

Characters

Henry Horner
The main 'rake' within the play, known well in London for his notorious relationships with women. He decided that to receive sexual access to more 'respectable' women that he would spread rumour that he is a eunuch. This is successful throughout the play and in doing so brings out the moral failings in others, but yet because of his own sexual conduct and the effort put into this we see him as the unprincipled. 


The Quack
A doctor that Horner has employed to spread rumour of his new impotent status due to him now being a 'eunuch'.

Jack Pinchwife
Newly married to 'the country wife', Margery. He was before a rake, which causes Horner surprise when he finds out that Pinchwife is married. He portrays the archetypal jealous husband, he does not think that his wife loves him more that he has ownership due to marriage causing him to constantly fear being cuckolded. His nature is deemed quite violent in the anger consequentness from jealousy and fear. 

Margery Pinchwife
The title of the play is named after this 'Country Wife', who is new and naive to the ways of London on her first visit down to see Alethea's wedding. The allure to Maragery is her unrefined sexual vitality and the juxtaposition of her natural being with the corruption of hyper-civilized Londoners. 

Aleathea Pinchwife
Is the sister of Jack Pinchwife. For finical reasons she must be married off, which is why she is engaged to Sparkish, where even though she admires his lack of jealously she falls for Harcourt upon meeting him, as she values his intelligence and gallantry. She is one of the only characters that has not allowed London to wear away her morals yet gained wit from the pleasures that London brings, which makes her one of the most admirable people within the play. 

Frank Harcourt
a 'rakish' friend to Horner and falls for Aleathea early in the play. By the end of the play Harcourt is transformed into an image of marriage to be based on mutual love and devotion after flirting with Aleathea in front of Sparkish, who does not get jealous, and they fall in love with each others good nature. 

Mr. Sparkish
Considers himself wrongly a 'wit', but within a restoration performance could be considered a fop with his flamboyant character. We see him as shallow as he is drawn to Aleathea by the 5,000 pound dowery that she carries. While we see him as incapable of getting jealous, this is actually because he views the attraction and displays of affection as adding of value to Aleathea, who he thinks is his property. 

Mr Dorilant
A rakish friend to both Horner and Harcourt. 

Lucy 
The maidservent to Aleathea, encourages the courtship to Harcourt and with her intelligence helps to create schemes to let them be together. 

Misstress Squemish
A member of the 'virtuous gang' and yet secretly a conquest of Horner's. 

Old Lady Squemish
Grandmother to Misstress Squemish attempts to preserve her granddaughters purity. 

Sir Jasper Fidget
The first man we see to find endless amusement in Horner's new impotent status and is therefore happy to trust him with his wife in hope that it will discourage her from other more, potent men.

Lady Fidget
Wife to Jasper, she prides herself on being a leader of the 'virtuous gang' but yet this is revealed to be hypocritical as we find her availing herself to Horner in private yet maintaining her virtuous facade for the public. In later parts of the play she creates a defence of high-born ladies hypocrisy. 

Dainty Fidget
Sister to Jasper, another member of the 'virtuous gang' and another conquest of Horner's. 


Plot
In act one, after we have discovered the new impotent status of Horner, Sir Jaspar brings his wife and sister around to see if the rumours of this are true. It is Horner's aversion to the sex that leave Sir Jaspar to feel comfortable enough to leave the ladies in his companionship, as much to their disgust of him. Sir Jaspar wishes that Mr Horner will become a mere distraction with little harm. Once gone he proves to the Quack that the plan will work, as rumour spreads of his 'eunuch' status, he will be able to gain acquaintance with women who do not wish to tarnish their reputation but are still attracted to Horner. 

We are then introduced to Harcourt and Dorilant who rather than laugh at Horner eunuch status, pity him and want to take him to the theatre and ignore the attitudes of the public. This is where Horner informs the two that he thinks women get in the way of male friendship. Then enters Sparkish, claiming to have left a duke and dine with them instead the three reject to false 'wit' status Sparkish tries to give himself, mocks Horner and he departs to dine with his fiance before the play. 

We are then introduced to Pinchwife, who informs us that he wanted to keep his new marriage hidden from the Horner due to his reputation, but he has not yet heard of the rumours about Horner. We discover Pinchwife lying about the apperance of his wife in fear of becoming a cuckold. 

