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A Re-Examination of Spectacle and the Spectacular in Restoration Theatre, 1660-1714

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A Re-Examination of Spectacle and the Spectacular in Restoration Theatre, 1660-1714 Changing Scenes and Flying Machines: A Re-examination of Spectacle and the Spectacular in Restoration Theatre, 1660-1714 Lyndsey Bakewell A Doctoral Thesis Submitted in partial fulfilment of the requirements for the award of Doctor of Philosophy at Loughborough University October 2015 ©Lyndsey Bakewell, 2015 i Abstract Changing Scenes and Flying Machines: A Re-examination of Spectacle in Restoration Theatre, 1660-1714. Key words: Restoration Theatre, Spectacle, Plays, Machinery, Scenery, Costumes, Performers, Puppetry, Automata, Special Effects. This thesis builds upon the existing scholarship of theatrical historians such as Robert D. Hume, Judith Milhous and Jocelyn Powell, and seeks to broaden the notion of the term spectacle in relation to Restoration theatrical performances, as defined by Milhous as scenery, machinery, large cast sizes and music.1 By arguing that we should not see spectacle in Restoration theatre merely in terms of machinery and scenery, as some have done, but that it properly includes a wider range of elements, such as puppetry and performers, the thesis contends that spectacle on the Restoration stage was more of an integral aspect of theatrical development than previously thought. Through drawing on the wide aspects of theatrical presentation, including setting, stage use, mechanics, costumes and properties, puppetry and performers, this thesis examines how the numerous aspects of the Restoration performance, both in their singularity and as a collective, provided a performance driven by spectacle in order to create an appealing entertainment for its audience. In order to navigate and appreciate the complexity of theatrical performance in this period, the thesis has been divided into key aspects of theatrical presentation, each of which are argued to offer a variant of spectacle. The early chapters of this thesis relate to the material, or non-human, attributes of the stage to consider how the developing nature of performance was shaped by the use of extensive scenery, machinery, puppetry, and elaborate set pieces to provide much of the period’s visual, scenographic and theatrical wonder. These chapters build on the definition for spectacle which has previously been used to examine Restoration performance. For the latter chapters, this thesis will shift its focus to consider the role of actresses and actors, to understand how they contributed to the broader impact of the stage, and how they developed in line with the material and mechanical advances. Finally, to demonstrate the collective impact of these elements of performance, the thesis concludes with a detailed exploration of Aphra Behn’s The Emperor of the Moon (1687), examining the 1 Judith Milhous, ‘The Multimedia Spectacular on the Restoration Stage’, in British Theatre and the Other Arts, 1660-1800, ed. by Shirley Strum Kenny (London: Associated University Presses, 1984), pp. 41-62. ii performative impact of her use of spectacle. In order to identify and support the re-examination of the term spectacle in relation to Restoration theatre, evidence will be drawn from a wide range of play scripts, surviving diary records, accounts, illustrations and newspaper articles. Additionally, the thesis explores a range of different practices, developments and literary and dramatic types, drawn from the English theatre and those European traditions which influenced it in order to provide a more representative examination of spectacle in the period. Importantly, the thesis’s core purpose will be to demonstrate that the notion of spectacle is more central to Restoration theatre than is often believed. iii Acknowledgements There are many people who have selflessly devoted time and energy to me and the completion of this thesis. I am extremely grateful for each conversation, point in the right direction, and moment of encouragement that has been gifted to me. Firstly, I would like to offer my thanks to Loughborough University and the English and Drama department for their interest in my area of study and for granting me a studentship which afforded me the opportunity to dedicate my time to its completion. Thank you also to Folger Shakespeare Library, Chatsworth Collection and The British Library for their permission to use images from their collection in my thesis. I would like of offer great thanks to my supervisors Mick and Elaine for their guidance, support and encouragement. I am grateful for all the time you have given to me and this project, and the wonderful discussions which have grown from it. The kindness I have received from you and all of the staff and students in the English and Drama department has been a great comfort and inspiration to me throughout this journey. My thanks also go to Catie Gill and Nigel Wood who have offered insightful reflections on my work. Also to Kerry Featherstone who, despite me not being his supervisee, offered kind words and moments of clarity when I needed them. Thank you also to my new colleague Antonia Liguori, you have been a great source of encouragement in the final weeks of this project and your excellent Italian editing skills have been very useful. Thank you also to Emma Nadin for her support in the final months. Special thanks belong to my family, most importantly my mum, dad and sister. Thank you for always encouraging my academic choices, letting me carve my own path, and never faltering in your love and support of me. To the friends I have made while completing this thesis, Alice Dean, Katie Aske, Natalia Golinska Puczylowska, and my Rutherford family, I hope you know how much I have benefitted from your words of wisdom and friendship. My final thanks go to my best friend, David. Through the long hours, piles of books and endless pieces of paper, you have been a constant support and it is through your unwavering encouragement that I believed I could complete this thesis. I am indebted to you for all the times you have sat with me, read with me, spoken with me and told me it was possible. Your passion for research and learning has inspired me and my work in this thesis, and will continue to do so for a long time to come. I cannot offer enough thanks for the love you give me everyday. Here is to our next chapter, written together. iv Table of Contents Abstract ..................................................................................................................................... ii Acknowledgements ................................................................................................................. iv List of Illustrations ................................................................................................................. vii List of Tables ........................................................................................................................ viii List of Plays ............................................................................................................................. ix Note to the reader: ................................................................................................................. xv Changing Scenes and Flying Machines: Re-examination of Spectacle and the Spectacular in Restoration Theatre, 1660-1714. ................................................................... 1 Introduction .............................................................................................................................. 1 Defining the Restoration Spectacle and Spectacular .......................................................................... 5 The Development of the Patent Companies and the Spectacular Playhouse .................................... 15 Politics, Restrictions and the Economics of the Theatre ................................................................... 23 The Theatre-goers ............................................................................................................................. 28 Current Restoration Research ........................................................................................................... 31 Framing Spectacle with Contemporary Critical Theory ................................................................... 34 Outline of Thesis ............................................................................................................................... 39 Chapter One. Early Spectacle: William Davenant’s The Siege of Rhodes (1656, 1659, 1660, 1662) .............................................................................................................................. 42 Chapter Two. Theatrical Spectacle: The Evolution of Performance Spaces Throughout the Restoration ....................................................................................................................... 52 Performance Space ........................................................................................................................ 52 Trap Doors .................................................................................................................................... 68 Chapter Three. Scenographic Spectacle: The Delights of Changing Scenery ................. 72 Chapter Four. The Spectacle of Nature: The Recreation of Weather in the Theatre ..... 83 Chapter Five. Mechanical Spectacle: Developments in Large-Scale Machinery ............ 98 Chapter Six. Street Spectacle: Puppets, Automaton and Monsters on the Public Stage ...............................................................................................................................................
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