Romantic drama is the theatre of the "long ago and far away." The audiences of the early 19th century wanted to escape the dull, petty frustrations of their life.
1. What are the characteristics of a romantic hero?
The romantic hero makes no comprises, appeases no one. To him every issue is clear, and if he goes down in defeat, he goes down fighting knowing that his cause is just.
2. What is the difference between the knight-champion and the knight-lover?
The knight-champion was loyal to his lord, dedicated his life to the protection of the weak, rescued the innocent maiden, and fought the endless battle against the forces of evil.The knight-lover placed women on a pedestal, and worshipped them form afar. After a brief glimpse of her beauty, he was transformed forever. He would write poems to her beauty, and sing of his undying devotion, but he could not touch her. It was better to yearn for the ideal, than to desecrate it by turning it into reality.
3. Why did England not produce any major 19th century romantic dramatists?
Because the actor-managers rediscovered the works of Shakespeare. His plays posses many of the elements of romantic drama--A broad sweep of action, many short scenes, and a dedication to love and adventure.
4. Which playwright's work was performed, in England, during this period?
William Shakespeare.
5. What are the characteristics of a melodrama?
Melodrama contained a spotless hero who was usually falsely accused (but cleared by the last act) and an evil black hearted villain (who was often a banker or lawyer). Background music underscored sentimental speeches and the action sequences, just like in a film. The greatest excitement was the chase.
6. How large an audience did the 19th century melodramas attract?
Melodrama developed the largest popular audience in American theatre history.
7. What was the title of America's most successful 19th century melodrama?
Uncle Tom's Cabin. It was based on Harriet Beacher Stowe's novel of the same name. The play was written in six acts, included 30 scenes, and was performed by a cast of 25. There were American productions of Uncle Tom's Cabin into the 1930's.
8. What was the importance of the showboat to the westward movement of the American theatre?
In the early part of the 19th century, most major American cities were built along a river (usually the Mississippi or Ohio) or a canal. Mounting a theatre on a flat boat, and taking the show to the major cities along the river was an efficient way to tour, and no "western" community was large enough to support a resident theatre company.William Chapman's two hundred seat Floating Theatre is considered America's first showboat. Starting in 1831, it traveled the Ohio and Mississippi Rivers from Pittsburgh, PA to New Orleans. By thy 1850s there were dozens of showboats plyings the water ways of the midwest. They continued to operate into the middle of the 20th century. The American showboat was immortalized first in the novel by Edna Ferber (Show Boat, 1926), and later in the Jerome Kern- Oscar Hammerstein II operetta (Show Boat, 1928).
9. What types of plays did they present?
Melodramas
10. Which of Victor Hugo's dramas was influential in getting romantic drama accepted in Paris' conservative state theatres?
Hernani (1830)
11. What happened during its initial performances?
The audience rioted.
12. What is the relationship between romantic drama and 19th century opera?
Most 19th century operas were based on 19th century romantic dramas.
13. Which form, the drama or opera, has held the stage the best?
There are few, if any, productions of the original dramas, but the operas have become part of the standard repertory. Puccini's Tosca (the opera) is based on a play written for Sarah Bernhardt, the great 19th century French actress. No one produces the play (also called Tosca), but Pucinni's opera is one of the war- horses of the operatic repertory.
14. Who wrote The Count of Monte Cristo?
Alexandre Dumas, pere (1803-1870)
Why was his stage adaption of his novel not a theatrical success?
His adaption required a cast of a 100, was written in 20 acts, and took two days to perform.
15. Who performed it in the United States during the late 19th century?
James O'Neill played the title role of the Count of Monte Cristo for over 30 years.
16. What was his relationship to Eugene O'Neill?
He is Eugene's father.
17. What type of plays did Alexandre Dumas, fils write?
He wrote what he believed were realistic dramas. But most modern directors see his plays as being very romantic.
What was his relationship to Alexandre Dumas, pere?
He was his son.
18. What is the title of his (A. Dumas, fils) most often revived work?
The Lady of the Camellias (known as Camille in the English speaking world) (1852) Camille is the source of Verdi's opera: La Traviata.
19. Why is it now considered a romantic, and not realistic drama?
What was "here and now" in 1852 becomes "long ago and far away" in 1997.
20. What is the title of Edmund Rostand's most important work?
Cyrano de Bergerac (1897)
21. What position does it hold in dramatic literature?
It is probably the best example of a 19th century romantic drama.
22. What position does Johann Wolfgang von Goethe hold in German literature?
Goethe is Germany's greatest literary figure. He is to German literature what Shakespeare is to English drama, and Moliere is to French comedy.
23. What is his most important play?
Faust (1808)
24. What German theatre did he manage?
He was the manager of the state theatre at Weimar. He required his actors to attend rehearsals. He permitted only two responses from his audiences. If they liked the show they could applaud. If they did not like the show they could remain silent.
25. What was Friedreich Schiller's occupation before becoming a playwright?
Schiller was a history professor before he became a playwright.
26. What was the source of the characters and plots for his three major dramas?
His major dramas deal with the turning points in European history.
27. Give the title of one of these plays.
Mary Stuart (1800) dealing with English history,
The Maid of Orleans (1801) which tells the story of Joan of Arc (French history) and
William Tell (1804) from Swiss history.
E-mail questions and comments to Larry Wild at wildl@wolf.northern.edu.
Last updated: August 30, 1997
© 1997 by Larry Wild, Northern State University