Act Two we are introduced to Aleathea and Maragery (The Country Wife) where we see her egerness to walk around London and Aleathea explains to her that Pinchwife is jealous. There is then an arguement between the brother and sister where he begs to keep Maragery as ignorant as he does. By accident, Pinchwife reveals to his wife that a man had seen her the previous night at the theatre and been attracted by her 'homely country girl' apperance, Margery is thrilled and enthusiastic to know more. 

We then move to the theatre where we are provided with the beginnings of the subplot between Alethea, Sparkish and Harcourt. Sparkish shows of his fiance and it grabs the attention of Harcourt, yet Sparkish encourages it much to Pinchwifes disgust. Alethea does not find Sparkish lack of jealously as a sign of ill-loving rather a trust in her virtue. When Sparkish feels his honour may be attacked he asks for Pinchwifes help to kill Harcourt, but Aleathea interfears and lies to put all right. 

When 'the virtuous gang' go to attempt to take Mrs Pinchwife to the theatre her husband refuses, leaving the women to discuss whether comitting adultery with a high born or low born man is better, finiliasing that with low born it is less known. If it is not known it can't hurt their honour neither their husbands. It is Horner's money that allows herself to follow Sir Jasper's plan to let him take them to the theatre. 

Mrs Pinchwife explains how she no longer wants to return to the country until she has met the man who says loves her. Mr Pinchwife blames Alethea for his wife's curiousity of London men. As her determination grows, he accepts to take her and asks Alethea to help create a disguise, she suggests a mask but he states it just makes men more curious and instead dresses her as a male. 

Now all of the main plot lines have been introduced, we are able to see how the characters try to achieve their own personal goals. There follows a 'letter' plan by Mrs Pinchwife where she deceives her husband sending him off with the wrong letter in order to tell Horner her feelings towards him. This then develops to a point where he catches her writing another letter, which she says is from Alethea attempting to marry Horner instead of Sparkish, this seems like a better situation as if Horner marries Alethea, Margery will no longer be able to feel towards Horner. She then dresses masked as Aleathea and tells her husband to take her to Horner. 

The 3 women of 'the virtuous gang' are in Horner's lodgings, becoming very drunk and they begin to talk more about their frustrations and judgements with a more lower class tone. During this all three women express how they thought they were all exclusive lovers to Horner, rather than becoming angry at this, Lady Fidget wishes they all keep Horner's lie a secret in order to maintain their reputation. 

With the confusion Pinchwife has over his sister, he see's her later after leaving his disguised with Horner, this is where she confesses her wish to be married to Harcourt. Pinchwife, outraged when his wife comes through saying she wishes to be with Horner says he has been cuckolded and tells Sir Jasper, who is also present, that he will have been too. This is where Pinchwife first hears of Horner being a eunuch. There is much debate and quarrels on the truth of this. The Pinchwife's admit their unhappiness and Lucy insists that Margery only loves Horner due to the "innocent revenge on a husband's jealousy." Where Mr Pinchwife admits Cuckolds and lovers both deceive themselves. 

It finishes on an epilogue by Lady Fidget that would speak to the rakes within the audience that although their rake behaviour may impress other men they do not fool the women. 


Themes 

Innocence vs Experience
It is clear throughout that Margery, the country wife from the title, reflects the innocence of the country in comparison to the experience that the town life offers. The audience perceives her as naive as she has ability to detect deceit with is why she whole hearted believes that as Horner has said he loves her he could not 'ruin' her. It has been criticised that as she spends time amongst the people in London she develops those traits of deceit such as when she tricks her husband to send the first love letter to Horner. If we say that she maintains her innocence we can say that her remove to Hampshire at the end of the play is a form of banishment as the real world cannot provide for true kindness, honestly and simplicity. If we believe she has been tainted the message is far darker that experience of civilisation corrupts viciously if it can corrupt a girl of such innocence. 

Marriage
Wycherley has depicted two types of marriage relationships. One through Pinchwife, where he grooms ignorance into his wife in order to keep her submissive and pure. Sir Jasper abandons his wife, leaving her to travel and enjoy "safe" companionship. The marriagel breakdowns can be shown through the contradictions finds within the fact the assumption of restoration time that wives can be safely neglected but should be kept ignorant. Just as men, the women are shown to require sexual connections which leads them onto men like Horner, which he shows through "for they are sure to make their women hate them, which is the first step to their love for another man."

