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7KH0LVHUDQG3OXWXVIURP$XVWLQ¶V&KLURQRPLD3ODWHVDQG 6SKHUHIURP$XVWLQ¶V&KLURQRPLD3ODWH *HVWXUHRIDGGUHVVIURP$XVWLQ¶V&KLURQRPLD3ODWH ([SUHVVLYHJHVWXUH³WREHJ´IURP%XOZHU¶V&KLURORJLDSODWH$ ([SUHVVLYHJHVWXUHRIDGGUHVVIURP$XVWLQ¶V&KLURQRPLD3ODWH YLLL Chapter 1 INTRODUCTION When singers approach the work of Purcell and other composers of the Restoration period in England (1660-1710), particularly pieces that were composed for inclusion into spoken theatre, masques or semi-operas, many questions arise. If singers wish to attempt historically informed performances, what sources might guide them into this acting style? How were actors trained in the Restoration Era and are there any similarities to modern training? What elements of acting technique are dissimilar? Finding sources to guide the classical singer is the first challenge; there are no modern sources that encompass the whole of the art of acting in this era. There are modern texts discussing the differing aspects of theatre in the Restoration Era, i.e. dance, gesture, rhetoric, style and manners, but there is no single text aimed toward classical singers wishing to perform this era of music. Just as we can never really know how singers sang in this era (with or without vibrato or something in between) neither can we truly know how they acted. However, there are logical presumptions to be made after investigations into treatises on dance, acting and rhetoric, into the art and literature of the time and into resources on etiquette and deportment. A resurgent interest in the writings of Quintilian, Cicero and Aristotle influenced theatre and music beginning in the Renaissance and had a major influence on the style of the Restoration stage and on writers throughout this era and beyond. Treatises on rhetorical delivery include much information on gesture, including hand and body positions that would have been prevalent in the pulpit and courtroom as well as on the stage. Seventeenth and eighteenth century treatises on rhetoric which are germane to 1 acting technique in the Restoration period include Bulwer’s Chirologia or the Natural Language of the Hand and Austin’s Chironomia or A Treatise on Rhetorical Delivery. Dene Barnett’s book, The Art of Gesture: the practices and principles of 18th century acting, 1987, provides dense and exhaustive research into gesture from all over Europe. These resources provide pivotal information but are not designed for ease of use nor do they cover knowledge that contributes to the entirety of an actor’s craft. Bulwer and Austin, along with most writers on rhetoric and gesture in the seventeenth and eighteenth centuries, refer to Cicero and Quintilian as paragons of proper oration. Oration would have been a part of the seventeenth century nobles’ education along with dance and etiquette. The popular dance treatises of the Restoration all discuss the five dance positions, the proper way to take off a hat, the proper ways to bow and courtesy (curtsy) and general issues of deportment. These treatises shed light on how nobility were trained by their (often French) dancing masters to carry themselves in polite society. Charles Gildon’s text, The Life of Thomas Betterton (1710), details acting techniques of the Restoration Era and is one of very few contemporary sources on acting in the Restoration theatre. Gilbert Austin’s treatise, Chironomia, attempts to categorize and create notation for the elements of gesture and oratory skills which were used in the seventeenth and eighteenth centuries. This paper will serve as a guide for the fundamental body positions (informed by dance), the essential social graces, the types of gestures and facial expressions fundamental to Restoration acting and will provide a template for breaking down a song into its gestural and emotional components. It will also establish a correlation between the acting techniques of the past and of the modern era, giving performers a way into the 2 Restoration world of stylized acting. This knowledge is the starting point for creating a historically informed performance. Historical Context The Restoration Era is usually described as the political period comprising the reign of Charles II (1660-1685), but as theatrical era, the dates are usually extended to 1710 when Handel arrived in England and a noteworthy change in theatrical productions began.1 During the Interregnum, the period when there was no king (1649-1660), public performance of plays was outlawed. 2 Music continued to flourish and although opera was permitted under the law, there was no
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