In class someone asked, "What was the theater like at this time?" and got an excellent answer from the group presenting, which dealt with how the sentimental comedies of this time fit into the broader trajectory of British theater and how theater-going was increasing in popularity during this time.
All true! But there's another way to answer the question, which is to explore what the experience of going to the theater and watching a play was like in the C18, and how that experience differed from our C21 assumptions and expectations about it.
For insight on that way of answering the question, here is an excerpt from Frances Burney's Evelina, one of the novels that was under consideration for our end-of-semester reading. Evelina is a young woman seeing the sights of London for the first time, under the chaperonage of her best friend's family, the Mirvans (Maria, Mrs. Mirvan, and Captain Mirvan). They've shlepped to London for the same reason everyone of their social class shlepps to London: to find a husband for Maria and give her some additional polish from her exposure to London sights and society (but mostly to find her a husband). Evelina is along for the ride.
Evelina's probably NOT going to find a husband because, even though she is beautiful, nice, and well-educated, she was born out of wedlock and she's penniless. She's been raised by an elderly family friend of impeccable virtue, to whom she writes the letters that make up the novel. In Letter XX from Vol. 1 of the novel, Evelina describes her first trip to the theater. She goes to see William Congreve's Love for Love at the Drury Lane Theatre--NOT a sentimental comedy! Love for Love was first performed in 1695 and was in frequent production for the next 70 years, even though it had a different comic sensibility than the later plays we looked at in class on Monday.
At the theater, Evelina encounters Lord Orville. Evelina had previously met him at the same ball at which she offended the odious Mr. Lovel because of her ignorance of the proper procedure for turning down a dance partner. Lord Orville is rich, handsome, kind, and good--no way he's going to give a nobody like Evelina a second look. Or will he? You'll have to read the novel to find out.
In the meantime, however, identify here what information this chapter gives you about what it was like to go to the theater in the later eighteenth century. How does the experience of these characters differ from your C21 expectations? What seems particularly striking or significant?
Deadline: Wednesday (3/11), 10am.
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In Evelina, the chapter gives an insight to the experience of 18th Century theater in comparison to the expectations of the 21st Century today in that the theater is a place for gathering rather than to see a show specifically. Evelina states, "I hope I shall never see it represented again; for it is so extremely indelicate." She then went on to be concerned with Lord Orville rather than the play. Her little concern with it is different from what we see at theater now. If someone is talking throughout the show, then another theater guest will ask them to be quiet. A decent, moral show is the most desirable for the theater guests of the 18th Century. Now, we expect a little shock and spice to keep our interest.
I think Lauren is right in her assessment. I would go further to say that the theater is also a forum of sorts for discussion about the moral issues presented in the plays, the two gentlemen who have a debate of sorts have a duel of wits of sorts in which they challenge each other and the women with the content of the play.
Also I found it interesting that the quite apparently unsavory character of Mr Lovel claims to treat the theater like one might now treat a popular tavern or club: One would make an appearance, be seen, and not concern themselves with the actual purpose of the establishment, all in an attempt to appear socially relevant and in style.
I will point out that though this claim is made, the character clearly demonstrates a knowledge of the play and Evelina takes notice, further casting him in a negative light. This would suggest that just as those that only show themselves in a social capacity are not really respected as they miss out on the purpose of the occasion.
I found it interesting that as far as the reader is shown, the content of the play is of a secondary importance to most of the people in attendance. Mr Lovel deliberately states that he can hardly stay awake through the work, and appears solely to seem social. While that is readily dismissible as absurd, it seems as though Maria is there for no more real reasons. She and Evalina seem to be expected to gain some sort of "polish" just by virtue of being exposed to art and the high society that surrounds it. There is no concern for any appreciation or understanding of the work, but merely the assumption that people benefit from being exposed to it.
I too agree with Lauren. Based on the brief excerpt given, it seems that later eighteenth century theater was served as a place for conversation. People did not necessarily focus on what was occurring on stage, but yet what was happening in the audience. The theater was a place for “anybody whose anybody” to be present and recognized. For example, when Lord Orville arrived he did not enter the theater and head straight to his seat (which is what would usually happen during a 21century play), but instead engages in a conversation with Evelina. To go even further, when Evelina gives her opinion of the play and states “she hopes it will never be represented again” this is the only time we actually see her engaged with what is occurring on stage. But we get a very detailed description of the conversation and encounter she has with Lord Orville. During this time the theater seems to merely serve as a place of socialization, something that we today would do at a restaurant or bar.
The behavior that is displayed in the excerpt, such as Lord Orville sleeping, the constant conversations, and the general lack of attentiveness, would not be acceptable during a 21t century theater presentation. In fact, this type of behavior would be looked down upon by other audience members. And besides, speaking from a financial standpoint, it would be a complete waste of money to visit a theater today and not actually engage in its content
I agree with all of the commentators. As the excerpt does show the concept of theater during the 18c was completely different than it is now. For example Evelinia mentions, Miss Mirvan and I were perpetually out of coutenance and could neither make any observations ourselves nor venture to listen to those of others. This was the more provoking as Lord Orville was in excellent spirts and exceedingly entertaining." The first thing that I noticed is that making comments seems to be a customary aspect of going to the theater. I also think that it was a way for people to show their intelligence or wit, so that people could discuss it the next day 'Lord Orville was quite witty at the theater' etc. It reminds me of going to the movies today when the protagonist wins the fight everyone cheers and makes comments and people in the theater laugh. There is this shared sense of comraderie we are all here to see a play and half the fun is commenting and listening to the comments of others. Immediately it reveals the social aspect of theater going at this time, the audience is as much an actor as the actual performers. As mentioned in class the people who dislike the playwright are making comments and throwing orange peels. It is a hybrid of being an upper class place because the royalty are there and being a place for the masses the lower class and prostitutes.
I also notice that there are much stricter gender lines, it would be considered improper for Evelina to laugh at the raucous jokes in the play. Today there is obviously more freedom for women and men at the play. Today the theater is a hodge podge of students and professionals but it is definitely more of a middle and upper class activity, very poor people do not usually attend many plays. Whereas in the 18c it appears that the theater was more beauracratic.
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