Staging

The theatre's during this time were no longer open air, but closed with very dim lighting. No longer a standing audience in the pit but benches where wit's (such as Sparkish) desired to sit for it's miscellaneous nature. Then followed by three tiers of galleries, the lower the most expensive with a box for royalty and the highly wealthy. The second tier split into boxes and then the third were seats, the cheapest in the house. 

The stage had two sections, the proscenium/forestage was where the main action would be shown extending into the auditorium, whereas the inner stage was the setting for scenic effects. This proscenium arch was new to the English Theatre. By the time that 'The Country Wife' was performed at the new Theatre Royal, they had the ability to move sets due to sliding shutters as well as sound effects. 

Rather than the Duke's company who remained to focus on the spectacle, a continuation of a pageant tradition where famous well known actors would perform fancy allegories. This disregarded the importance of quality of acting and script writing which is what Killgrew focused on over at the Theatre Royal. Which is where Restoration theatre seemed to develop it's well known traits of comedy, actor-driven banter and witty innuendos. 

The restoration comedy focuses on depicting characters that are from the same social background as the audience, carrying over their ideologies, and although may appear two dimensional are still representational. 

Linking all of these idea's to the audience within the time, it's not a surprise that the play is so incredibly sexually orientated with the introduction of women they could create more promiscuously entertaining shows that people would want to watch. As well as the new idea's of marriage that had recently passed that it was now a legal contract rather than a sacramental bond. This then drove the play to run on the moral questionings that the society was already experiencing. 

1670's audiences demanded features within plays, these things can be found in 'The Country Wife':
- Colloquial prose dialogue
- Complicated entwining plot
- Double entendre (innuendo's) 

The sex jokes are provided through the initial plot of the play where 'the rake' pretends that he has become a eunuch in order to be trusted with men's wives and safely have  affairs with them. Even Horner's name itself provides as implication of sex. This is then entwined with the introduction of 'The Country Wife' who has recently moved to London and her inexperience and desire to discover the joys of town life, especially the London males. This allows characters to use London colloquialisms within the prose style dialogue.

(Evidence of subtext - Horner, a pun within the characters name itself, still flirts with the women as to the unknowing nature of the males pretence that Horner has spread of himself.)

Lady Fid. Ay, he’s a base fellow for’t. But affectation makes not a woman more odious to them than virtue.

Horn. Because your virtue is your greatest affectation, madam.

Lady Fid. How, you saucy fellow! would you wrong my honour?

Horn. If I could.

Lady Fid. How d’ye mean, sir?

Sir Jasp. Ha! ha! ha! no, he can’t wrong your ladyship’s honour, upon my honour. He, poor man—hark you in your ear—a mere eunuch.

The famous 'china scene' is a clear example of the humorous double entendre in the play as they use the idea of 'giving china' an innuendo for a sex but continue to play on this creating dramatic irony where the man can only appear naive of the lie Horner spread of him being impotent. 

On reflection of the explicit nature of the play, many theatres would not allow 'The Country Wife' to be performed. It was replaced by a cleaner version by David Garrick of 'The Country Girl' that removed the outrageous sexual jokes, although the bland version was not very successful as the provocative nature deemed a necessity for the restoration audience. The positive opinion of the witty linguistic energy, sharp social satirical humour and ability to be openly interpreted has become more popular. 


If 'The Country Wife' were to be performed to a modern day audience, we'd have to make adaptations in order for the play to have a similar effect that it would do for that of a restoration audience. To do this we could: 
- Modernise aspects of the play. Update the characters, transfer them over to modern day versions of rakes and fops. The new city girl with makeup, expensive clothes, where as country wife more homely and natural yet still beautiful. The 'camp' man. 
-Drawing on the male dominance and emphasising the similarities that still exist today such as the difference between male and women and how they are judged on expressing their sexuality. 

-Need to find a way to reconnect the audience with the morality of the play. Keep the traditional restoration theatre atmosphere interacting with the audience as the theatre was about the audience (their society) 

-Still making the same themes clear, the political and the idea of a new style of theatre. 

-Offsides or direct links to the audience become more direct, as an audience no longer has the rigid social limitations to where they can sit. 

4|2|15 - Directing Unit - "DNA - Final Performance"

Preparation 

We used two sets of lighting, one for the higher level and one for the group scenes on ground level. On the ground level we set cans and leaves around to get the atmosphere right. 

Evaluation 

- I felt that when Rachel and Lea posed as a 'head off' on the crate it looked to awkward due to the height of the crate. When done more aggressively and when the correct stance is made with the body it was very hit and miss to get the correct result and we didn't get the result in the actual performance. 

- We'd always had in that Cathy occupies herself while Rachel and Lea have it out with each other, she used to set to look through cans. Although, I feel this did look like an add on rather than something developed. 

- I feel we should have reminded the cast about the length of the stage, they remained very cramped and centered. We managed to fix this during one rehearsal but in a different space and I think due to nerves they forgot to check their spacial awareness. 

- I did like the fact that with the raised stage for scenes where the audience were meant to reflect were used and the intense group scenes the floor was used to make the audience feel like they were on the same level. 

- There was a lot of significance with Phil's 'no', as this is the only line he says within the scene, I wanted it to show the difference between Lea and Phil's thought process and I think that carried slightly. As Phil didn't need to justify himself, or appeal to Lea's thoughts, he thought was he thought. 

- Reflecting on the performance I wish I could've created a smooth way to transition between scenes without the use of blackouts. This is because the cast found it hard to transition with little light, and it often looked clumsy. I would've liked to do a clearing and entrance to each scene to make it feel like everything was happening chronologically to fit into a naturalistic style. 

- I feel that near the end the cast started to overlap their lines a little too much. We warned the cast that although they needed to have speedy entrances with their lines to not drop pace they shouldn't cut the other person off unless it has a purpose. 

- I feel like the cast didn't react to the slap as much as they had done in rehearsal, or as much as I would've liked from them which meant that the impact and realisation of Cathy's change in persona was not as clear. 

Here is a video of my discussing the directing process and evaluating more aspects of the final performance with Mr Chipp: 

26|1|15 - Directing Unit - "DNA - Week 12"

Over the past week we have done smaller rehearsals working on either the Lea and Phil, Rachel and Phil or Jan and Mark scenes. During these we have gone over the direction we have handed them in preparation for the full run.

Lea + Phil - "Deja Vu" monologue: 
This monologue captures Lea's desperation to gain Phil's attention. Although not as dramatic as the strangling in scene 1, we see Lea almost boasting at how well she knows Phil. Part of me feels she is slightly taking the mick because of "doing nothing" is all Phil ever really does. But then from that I thought it was interesting if we made Lea naive to this, as if she see's Phil to be a lot more interesting that he really is. Once failing to correctly predict the birds landing, she changes the subject. (We have cut the discussion about the sky) As she questions the possibility to change things, we see Lea digging metaphorically on ideas within the play. Changing "one thing" being Adam, and "the world" being the group of friends we follow in the play. Phil disagreeing with Lea is the first time that we see the contrast between the characters. This is where I identify Lea as the moral conscious of the play as even Kelly himself see's "If you can change one thing, you can change the world" as the heart of the play. This conflicts with Phil's 'logical' and 'analytic' way of thinking and dealing with situations. 

Lea + Phil - "I'm Going" monologue: 

This is yet another desperate cry for Phil's attention. I do think, in this monologue, we see Lea start to stand up for herself, as realization or perhaps acceptance of Phil's ignorance which is why she might bitterly admit "I admire you so much" as she feels that herself could never be that ignorant if he showed the same desperation towards herself. Phil is provided as a comic relief in both of these monologues as the play deals with panic and chaos, the underlying tone of comedy helps to ease tension. I also think with it being Phil that supplies the unintentional comedy it shows how is detached from the situation and only see's it as a problem that has to be solved, but not necessarily have an emotional attachment or concern with them. Obviously, there is the consequence of prison which is why he will probably continue to help. This can make Phil appear self centered, which is also shown in the scene where he decides how to deal with Adams return. 

Rachel + Phil - "Come Back to Us" monologue: 

We see Rachel attempting to replace Lea, she mimic's patterns of Lea's monologues, such as looking out into the distance, the need for a reaction of Phil. We wanted to see a slight shift in Phil's attitude at this point. We wanted to see him angry at Rachel for trying to replace Lea, causing her to feel uncomfortable, therefore feeling unable or awkward to sit on the crate in which Lea used to occupy. With Phil being upset, it shows that there is no way to handle a situation completely based on logic, there has to be a moral influence on decisions as well, which is why Lea and Phil were together, as a balance. When Rachel says "there are more stars in the sky than grains of sand on Brighton beach" we want to see Phil put his head in his hands, this is because Lea would've said stuff like this, such as "if you can change one thing you can change the world". It is this reminder of Lea's company reflected in Phil, that makes Rachel feel so uncomfortable she's got to go. Phil will retrieve a star burst, a running item that is the idea of connecting logic and emotion, Phil's 'bargaining tool'. He then places it on Lea's crate before leaving the scene. 

Today's plan is to do full run through's of the performance. We video'd our first tech/run which was the first run through with all the staging, props, costume and lighting. Here is the video of the first run, it cut out so the last few scenes are in separate videos: 

Me and Alex then gave our feedback. These are the notes I wrote, in italics I will explain why I wanted to make these changes if necessary.

Scene 1 
- Lea's we heard, takes hold of Phil's hand- subtely

showing straight away that they come as pair, as much to Rachel's annoyance.

- closer together around Cathy
after being spread out, becomes more intense on her mistake. 

- go over lines Lea Rachel Cathy section 

-Brian's enterance, more shock. 

group reaction is a key, it needs to look naturalistic not as if it was set for him to come in then.
-Rachel line in quicker "you dick"
- Brian looking at the group when talking about crying 

shows that he is looking for reassurance and group support 
- mark and jan closer to Brian's stool 

so that when they move away afterwards it's a bigger reaction to Phil
-" mark & jan " move further behind lea in Phil's thing about grille
- Phil. more aggressive second "rachel will take you"

to show an underlying 'aggressive' nature as he is very direct
- Rachel's exit quick and more stroppy 

as she feels that the leadership of 'her' group is slipping from her
- interaction with each other at the end

>lines Rachel
>either side of Cathy - not too for forward
>Rachel more assertive
>Brian sit up more with the sweet (happier)
> reaction to Phil telling Brian what they'll do to him

Scene 2

- more of a let down when the starling doesn't appear, slump back to the crate

- pause before "change one thing" out of annoyance
the change line is one of the most important lines as it captures a lot of what the story is about. 

>more sure a bird is gonna land

Scene 3

- mark louder, more definite with a variety of tones

Scene 4

- Lea move arms more to not look so static or stiff. Need to look comfortable with Phil.
- pull the suitcase "right fucking now"
-genuinely think about the monologue and what's it's saying - easier to learn & you'll create more tone
- Phil don't leave the sight of your plate or pack away til they've left stage. Stay happy for a couple seconds after they've gone so the focus is on you
Phil is the character that can create humour 
>more aggressive and annoyed yeah everyone's happy 

phil isn't engaged by emotions, which upsets you
>sigh when Phil doesn't answer and decides to spread more

Scene 5 
>complete constrast between Brian and Cathy,.
shows the changes within the group and how they have become drastic over time. 

-Cathy lines come in quicker after Brian's, almost overlapping the end his lines

- more shock from the group at Cathy's violence (especially the slap)

she used to be the 'wannabe' of the group and show now holds the power of the group. 

- Lea think about the meaning of your lines, and how you'd actually say them

- Rachel, more distraught about the situation (head in hands) "fucked" a lot louder

- everyone think about your own fear in Brian's monologue. And use that as emotional memory, imagine hearing your best friend telling you go through all of that and how it would hurt. Adjust your body language throughout, don't be scared to move. Use your hands to show shock and worry and how you feel uncomfortable. Facial expressions try and show you imagining (confused, scared, worried shocked) - you got a while to display all these so just mix about with it with your character in mind

- Lea walk with disgust and shock at what Adams been eating

- Adam louder in singular lines

- Rachel look more worried at Phil when telling you what to do. Also look back when you walk off at Cathy (she's taken your place)

-more distress from Lea as soon and jan mark and Rachel have left. Urgency.

- definition and defiance from Cathy, you're now in charge of the group.

- create a build with the bag being over the head to allow the audience to be shocked

- Brian bend over and mean on knees "that was great"

- move closer to Phil body wise

- Brian take suitcase off back of stage

Scene 6

- no matter how it falls. Look disgusted

Scene 7

- mark look shocked as well, you're just as shocked you just know it's a fact and are annoyed that jan doesn't believe you... Again

Scene 8

- script down.
- look out on "Brighton beach" quote (like lea)
>keep the pace fast - you're mimicking lea's monologues